D.Moore

I was skeptical and convinced that Blade Runner didn't need a sequel, that it could no longer be as good, and I just want to think about what happened to Deckard, and to not know that I couldn't handle two hours of forty expression of Ryan Gosling... So imagine my surprise when, after some fifteen minutes, I threw all the skepticism aside and watched a great film with pretty similar feelings to the first film. The story is thankfully not typical, but it has a lot of its own ideas and thoughts, the actors are excellent without exception, it looks and sounds fantastic and a number of scenes are literally unforgettable (making love with a hologram, the scene with Elvis, the final confrontation). I only wondered if it wasn't a shame that Blade Runner 2049 didn't offer as many questions at the end and that it does not end with three dots, but actually with just one. But it's not a shame.___P.S. Ghost in the Shell can now go and hide in the corner.

A bold film that can do without words and suffices only with occasional sound effects (steps, laughter, slaps...), the deep eyes of Jana Brejchová and, of course, the great music of Luboš Fišer. However, I will have to watch Romanetto one more time, because I was expecting something a little different and it wasn’t able to completely keep my attention today.

No short story stands out in terms of processing or plot, and all four are pleasantly balanced in this respect. However, the third story has a great cast (as soon as Jaroslav Marvan and Zdeňka Baldová play the couple, it's a safe bet, and add to them the irresistible tragicomic figure of Ladislav Peška), and the excellent performance of the amazing Eman Fiala stands out from the fourth story. Hašek would be happy.

I turn a blind eye to how polite and smiling all the Red Army men are here, because The Marathon is not about them. The couple Jaromír Hanzlík and Jana Brejchová are amazing - two young people who sweep through Prague streets full of revolutionaries, pulling a heavy suitcase, and the revolution is perceived by everyone in their own way. They are very nice to look at, they're determined, funny and scared. I trusted everything I saw. I also liked the second part of the film, the war with the tank columns, explosions, demolitions and firefights - the design is generous, the battles are decently shot and have the necessary atmosphere and familiar actors appear in them here and there, who sometimes get only a sentence (Svatopluk Beneš), other times two sentences (Bohuš Záhorský) and at other times a full role with everything (the fantastic Karel Höger and of course Vladimír Menšík). I certainly wouldn't think badly of The Marathon.

Unfortunately, it’s rather boring. It’s interesting at first thanks to the opening atmospheric Arctic minutes, and then only thanks to Ray Harryhausen's fantastic special effects. The lizard attack on the city obviously inspired Emmerich's Godzilla and is the best scene from the whole film. By comparison, the ending in the theme park is meant so seriously and is so unimaginatively shot that it is ridiculous. I was amused by Lee Van Cleef's role, who hit the giant film monster with a radioactive grenade two years earlier than his future spaghetti western colleague Clint Eastwood sent a giant tarantula to hell in a jet.

An irresistibly dry bureaucratic absurdity with the magical poetics of Ypsilonka, which strongly reminded me of Gilliam's Brazil. Seriously, if the plot of Brazil played out in Austria-Hungary, it would certainly look something like this. The great pair of Jiří Císler and Bronislav Poloczek play an official power play against the helpless Ladislav Freja, murderers Jiří Wimmer and Petr Popelka are constantly getting involved, as well as Jana Synková, whose husband left to get the paper and never returned.

I liked perhaps everything - from superbly cast and acting child actors to the utterly mad Pennywise, from whom untold horror was truly felt (Tim Curry was ok, but his variations on Freddy Krueger just don’t have what it takes), to the script that, although it changed things from the book, it did so cunningly and is still faithful to it. So far, only Stanley Kubrick has done Stephen King this well. This is much more than a band aid for The Dark Tower - It is just a great old-fashioned horror film and I can't wait for the second chapter.

A new (or relatively new) film, and when watching it, it occurred to me from start to finish how unreservedly great an actor Al Pacino is, and what a joy it is to watch him, and we haven’t seen this for a long time. The last time perhaps was in 2010, when You Don't Know Jack came into being. Maybe it's a coincidence that both films were made by HBO, maybe not. Anyway, Pacino also found himself in Phil Spector, showing off something unreal and once again having perfect teammates with Helen Mirren in the lead. The script, using ingeniously written monologues and dialogues, leaves the viewer balancing in doubt the same time as Spector's defense lawyer, only to not explain anything in the ending and letting us decide on our own whether he has reasonable suspicion or not, and what he actually believes (or wants to believe).

It's usually not the mess you'd expect, especially the scenes with well-cast children, but the more the film deals with the adults and the closer to the hasty conclusion, the cheaper and more boring it is. I don't get the right horror feeling from Pennywise, who always just scares the kids and then lets them be, and unlike the book, Derry itself doesn't play a big role either, which is a similarly big minus. In terms of what was possible and, for example, compared to the tragic TV version of The Shining, it is a very faithful adaptation of King's epic.

A dark sci-fi story with revolutionary effects that, like the virtually ubiquitous suspense, are still impressive. I remember how long and how much the very last shot of the film used to haunt me, and I'm actually not surprised.