D.Moore

Different than Skyfall, perhaps slightly weaker, but still very, very good. Spectre reminded me most of Connery's From Russia with Love, which also doesn't have many action scenes, but has an interesting plot that is a joy to watch. Once again, everything flows beautifully, the film is lovely to watch and although there is a lot of talking, it is never wasted and the characters always have something to say. When it comes to action, it's typical Bond (plus the train fight is a reference to From Russia again), when it comes to women, it's typical Bond... The quiet, eerily calm atmosphere is atypical - but atypical certainly doesn't mean bad. I have to especially praise all the scenes with Blofeld, during which I almost didn’t even breathe, and I couldn't help but be pleased with the reasonable use of references to older Bond films (Connery's white tuxedo from Goldfinger, Bond's disguise as the villain from Live and Let Die, the Aston Martin DB5, the Thunderball-like funeral...). The only thing I could criticize is Thomas Newman's woefully unimaginative music (which is mostly apparent when listening to the soundtrack on its own); otherwise, I'm surprised at all the low ratings and bad reviews.___P.S. It's set up nicely for a sequel, which could easily be some sort of sly remake of On Her Majesty's Secret Service.

It's been a long, long time since I've seen a western with such a great story and great dialogue. A wickedly funny road movie of a wise-cracking girl, an aging alcoholic sheriff, and a ranger who come to like each other over the course of two hours while constantly on the hunt for scumbags hidden somewhere inside Indian territory. It's thrilling, it's funny, it's tough (especially at the end) and uncompromising and it's pretty damn good. The Oscar for Wayne was definitely well deserved (riding a horse with a repeater in one hand and a revolver in the other is really SOMETHING), but none of his fellow actors lag even an inch behind him.__P.S. The scene with the hanging of the criminals (conceived as a performance for the big and the small) gave me an air of Peckinpah nostalgia.__P.P.S. I'm looking forward to the Coen brothers' remake even more now.

It's a really big... disappointment. You just don't make a film about three people locked in an underground bunker (where one of them is weird, the second is weird and dangerous, and the third would just like to get out) without even a bit of suspense. And as hard as John Goodman and Mary Elizabeth Winstead try, the script makes them stupid. Without wanting to give anything away, I have to say that various things happen in 10 Cloverfield Lane simply to be surprising, but they are not logical, and when I asked myself for about the fifth time "Why in God's name...?", I realized how boring the film actually is. Yes, the ending finally had decent momentum, but if anyone is looking forward to seeing something this time - without the constraints of a handheld camera - they should indulge their appetite, because apart from a few brief shots, the picture shakes just as much as it did seven years ago. Two and a half.

I missed a final point, and the film didn't even have a proper plot - we know what happened to the characters, but unfortunately we don't learn what happened to the survivors. However, the writer's (and director's) ideas are very pleasantly blackly entertaining and watchable. Three and a half.

Ninety-four minutes of film... And I wasn't bored with a single one. I read the book in one sitting, so I was "just" waiting to see how Danny Boyle would handle it. I have to say, he did a great job. It's not clear to me why the plot deviated so much from the book and Ralston's real story in the beginning of the film (the swimming with a couple of girls is a purely cinematic, completely unnecessary addition and also the only minus), but everything that came after that was sensational, believable thanks to Franco and constantly imaginative thanks to Boyle (you wouldn't believe how many possibilities there are to place the camera in such a narrow canyon). The film looks amazing, features an impeccable soundtrack and won't get out of my head any time soon.

It is a very long film, barely up to the level of, for example, Spielberg's Amistad or The Color Purple. It is almost no exaggeration to say that in 12 Years a Slave, the same thing happens over and over again, i.e., blacks are humiliated, whipped, they are scared, etc., just in different variations, and after an hour or so it gets boring. The plot is strangely disjointed and a lot of characters or situations are unnecessary or unfinished (Epps' wife, the other slaves, like the suddenly appearing white guy). If I didn't know the name of the film, I would have absolutely no way of knowing from anything that the whole rough episode lasted twelve years, almost all the white guys are cruel (who plays the nicest guy?)... And so on. It was well acted, Benedict Cumberbatch in particular shone in a smaller but impressive role, and I also gave Michael Fassbender's slave driver all the credit he deserved. I was particularly impressed by the direction in the long whipping shot, while Zimmer's unimaginative music did not impress at all. Three and a bit.__P.S. More and more I'm thinking how much better the film could have been if the first half had been devoted to Solomon's slavery and the second half had shown some of the court scenes/losses (which only the end credits tell us about).

It's a shame that some of the sympathetic believable bearded men end up being so interchangeable in the chaos, though the film's opening takes quite a bit of care to introduce them as best it can. It's the only thing that bothered me about 13 Hours. But on the other hand, it is quite possible that when I see the film on DVD, I will be able to tell one from the other more easily and it will only improve the film. Michael Bay surprised me - the film is not that pathetic (by his standards!), the action is not overdone and the wait for it is really exciting. The script can afford to let the characters say lines like "It's like Black Hawk Down!" without sounding ridiculous, and the director can use a trick mortar shell flight to refer to the dropping of the Japanese bomb in Pearl Harbor... I hardly noticed the runtime, there was always something going on and everything was in moderation. In short, more than a good film.

A decent noir movie - especially in the second half, it's one surprise after another (I like these stories in which everything seems to be solved, but it's in fact far from it). Thanks to the mostly believable acting performances and skillful direction by Frič, you will remember a lot from Guard 13, and Julius Kalaš did an above-standard job, because the music is downright great.

Two soldiers weave their way through a confusing labyrinth of trenches, poke their heads out, and set off somewhere into the lifeless countryside… And I'm not just following them; no, I'm there with them, that's exactly how I feel when I catch myself instinctively squirming in my seat, trying to see more than the film is currently showing me. Because I'm almost certain there's something or someone lurking over that horizon, and I'm scared. So even though I might find some flaw in 1917, the experience that Mendes, Deakins, and Newman have given me, that experience transcends anything else. The artistry of the film is breathtaking (Gallipolicomes to mind, rather than Saving Private Ryan), and much of that is due to the actors and their extremely authentic emotions and terrified faces. Yet another war film following in the footsteps of Dunkirk, with a classic plot and original portrayal, which I think will soon become a classic.

I like 1941 more and more with each viewing. I especially appreciate the extremely playful whirlwind of humor that is thrown at the viewer from the beginning to the end. Some people can take it, some people can't. Every character in this film is - with apologies - a complete asshole, the script doesn't leave anything out and it's clear that Zemeckis and Gale could have come up with absolutely anything, because Steven Spielberg had a really generous budget (not to mention his own imagination) and had no problem fleshing out even the craziest things. Of the cast, I'm most reliably entertained by the Japanese submarine captain Toshiro Mifune and his German observer Christopher Lee, and if I had to pick a best scene, it would probably be the dance scene that escalates into a brawl of unbelievable proportions. I don't even need to mention the top-notch music of John Williams.___P.S. I would probably give the extended version one or two stars, because the film really drags unnecessarily and the momentum is lost.