DaViD´82

Disproportionately better originals, because as the original is excellently built and invented, it is horribly written. Which, this adaptation, thanks to Sarah Phelps, completely corrects. If we add to that the captivating English gloomy "Gothic" atmosphere and apt cast, this one is very likely to be the best adaptation of one of the most famous detective novels ever.

If you can get over the fact that "Russian soul" has disappeared from it and it is so noticeably British aristocratic and somewhat unnecessarily decadent in the behavior of some characters, it's excellent (so far). That is for sure. It's just no longer THE War and Peace. Which is a bit strange, especially when it strikes your eyes how many times Harper has seen Bondarchuk's version. In any case, you will hardly see a better television (not only) production with such a cast again, and if so, it will hardly be of such high quality.

Gracefully poor-quality thrash space Princess Bride with a very distinctive mix of decadently childish humor. In many ways, it is the ancestor of the Guardians of the Galaxy and the Star Wars upside down, as well as the successor to Flash "a-ha" "Gordon. Just something from everything, because every ten minutes of the film, it's completely different in every possible aspect. For a while it's a fairy tale, for a while it's space herpes. For a while the Frosty is showing off, for a while it's the second Mad Max, sometimes it's Star Trek and then again Star Wars with everything... In any case, it is a movie that includes everything. No wonder it's a cult status movie for one (not only) generation abroad and if I had seen it in my early twenties, I would have been overexcited too. This is how I at least dreamed nostalgically about what it would have been like in those early days. In any case, it is over the top craziness (after all, watch the local trailer, which is very -apt), so you can have some fun even today.

A disturbing insight into the pragmatic face of capitalism, when it gets tough, it climbs over the people to get what it wants. And it is precisely this pragmatic coldness in the approach to the unsolvable problem, when it is purely about whether (not) to be the first to run out the door of supposed prosperity and trigger panic affecting the whole (not only) financial world, which is the most impressive. It could have been full of fiery declarations, raised voices, growls, slamming the door and throwing things (and with such a good cast it would probably have worked anyway), but it does not work, because that's not how the things are done. In this, the cold corporate culture is captured very accurately. Which doesn't mean it's emotionless. Emotions are clearly felt beneath the surface and create inner tension between the individual wonderfully written and played characters. And it is the "moral" side of them which everything is based on. Yes, it's basically a "only" theater intimate performance of a few actors gossiping one night over a desk/computer/ coffee about business, but it's about how good the "mere" theater intimate performance is. And this one is damn good, understandable even to a complete layman in financial matters (because it's mainly about the characters) and, above all, excellently written.

A proof that the modern Sherlock works so well not because it is incorporated into the form of the modern setting, but thanks to the cast, chemistry between them, style, atmosphere, clever work with the original and exaggeration. Unfortunately, it also proves that Moffat and Gatiss, despite all their (often superfluous, but also not always) recombination and repetitiveness (for both Sherlock and Doctor Who) are transparent much sooner (really; too early, this time it can be seen on both levels in minutes) than it would be appropriate and I bet it was not intentional. As a result, they often ripple water rather than move the plot or characters forward. As a result, it is a special movie whose weak point is that it needs to work on its own (it succeeds in the first half of the comedy in this respect, unfortunately only in the first part), and at the same time it should at least partially follow the previous three seasons (if you close your eyes it does the job) and at the same time it shall not to move the plot forward, in case someone did not watch it and after finishing the third season wanted directly to watch the fourth season.

A film blurring the boundaries between concepts such as power, corruption, the church, good intentions, the mafia, usurious gangs, politics, interests, small/large fish, money, etc. Sollima continues in a style he has already successfully used in the Gomorrah series, and so this Gordian knot of destinies from the far side of Rome on the other side of Rome leads confidently and in terms of style towards a complex criminal movie. In this respect it can't deny "gomorrah's roots "(whether book, serial or movie). Like the influence of the duo Tropa de Elite or The Wire. A well-thought-out script (perhaps only the indicated church line was unused and therefore pointless), the actors, the hypnotic camera and the Martinez’s soundtrack, all this is at the highest level. The fact that it is "only" a kind of pilot for the upcoming series. It is a crime series that is one of the best ever created in this genre in recent years. And in this genre department a lot of amazing staff have been done.

The least Christmas-like Moffat's Christmas specials, but what is missing in terms of the Christmas atmosphere is made up in the stylish of over the top staff. Above all, the first half is one big adventure ride. In the second half, it deviates significantly from the established course towards melancholy, but it is not to the detriment, although the change in style does not suit everyone. In addition, it is all raised to a higher level thanks to the central duo. Not to mention it's not on celluloid, otherwise it might have to ignite because of so many sparks between them. They are unbelievably good together, it would be a sin to be committed to this special if the special will have not have a follow-up.

Theft of diamonds of almost incalculable value, which have the only flaw. They are not for sale. And for this series, MacGuffin's entry point is to get bogged down in the European underworld of organized crime, from Marseille, Hungarian slums to a Serbian gang with ambitions. A film set, raw and uncompromising plot, absolutely non-black-and-white in terms of characters, magnificently played (no wonder with such a great cast), acting in many ways quite realistically and with only one major snag. It tries to be fatal through flashbacks, which connect the live stories of individual characters. And while the short ones fulfill their purpose, the one from the fifth episode, which steals almost all the footage, does not. It is not bad but wasting an entire episode on something that doesn't say much new about the characters in a six-part miniseries will definitely let you down. Moreover, it doesn't even work as the imaginary silence before the storm in the form of the final episode. In any case, it is excellent (not only) criminal à la rough genre of the French school of the 1970s.

In the best possible legacy of Jára Cimrman so charmingly "bad" (whether intentionally or not) with everything mixed up in one basket in a way that it's really good, stylish, nice and funny. Yes, the introduction in the castle and the whole "Sleeping Beauty" part was hard for me to watch (even though it has its bright moments), but the "over the top"" version of the fairy tale about Little Red Riding Hood and the "Frosty-style" fairy tale about the twelve months really got me. I liked it so much that I almost start singing with them out of joy. PS: And with each subsequent watching, I like it more and more. For many years I have not had any movie that would be the one for the annual Christmas screening.

I was a little frightened by the genre designation "Fantasy/Action/War", but fortunately it's a pure Czech film fairy tale in a classic style, which if it didn't turn into a fairy tale of a slightly different nature in the second half and didn't lose track of the first half, would become a modern classic movie for the (not only) Christmas time. This is "only" the best fairy tale of the last few years.