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The film is as cold as a dog's snout and lacks tension in many places, which one would expect in a spy drama. Many people have already written about the unfortunate choice of casting Adolf Hitler's character. Hitler was at the peak of his popularity and his physical and mental strength at that time, and he had nothing in common with the Nosferatu vampire presented in the film. On the other hand, Jeremy Irons is exactly right in the role of Chamberlain, but I'm afraid that's the only thing that will stick in the memory of viewers in the long term. Personally, I don't like it when foolishness like an SS officer attacking a member of the British diplomatic mission at the summit meeting during the Munich conference appears in a realistically-looking historical drama, on which the attention of the world public was focused. That person could consider himself extremely lucky if he ended up only in a concentration camp and not directly in front of the firing squad. Overall impression: 55%.

It is naturally just a coincidence, but Michaela Pavlátová managed to finish the film and send it for distribution at the ideal time when the dramatic events of the fall of the pro-Western regime fueled by American and European money are still fresh in people's minds. The visual aspect may not be innovative but thank God for that because Czech animated films have been stagnating due to lack of funding for many years. There isn't much to argue against the story, which is based on Petra Procházková's experiences and information gathered from her contacts with Afghan women, except perhaps to note that the scene where Afghan women are running toward freedom en masse is just an illusion. Procházková encountered only a small percentage of women who have been slightly or more Westernized (and not even close to one hundred percent) and desire some Western achievements, and essentially, the vast majority of Afghan women are actually quite content in their comfortable domestic cage. Overall impression: 75%.

Mare of Easttown is not a typical crime series that productions churn out by the dozens every year. It owes its status as one of the most discussed and sought-after titles of our time to its work with characters and its exploration of the nature and functioning of American small-town communities. The excellent script doesn't tiptoe around the painful sores of today's America; for example, viewers have the opportunity to witness the impact of the incredibly rampant opioid abuse epidemic caused by the mass prescribing of pain medications that induce rapid and severe addiction. All of this is supported by a quality cast led by Kate Winslet, who seized the opportunity and delivered, in my opinion, the most mature and distinctive performance of her career. Her sharp, emotionally deprived detective is convincing and intriguing. She is not immediately likable, often making mistakes, but her goal-oriented approach pushes the case forward despite the disapproval from her surroundings, including her loved ones. I have a reservation about the series in that I consider it emotionally overdone. This emotional manipulation, or rather emotional manipulation on the part of the creators, didn't quite reach the level of emotional pornography, as was the case with the series This Is Us, but it still bothered me and affected the pacing of the final episode. Overall impression: 75%.

A depressive view of society that goes to the dogs. If some of the participants in the documentary had a feeling of hope that things would turn for the better, it only took half a year and Vladimir Vladimirovich's decision to start a war in Ukraine to make it definitively clear that Russia is turning toward a regime similar to North Korea. Freedom-minded residents of the Russian Federation are now fleeing in droves through Finland and Georgia into emigration. This night will not be short. Overall impression: 75%.

An engaging, incredibly intense film filled with emotions and energy, and the most interesting premiere of 2021 for me. A luxurious dessert served by a team of British actors led by Stephen Graham. His performance in Boiling Point and his role as a prison guard in the miniseries Time made me consider placing him among my favorite creators. During one hectic evening, the long-standing personal crisis of the chef and restaurant owner culminates, and things start happening... Philip Barantini, without much directorial experience and with a modest budget, managed to shoot a great action film in the space of a restaurant, in which I couldn't find any significant weaknesses. However, if I had to highlight something besides the acting, it would definitely be Lewis's brilliant cinematography; 90 minutes in one shot is not something you see every day. I wish all film enthusiasts Bon Appétit while watching Boiling Point. Overall impression: 90%.

