D.Moore

Why this remake originated remains a mystery to me, but the main thing is that it's an excellent film. Just like the original. When I compare Cold Pursuit to In Order of Disappearance, I have to say that it has overcome its predecessor in some ways. How, you ask? Through Indians. They brought with them such peculiar melancholic poetics, a reserved and cynical longing for the old days, and for me, they fit into the story better than the Serbs the last time. And the music is better, too - George Fenton composed an excellent soundtrack that I've been listening to for some time and I'll continue to listen to for some time to come. Liam Neeson is excellent in the lead role, though of course he has played a character like this many times before, but he hasn't played one in a film like this, and he probably knew that fact when the role was offered to him. I'm guessing he had a good time (when he laughs during the final reckoning, you have to laugh with him). As for the directing, it's true that Hans Petter Moland didn't come up with anything new and just repeated what he knew was proven and occasionally improved it slightly (if that was even possible). But the main thing is that he kept the mood of the film where he wanted it, and that the way a silent depression gradually becomes a black comedy and almost made it a crazy spectacle is still impressive.

“We're not in a prophecy, okay? We're in a stolen Toyota." This enjoyable action crime comedy is set in a fantasy alternate reality and it's actually a good thing that the fantasy doesn't draw attention to itself that much, and it's still mostly about the story. Although I'm not saying that I wouldn't want to see the mounted police of centaurs in action or that I don't care more about the dragon circling over the city. But so what? Will Smith is excellent and I liked watching him again in the most proven acting position, and Ayer's direction is brisk and there's no time for any boredom. Admittedly, I'd like to explore that whole world, but on the other hand, it didn't seem unutilized to me like, say, in R.I.P.D. - luckily, it was much closer to Men in Black and Hellboy.

What I love about Captain Marvel is that it takes place in the 1990s and is thus made in the style of action/sci-fi films from movie theatres and video rental stores. The action isn't (too) overcomplicated and action scenes don't tend to be long, good jokes are interspersed with good, more serious scenes, which don't take themselves all that seriously, and I still care about the characters and what they are doing. In particular the very sympathetic Carol, who Brie Larson conceived as a tousled young woman who is delighted with the action and enjoys the fact that training is over and she can finally do something. Similar to recently with Alita - one sneaky smile was enough and she had me in the palm of her hand. In addition, we uncover her past along with her, it's an interesting uncovering, and it's good that it persists, because it cleverly distracts from other characters who will take care of a surprise (the biggest storyline twist brought me great joy). The visual aspect probably isn't worth commenting much, because it's great; however, I need to highlight digitally rejuvenated characters who are 100% realistic, and those who don't know about the special effects will probably not even notice them. To cut a long story short, this origin is slightly (specifically one star) more sympathetic for me than the more traditionally conceived Doctor Strange, and I look forward to seeing what Captain Marvel will show us next month.____P.S. It's the first film that ever moved me during the opening logo.

The first film was no miracle, but it was quite alright to watch, but this one is slightly worse. Especially Paul Blart is a much bigger idiot this time, and he's no longer the underdog we might have felt sorry for last time. It's actually a similar style of humor to Johnny English 1 and 3, just with the difference that Kevin James isn't enough of a comedian to be able to save it. And Jayma Mays didn't come back, and that’s too bad.

A comedy? No way. But it is an amazing study of characterless people and those who (don't) stand up to them. On one side of the scales is the insidious and poisonous Karel Höger, on the other a silent resigned Radovan Lukavský, and although it is about teachers in one Austro-Hungarian choir, it is also about everyone else and at any time. Unfortunately.

Paul Greengrass is a master of immersive atmosphere and has reaffirmed it with this film. If someone seems to find the scene of the absolutely crazy massacre rushed and non-captivating, I feel really sorry for them (and it may well be the founder of FilmBooster), because I haven't seen anything more repulsive in a long time. Besides Greengrass, the representative of Breivik, from whom radiates unadulterated fear, does his share, and the longer he is in the film and when he turns into an exquisite psychopath from an originally silent character, then that fear is even greater. In addition to Breivik, we also see the consequences of his actions, which one of the families must deal with, we will also get to know his attorney and feel the pressure on the Prime Minister of Norway... It seems to me that the film really had everything. I can't say I enjoyed watching it, but it was one of those memorable experiences. I guess like... Well yes, probably like Greengrass' United 93.

A captivating drama in which it wasn't about all the surprises and revelations (the observant viewer receives various clues on an ongoing basis, and it's just up to him or her how to handle them), but rather what they do with the characters. I like films like that. Hugh Jackman and Jake Gyllenhaal are perfect and I believed absolutely everything they did, and the combination of Villeneuve's directing, Deakin’s camera and Jóhannsson's music once again ensured a million-dollar atmosphere. It was dark, dirty, dense and I'm glad no one made a stretched series out of it, but instead one proper film.

Since the previous two films were not afraid to do quite harsh and unexpected things, I expected the ending of the trilogy to be a little more impressive. It could have mostly improved the villain, who I was not interested in and who was awkward. Yes, the atmosphere darkened so much that I wondered if it was even an animated film for children, but the classic weird humor came later to make it up to the kids... I had mixed feelings about it. Regarding the technical aspects, the third How to Train Your Dragon is excellent (for example, John Powell is now responsible for one of the best soundtrack trilogies ever), the Toothless romance is 100% cute and they also managed to conclude Hiccup's story - not in any way memorably, which is a shame.___P.S. My impression may be improved by the version with the original language, although the dubbing wasn't bad - Simona Postlerová has pretty much the same voice as Cate Blanchett, but I prefer to hear Cate, just like Kristen Wiig in the role of Raffnut (definitely the best character of the whole film).

A perfect James McAvoy, honest design and visual effects (the monster looks amazing - he's very similar to classic Karloff) and Craig Armstrong's music is great. The directing, which is also kind of seen in Ritchie’s Sherlock Holmes, got about halfway there, and sadly, Daniel Radcliffe is bad. He didn't suit the character of Igor, and the story confusion, which tried to make something more out of all this by giving us uninteresting villains, but it didn't. It's not a completely bad film (certainly not as stupid as I, Frankenstein) and I didn't suffer, but I also don't feel like I ever want to watch it again. Ok, maybe a few of the scenes.

From the first shot and from the first sentence, it's clear what this film will be about - and it's a bit to its detriment because when you then watch a likable believable couple, which Ali MacGraw and Ryan O'Neal definitely are, you don't really enjoy it. Constantly - albeit subconsciously - you wait for things to happen. And when they do... Well, it's impressive, but it's not the shock I'd need for Love Story to impress me even more.