D.Moore

An unpretentious one-off spectacle that mixes Men in Black with Hellboy and sometimes Van Helsing rather than the oft-mentioned Ghostbusters. It's not a total failure, as Robert Schwentke is able to film frantic action scenes (the camera is constantly moving, but thankfully not shaking cheaply) and more intimate moments very engagingly. For example, the scene in which the main character dies literally took my breath away. Beck's pleasantly breezy listenable music works in the same way. And the actors are also good. Jeff Bridges may try a little too hard at times, but he manages to be entertaining for most of the film. Ryan Reynolds is sympathetic. But the script - again! I don't like it when filmmakers say: "Hmm, we have a rather original idea about dead cops, so the rest may does not have to be as original." After Nick Walker joins R.I.P.D., virtually nothing happens that we haven't seen before. And what a waste of such a wonderful world, where Marlowe detectives, British constables and Wild West sheriffs sit side by side in the police station! And in general, the world and the idea that the dead and the undead run among the living seemed to me somehow undeveloped and full of question marks. Shameful. This is how you throw away an opportunity to make a fun summer flick. Instead, we watch an ordinary buddy movie full of various quality gimmicks, in which the (initially good) joke is endlessly repeated, with mortals seeing Bridges as a blonde beauty and Reynolds as a little Chinese man. The film was purely average, but I don't particularly mind it.

A well-balanced mix of comedy, romance and drama with a soundtrack that couldn't possibly be bad, given that the film is set in 1980s Britain. Of the actors, I was most pleased with the excellent Benedict Cumberbatch, whose every look was worth it, and of the actresses, Rebecca Hall did it for me. The end of the knowledge competition was perfect.

It’s too bad that the filmmakers didn't play around with the title and call the movie something like Despicable Spy or something, because Gru isn't a villain anymore... Unless he is depressed and mourning a lost love, in which case the script plays the poignant rather than the black-humored note (and it works). It's true, the "hero" has become a hero without the quotes, but if you play this game, you'll enjoy it as much as the first installment. Only the charm of originality is somehow gone. Despicable Me 2 successfully parodies not only, but mainly the spy genre and at times it smells irresistibly of good old-fashioned movie adventure trash. And it starts with an absolutely stunning scene that no Bond or Marvel movie would be ashamed of. On the other hand, the film has to think as much as possible about the child audience, which it does perhaps a bit too much and in an infantile way for my taste, and the romantic subplot is not my cup of tea at all. Gru was excellent, but the cute Agnes got the most space out from amongst the girls, which is a good thing... Only the character of Agent Wilde could have been less ridiculous and sometimes even annoying. The Czech dubbing is top-notch. Jiří Lábus, you are good at cartoons! Three and a half stars.

I watched it for the second time today, and it's so much better... I'm gawking. Most of the complaints I had are gone. In fact, all that's left is the Lizard's eye-popping digitality and the deadly serious (and therefore ridiculous) crane scene, but otherwise everything is in place in this comic book film. Horner's music is perfectly delightful, but it's a pity that the second film is not going to have it (this is truly a really stupid custom).

Almost as much of destruction of a classic book as The Three Musketeers with Charlie Sheen (not to mention the more recent Musketeers). Except that at least First Knight has the badass Sean Connery, who you just can't help but root for, and music by Jerry Goldsmith. Richard Gere delivers perhaps the most excruciating performance of his career and there is also a lack of humor, which is especially puzzling when you see the director's name (not that I was expecting Frank Drebin in knight's armor, but still).

I can't remember the last time I had such a great time in the movie theatre. Gore Verbinski lived up to his reputation as a megalomaniac with a sense of humor, for which I am truly grateful. As well as for all the metric tons of references (not even Tarantino could squeeze that many tasteful quotes from Leone's films, from Once Upon a Time in the West to The Good, the Bad and the Ugly to A Fistful of Dynamite, into all his films combined, not to mention the allusions to The Wild Bunch and many other classics of the genre)! The story has everything it should have and is very easily accessible even to people who don't know the Lone Ranger at all. The villains are extra negative, the two main positive heroes are likable, their (not only) verbal shootouts are excellent, Johnny Depp's every grimace is priceless (say what you will, critics). The finale of "Tonto on the Machine" is thrilling, extremely imaginative, funny and suspenseful, but I cannot agree with those who say that it is preceded by two hours of boredom. Bah! I'd much rather see a second installment of The Lone Ranger than a fifth Pirates, which has already burned out once without Verbinski. So, perhaps...

The eavesdropping technique may be slightly outdated, but the idea of this film is definitely not - quite the opposite. Alas. In The Anderson Tapes, I really liked Sean Connery, who this time didn't play the typical good guy, Quincy Jones' strange music, and especially the second half of the film, which is taken up by a fantastically shot heist that Sidney Lumet has a blast with. And the slightly chilling ending. It’s too bad about the terrible TV dubbing. I'd like to read the book.

Initially a hopefully gritty crime drama, which unfortunately slides towards the end into a boring story on a theme we've seen too many times before. And done better. The ending was strangely clamorous, but without emotion, although it probably should have been there, originally. The action scenes were good though, the best being the second shootout in the apartment. Hugh Laurie unfortunately got very little space.

There’s really no great miracle here, and if it weren't for Stallone in the lead role, my rating would be even one star less. The script has nothing in it with which to surprise, except perhaps for the way it resembles the scripts that have been used by Seagal, Lundgren and others in recent years. The direction is nothing miraculous, the action scenes lack tension, and the only thing worthwhile was the final battle with axes, but which ended rather stupidly. What I really liked was Mazzar's music, which I've been listening to for a few weeks now. If I have to compare, Arnold's more imaginative and less serious/ridiculous The Last Stand is clearly better.

A beautiful thing from Ray Harryhausen, which means first of all perfect animation, thanks to which the puppets move exactly like living people, elaborate facial expressions (admittedly a bit too theatrical in places) and a perfect atmosphere. The fairy tale is of course simplicity itself, most of the action takes place under or in the tower, but the ending in the desert has great charm.__P.S. Did the prince's expressions while watching the witch climbing the tower also remind you of Rowan Atkinson?