novoten

Mark Waters = ghostbuster. Otherwise, I can't explain why for the second time he tightens a romantic screw into the supernatural and it works again. Fits of laughter and sincere emotion regularly stacked one after another, a top-notch composed soundtrack and McConaughey definitely matured into a charismatic funny guy. Surprise of the year and shocked 85%.

Regardless of the fact that the first few scenes scared me with their theme of a beautiful, defenseless, and endangered planet, everything changes once the action moves to the Enterprise. Frakes' directing is flawless, just like in First Contact, and he adds surprisingly excellent jokes to the war dilemmas (the consequences of the planet’s effects on the crew are exactly on the border of refreshing innovation and slight bizarreness). However, the immense credit for the final impression goes to Picard's character. I don't want to favor the old guard, but I was most satisfied when the captain became almost Kirk-like, principled and rebellious. The only flaw is the overcooked finale. There were too many complications in it, but the intense meeting of the two captains saves it to a great extent. Otherwise, there is a surprising satisfaction and realization that Jonathan Frakes truly saved this film series. 75%

Drama that is not for me. The perpetually playful and melancholically smiling moods occasionally become annoying and only two main characters enlighten them. After just a few minutes together, they can already seem like old friends in a minimal space. However, against the slightly problematic warmth, the second half is full of existential heaviness and dealing with a Cretan mentality, which is much worse and comes unexpectedly and unpleasantly loud. An unbalanced and worn-out classic, to which Quinn and Bates unfortunately earned a third star.

Eastwood and the most firmly held formula. A story that could be retold in three sentences stretches over two hours, but with a fascinating talent it forces the viewer to immensely enjoy that time. Every emotion feels genuine, Angelina overcomes her acting limits and the period atmosphere attacks all of my senses. If the whole film wasn't infused with a very credible, unpleasant, and unrelenting hint of inhumanity, it could have been even better.

1st season - 90% - I have to laugh at him, root for him in action, and wish him Sarah. Chuck is a total loser in many ways, but he never exceeds the point where I would roll my eyes and stop liking him. With every characteristic, from his love of computer games to his willingness to experiment and do the craziest things at the most inappropriate times, he got under my skin more and more. In addition, the overall potential of the series promises much more. 2nd season - 100% - This is not just about the appearance of more beautiful agents, surprising minor roles, or pop culture references. This is about Chuck+Sarah being a duo that I root for from beginning to end, Chuck+Morgan being a duo whose friendship often moves me, and Chuck+Casey being a duo that makes me laugh out loud with every dialogue. Moreover, the episodic plots become exotically interesting, and most importantly: the last five episodes are such a perfect action-adventure ride that it takes your breath away long after watching. Chuck is simply no longer just a snack, but a legitimate bomb. 3rd season - 100% - It has original action, easily surpasses sitcoms in humor, and in relationship-family matters, I still see Schwartz's producer signature of the better part of O.C. Chuck remains at the top of all the genres present. There are again long-lasting storylines where each main character gets more prominent space, and the supporting characters please with familiar faces (Daniel Shaw is fascinating in every scene thanks to Brandon Routh). I am still amazed. Not just at Zachary Levi's new and new grimaces, or the increasingly clever points of missions, but mainly at how the bar keeps getting raised higher and higher. 4th season - 90% - From a shy guy next door, he turned into an absolute certainty. The new shades in the background of the parental past are revealed naturally, and the worries á la Buy More are a welcome opportunity to breathe in and out. And I don't mind at all that the comedic spy has become a show about relationships where they occasionally go on missions. I still love both aspects, and this time the rating is a hundred not just because the episodic plots have slowed down a bit in pace and ideas. The whole story around Volkoff Industries and the respective characters more than makes up for it. The announced final season thus had the doors wide open for a triumphant conclusion. 5th season - 100% - The end within reach, the threat at its maximum, the lines still deadly. Chris Fedak and the other writers knew exactly what they were doing when they entrusted the Intersect with the right people. The farewell story unfolds over thirteen episodes, with everything it entails. With the final dose of beautiful women, heroic agents, brave deeds, and love like a beam. And once again, deadly Morgan's glosses, appropriate self-destructive mood, and Jeffster stand behind them. Right after the last episode, there can be nothing but a perfect score like it was stitched. And heartfelt. Goodbye, team Bartowski.

Not only proof that it is never too late for an adventure, but also confirmation that in the right hands of a director and animator, a pearl can be made even from an unusual combination of several favorite clichés. Until now, I am amazed that a drama about unfulfilled dreams does not contradict the adventurous spectacle, but perfectly adds a deeper dimension to it.

An atypical mosaic on a single ship, lots of perfect hits, and another Curtis bomb that could easily be renamed as "Heavenly Wave." These moods, which are hidden very deeply, can only be evoked by a British genius with a weakness for relationships.

Moby, as usual, intensifies the atmosphere, Sarah is as beautiful as ever, but Richard Kelly, this time sitting in the director's chair, is playing the role of a joker who enjoys making a mess and then joyfully wading in it. I still don't understand what path I should have taken, why the cars are having sex, why the character Krysta got so much space, and most importantly, how Rock and Scott managed to maintain a serious face even though they couldn't understand what was going on. Stay away from futile attempts to imitate Lynch's masterpieces.

After twenty minutes, I still hadn't figured it out, but after ninety, I was applauding. As soon as Keith lightly undermined the position of a carefree person, who is never bothered and who annoys with his unwavering enthusiasm, I suspected that with a bit of luck, I could fall in love. And I did. The most human film in a long time, masterful directing by Todd Kesler, who in my eyes became the harbinger of the future, but inexplicably for me, a successful filmmaker's career did not await him, and last but not least, a perfect soundtrack like an extract from my favorite music style. It's wonderful.

1st season - 80% - Playing with fate, time, and death, with Princess Eliza at the forefront of the action in a modest civilian environment. What more could you want.. The extreme initial enthusiasm gradually fades over time, mainly due to the fact that whether Tru or Harrison try anything for the first fifteen minutes, a setback occurs and we can start correcting mistakes. However, the turning point comes with the arrival of Jack Harper. The inconspicuous whisperer is responsible for transforming the mysterious teen investigator into a well-thought-out story with hints of basic fantasy archetypes. The conclusion of the season then sets such a pace that its first half looks like a distant and completely different series at that moment. 2nd season - 80% - Life and Death in an irreconcilable war, which, however, was given too little time to become unforgettable. Thanks to the absence of introductory episodes and the main storyline moving quickly forward, it would seem that Tru is aiming for perfection, but the FOX network tripped her up. The six episodes allowed to be filmed out of the originally planned thirteen are great, but they only feel like a taste of something that could have guaranteed immortality to the whole series. Due to the openness of the main storyline, the rushed development of Jensen's character, the cliffhanger at the end, and the knowledge of what was supposed to come over time, the overall impression inevitably decreases.