D.Moore

“The murderer is taunting me. Ok. His first mistake!" How I would like to not know how it is going to turn out, I thought from start to finish, because if Murder on the Orient Express offered me that detective mystery, it would be even better. But of course, this is not the fault of the film, which is perfect in almost every aspect. Understandably, Poirot (in Branagh's superbly moderate and sensitive performance, with a mustache like from Hogwarts) is the focal point of the plot, but the other characters are certainly not forgotten, the design is digital, but beautiful, and when emotions are supposed to happen, they happen, and it doesn't matter if you know the book or not. Perhaps only Poirot's recollection of Katherine (from The Mystery of the Blue Train) seemed excessive to me and I didn't like the final stumbling block too much, which suggests that the sequel will take place “on the damn Nile".

Holmes solves a very dark mystery, examines a charred human bone, opens a coffin… This film has a lot, really. Watson plays more of a second fiddle this time, but it doesn't matter, he watches his brilliant colleague with the same fascination with which we watch Jeremy Brett's full commitment.

Although it looks better at first, in the end Colombiana is just an average, overly long action film with a sympathetic Zoe Saldana and not particularly original direction. Compare, for example, the weak scene with the police unit with the one Luc Besson shot 23 years ago in Leon, and you'll see the abysmal difference.

I don't have any issues saying with a clear conscience that I was thrilled by the third Thor. It's very funny, fresh, unique... And it is not the laser disco parody that it might seem from the trailers, but a regular and in many ways important chapter from the life of the God of Thunder. Absolutely all the characters are interesting, none are excessive and no one is annoying (here I'd like to highlight mainly Loki and Grandmaster performed by the great Jeff Goldblum), and Cate Blanchett’s Hela,who was enjoying herself, was a safe bet. And one more observation - the Hulk is also funny, but Bruce Banner is even funnier, which Marvel had not accomplished up to this point. Taika Waititi pleasantly surprised me, he is good at humor and imaginative action (what he shows in the introduction with Mjolnir trumps the entire previous film), it all looks beautiful and thanks to Mark Mothersbaugh's retro music, it’s got exceptional zest.

An excellent acted documentary, which, from start to finish, gives off a very authentic impression and is designed mainly for viewers obsessed with the JFK theme. There are a lot of characters, none of them are the main character and almost everyone has their moment. A number of scenes are hellishly strong and I appreciate how the screenwriter and director managed to balance the mournful patriotic mood of the film so that (at least for me) it didn't seem cheap and I didn't feel that it was blackmailing me emotionally.

I don't know what Stefan Zweig would say, but I really liked the imaginative audacity with which Alfréd Radok seized his book. He made a fictional TV broadcast in which some of the actors play themselves, some play others... And the others, they don't even know if they're actors or who they really are. Reporters interrupt their speech, illuminators shine light into the image, there is confusion on the set, and a documentary film enters it all, and it might as well be about Jára Cimrman. The atmosphere is mostly funny, but it can also be chilling. Seventeen years later a more traditional adaptation of Královská hra was created, in which Rudolf Hrušínský played the character of the chess grandmaster again.

Unlike Drive, this time I didn't get the impression that I was watching (or trying to watch) a self-important film about nothing. Only God Forgives is a very stylish, gritty short story from the Asian underworld, which confuses the viewer but is not confused itself, it moves forward a snail’s pace, but also at a persistent pace and boils under a seemingly immobile neon color level. The flaw on its beauty is only the not-exactly-convincing performance by Ryan Gosling - the silent looks in his performance look the same all the time, and I can't even imagine what he's experiencing or what he's thinking. Kristin Scott Thomas, of course, is in a completely different acting league, and her overbearing, bashful mobster makes her memorable.

“Country roads, take me home, to the place I belong..." I had as much fun as when I watched the first film, if not even more. Yes, it's actually a typical sequel - bigger, crazier, longer and so on, but at the same time it's still great fun that is able to combine with childish joy everything that it creators came up with (including a few very touching scenes and clever satire), and which has tons of great and unique ideas that many other films can only envy.

A very atmospheric, cold crime film with one immensely tense and thrilling scene that the screenwriter (and director) allow to be interspersed with another, even more tense scene, which can then hit the viewer (who is prepared for anything) with something that we hardly ever see these days. Wind River is like an icy whiff of the good old film days, when crime films and thrillers cared mostly about characters, and when a duel between two people was enough for a memorable ending.

Dave Bautista gave a sensational performance in Blade Runner 2049, portraying a memorable and important character in a small space. And while this short didn't tell me much more about him, it's good.