D.Moore

Many new TV films have extreme promotions... The result is awkward at best. And then seemingly from nowhere appears My Uncle Archimedes, a pleasantly human spectacle with a perfect central pair that could easily have been another burdensome communist drama, but fortunately, it is not. It endeavored to be a comedy, it has meticulously written dialogues and lighthearted escape scenes almost like from 'Allo 'Allo!, and thus the endeavor paid off.

The weekly TV spacing between both episodes of Můj obchod se psy is rather damaging because it directly forces the viewer to compare. Had I seen both episodes immediately after each other, perhaps I would not want to highlight the fantastic Petr Nárožný in the first one, and I would not be slightly disconcerted by the generous space given to Pavel Zedníček in the second. But the main thing is how impeccably Oldřich Kaiser handled the tricky role of Jaroslav Hašek and how he was able to portray it despite being about as similar as Tom Hanks is to Masaryk.

Unfortunately, I was bored, and I love pretty much everything this film is about. There’s nothing you can do.

Pretty crappy. The beginning in the plane and the falling house still gives some kind of hope, but then we move to the treatment center and Springwood "in twenty years", we see one unsympathetic character next to another and we stare in disbelief at the "plot", which seems to have come from some bad parody. The sloppy finale gives it all a poor crown, and Freddy (who, however, can still be great, for example, when he grotesquely goes for a deaf victim) certainly didn't deserve that.

Freddy Krueger comes to life again, but this time (perhaps for the first time since the first episode) there is horror that is truly horror. Stephen Hopkins came up with a lot of ideas and many times it's a pleasure to watch this filth.

Woody Allen again wrote it and filmed it himself, and I enjoyed it again. The well-arranged retro story with great actors (Kate Winslet and Jim Belushi are simply amazing) offers a familiar plot, but that doesn't mean that it can't surprise or that it lacks unforgettable moments (the phone call). The extra colorful retro camera initially goes well with the plot, but then it gradually begins to contrast sharply with it, which is a great idea, and I really liked the simple but impressive metaphor with a little pyromaniac who, like his mother, just can't help it.

Director Renny Harlin says in the documentary that he wanted to make Freddy the main character, a cool killer. He succeeded, and it is this change that sets the fourth Nightmare most apart from previous ones. Freddy Krueger is a superstar when he puts on sunglasses on the beach or walks into church with a light step - you know that it's him. The film as such is not bad, the dream sequences were good and the deaths of the teenagers are full of black humor, but unfortunately the plot does not escalate at all. People just falls asleep, die and are buried over and over again, and most people in Springwood don't even mind. But the ending and Freddy's death, that's one of the best moments of the whole series for me.

One perverted fun bloody idea alternates another, Freddy is incalculable, the main teen protagonists sympathetic, the special effects sensational, and the viewer isn't bored for even a second. It's less horror and more fantasy, but I remembered most of the scenes from this film well even after some fifteen or more years since the last time I saw it.

A very stupid sequel to the great first film. What was impressive before is different and wrong now, and if it weren't for a couple of really good scenes (Freddy crawling out of a living person) and the line "You've got the body... I've got the brain.", the most frightening thing about it would be the hysterical briefs of the main character.

With the reputation that this film has gained over time, I was expecting a little more than a greatly shot and acted film, but with a common story seen several times before. I was still looking for something with which Sicario would take my breath away, but only Deakins' camera, Villeneuve's directing and Jóhannsson's music (the introduction, convoy, tunnels, many great scenes) - the fact is that the screenwriter created a much more interesting substance a year later on his own in Wind River.