D.Moore

Longer, more epic, more action, more horror... I mean, a typical second film that still knows the level and does not cast shame on the first film. I would actually say that this series is even better than the first, thanks mainly to the characters of Eleven and Hopper, who are really great and amazingly-acted characters that simply capture your heart. Above all, the ultra-sympathetic David Harbour (he reminded me a little of Jack Nicholson) deserves all the praise and is now one of my main hopes that the new Hellboy will be at least a little worthwhile.

This is more than a good Czech film in quite a while... And on top of that, it's a comedy! Though cynical in the spirit of the trilogy about the Homolka family, it’s still a comedy. It balances great on that humorous-bitter edge and is full of real-feeling dialogues and beautiful scenes in different ways. All this with excellent acting (the characters are not caricatures, David Vávra and Ivana Chýlková are a great couple, poisonous Jana Synková uses her yelling to the maximum and Tereza Voříšková is cute even in a bear costume, including the fitted head) and with careful, intimate directing. The film is dedicated to “our" Honza Kastner and I believe he would like it, because he's simply not stupid.

I thought I'd already seen many of the scenes somewhere (and they were better), and the fates of the human characters didn't really interest me much as those of the animals. The Zookeeper's Wife is an ambitious film, but the result is (in almost a Czech TV way) unsuccessful - you look forward to it, you watch it despite not being very happy with it, and at the end you tell yourself it wasn't bad, but it could have been better. Even Jessica Chastain didn't entice me too much this time.

I love these films - quiet slow melancholy, nostalgic reminiscing about the old days, and the sympathetic main characters and their interesting story. Everyone knows or guesses how it turns out, but it's not about the destination here - it's about the journey. The Highwaymen is, in short, a great “modern" western about two retired cowboys and their (last?) chore, and Kevin Costner and Woody Harrelson literally shine in it (a big thanks to anyone who thought of putting these two together). The film keeps its distance from Bonnie and Clyde, but it's only to the benefit of the cause - they don't put as much attention on each other and act as a creeping, uncalculated evil (the closest we get to them is when Hamer and Gault get to them, but that's too late, of course), dangerous because of what they've already done and what they can do, and what celebrities they've become. There are a lot of question marks and exclamation marks throughout the clear and familiar story that still apply, and I get the impression that this is not only the best Netflix film I've seen so far, but one of the best films ever. I could watch the scene with Clyde's father over and over.

A worthy tribute to our master of fantasy. The documentary clearly did not want (and could not) encompass everything, so it focuses mainly on Zeman's love of storytelling, and on the love of audiences and colleagues alike for his work. I fully trusted Terry Gilliam’s enthusiasm, Tim Burton not so much - not that I doubt him (maybe in Batman there is one scene in which the protagonist is classically animated and it's typically in the Zeman style), but rather due to the fact that his three or four concise sentences are taken from the show Na plovárně, and they say almost nothing. On the other hand, I would completely get rid of the uninteresting Kamil Fila and give his space to Karl Zeman, who perhaps could say more than the final sentence from the recording.

"Thanks, Grandpa." – "You're welcome, dykes." Clint Eastwood is a sure thing. While The Mule (if you compare it to the last few films he's been in) isn't as strong as Gran Torino or Million Dollar Baby, it's thankfully much better than Trouble with the Curve. It's a fun and touching film with a laid-back atmosphere interspersed with some suspense, with one incredibly admirable guy in the main role and the director's chair. Earl Stone is one of his most sympathetic characters.

I guess it's on the level of Mad City – nothing too original or surprising, but a well-acted and seamlessly shot film with a good concept. George Clooney and Julia Roberts are one of those dream acting duos and would draw attention to practically anything, so it's a good thing they don't waste their star potential. As for the script, I liked that everything took place in real time and I enjoyed all the black humor and satirical quips.

A spy thriller with a pleasantly old-school edit, in which it's not about action, but rather suspense, and who, whom, why and how it ends up transferring. I liked it, and both Jennifer Lawrence and Joel Edgerton in particular were great. But I especially have to highlight the James Newton Howard soundtrack - he was heavily inspired by Tchaikovsky and if his overture was played in a classical Russian music concert, probably few would think that it doesn't belong there.

I like short stories. It's quite a complex discipline, because the creators have to entice, surprise, get a real story going and still somehow end it so that the viewer doesn't feel robbed at the end. Most of the short stories from Love, Death & Robots were successful in this regard. Whether the shorts were purely action (serious or funny), whether it was a comedy about a yogurt that took over the Earth, or three robots - tourists in a post-apocalyptic world, whether it was unadulterated horror with Dracula, in a way we haven't seen before, or with werewolf soldiers or an abandoned astronaut, whether it was philosophical reflection or a magical desert ghost story... Everything impressed me in some way. The variety of screenwriters, directors and animated films gave it drive, so almost every film is animated in a different style and conceived differently - once it affectionately references Aliens, other times it parodies The Terminator with the same love... I'm going to watch a number of those films again._____The second series has fewer episodes, but both the quality and diversity remained. I could see perhaps every single one of the shorts as a feature film, most probably the last installment with the giant on the beach. It was perfect.

If this substance got into Steven Spielberg's hands, it could have been a second Munich however, this doesn't mean Operation Finale is a bad film. Not at all. The story has something to say, it's very well shot and helps itself with great music by Alexander Desplat, and the acting cast is ruled by Ben Kingsley and Oscar Isaac, although the others - lesser known actors - are not bad at all, and they were fine in their small roles. We still need to be reminded of some things and this is a good reminder... whether they stick to the facts or not.