A swamp is a simple metaphor for a society that has undergone several significant shocks in the 20th century, when, as one supporting character notes, one whore succeeded another. The filth needs to be drowned in the swamp, which is extensive and can accommodate a lot. The series is adept at capturing the atmosphere of the post-communist hangover and the chaos of the wild nineties, which the more cunning ones saw as a great opportunity to enrich themselves and had no problem eliminating obstacles by the most brutal means. 1997 is a solid and intriguing crime series, with the script being particularly noteworthy for skillfully intertwining the destinies of numerous characters and not being afraid to confront skeletons from Poland's past. Overall impression: 75%.

For the creation of The Sinner, viewers can thank Jessica Biel's desire to prove that she can handle more challenging character roles. However, those who are familiar with the previous seasons of the show know well that the key character and the reason for the continuation is the character of Detective Harry Ambrose. His ability to sense shadows where others have clarity, his empathy towards all involved parties, and above all, his drive to delve deep into understanding why things happened the way they did, make him a character capable of succeeding where teams of professionals with powerful institutions behind them fail. I consider the fourth season to be the most successful and mature. This is also due to the skillfully executed mysterious storyline, which has become somewhat of a trademark for The Sinner. However, the viewer must be prepared for a slower pace and a journey filled with sadness and human tragedies hidden behind the seemingly harmonious facade of the local community. Bill Pullman is brilliant as usual. Overall impression: 90%.

Projects by Guy Ritchie usually stand out for their playfulness and lightness, which this time has been replaced by straightforward action full of violence, testosterone, developed musculature, and a sullen gaze à la Sylvester Stallone on the face of Jason Statham. Although he is not usually cast by directors in roles of intellectuals, here his unchanging frosty expression is a bit of a shame. The simple story about a journey to get revenge wouldn't bother me if Ritchie hadn't made it into such a popcorn flick. Supermen who knock down six opponents with six shots from dozens of feet away belong in fairy tales that I don't appreciate. Additionally, I get the impression that the team of screenwriters did not do a good job in this case, and a few times I incredulously raised my eyebrows at the strange shortcut in the plot or the behavior of the characters. However, Ritchie is too good of a director to make an outright bad film, especially since this one appeared at just the right time after the forced fasting imposed by the COVID epidemic. Within the genre, it is clearly above average, and any fan of action spectacles can confidently add a fourth star to my overall impression of 60%.

I would like to borrow my opening words from elsewhere: "Overwrought and poorly told phantasmagoria"... because they succinctly and accurately characterize what you can expect from the series. According to Alex de la Iglesia, he worked on the series for 6 years, reserved only a maximum of one week for the screenplay based on the result, and it took him the longest time to convince the producers to invest finances and studio support in such garbage. Honestly, I am amazed that the series was created under the patronage of HBO, which usually sets the bar for quality high. I like storytelling and enjoy it, but Alex is a terrible storyteller. It cannot be claimed that the problem lies in the subject itself, it is rather about its execution, about Alex's superficial approach to the material. He wastefully indulges in ideas only to thwart their potential. The mystery genre relies on emotions much more than on rationality, but that does not mean that no laws should apply to it, and that the behavior of the characters will not be guided by any logic. I am surprised by the decent rating on FilmBooster because Alex's lack of restraint and inconsistency moves the genre from horror or fantasy to grotesque in many places... but to each their own. I will not in the least accommodate the carelessly shot mishmash with poor effects and a stupid screenplay, there are others for that. Overall impression: 10%.

Of all the festival films I saw, I had the most hope for All Hands on Deck, but at the moment, I can't hide my feelings of awkwardness. In the end result, the movie is a light, summer relaxed romantic, easily forgettable... nothing. For a comedy, it's inadequately focused, but that definitely doesn't mean that there are no situations that will evoke a light smile on your face. However, I constantly had the feeling that I was seeing wasted potential in the story, the characters, and the individual scenes. This simply is not a film that will be remembered for long or that is powerful and impactful. If you are in tune with the film, you will be rewarded, but otherwise, it will quickly start to bore you. I would appreciate All Hands on Deck more as the debut of a fresh film school graduate, but the way that it is, I have no reason to give an overall impression higher than 50%.