novoten

Few people can tell stories about nothing as captivatingly as Jarmusch. And even though he presents five simple short stories, the viewer always feels the mood he tries to evoke. During Los Angeles, there is a narrating charm, New York warms the heart, the East German clown convinces about the power of life's destinies, Paris tunes into melancholy, and Rome will make you laugh out loud as the most successful anecdote. And then come Helsinki in the early morning, which gets under your skin and doesn't allow the viewer to stop thinking about this Night.

Beautiful Alison, chilling Michelle, and convincing Renée elevate the variable scenario that alternates between captivating intimate moments and incomprehensible outbursts of hysteria. The theme is almost brilliant, but the execution disappoints more with each scene.

A unique and significant achievement that can be considered a masterpiece thanks to its brilliant idea and captivating climax, even if you know the punchline before watching it. The visual aspect does not age even after fifty years.

Same cassette, same Rachel and Aidan, same gloomy "neither night nor day" atmosphere, same musical background. And Nakata didn't manage it the same way. The plot itself is already absurd, and from the trailer, it is more or less clear that the film has to fall apart at some point, which eventually happens with the unnecessary detour to Samara's mother. However, it is precisely the connection to the visual style of the first film that gives a sense of a cohesive story. Moreover, when I remember the deer or the fateful well, it immediately gives me goosebumps and convinces me that the second Ring is definitely not the disaster it promised to be. However, I wouldn't venture into further experiments because the aura of the first film could develop a dangerous crack.

The director matador wins on all fronts. Whether he makes Eric Bana cry on the phone or serves a commando that shoots at anything that comes their way. Some rough scenes I wouldn't expect from him, and I already know from other wars what he is capable of. Steven simply doesn't hesitate to delve into historical issues, this time ones that also affect the present. And he successfully completed his mission as brilliantly as never before.

Perfectly acted, to the point where the heart races, with a music accompaniment that touches deeply, and as a whole, it is so beautiful and human that it hurts.

I know that it's stupid, that it doesn't have a meaningful plot, that the actors are more crazy improvising rather than acting, but that didn't stop me from having a royal blast. Headbanging to "What is love" is a cult.

The start wasn't bad, and I admit that I laughed in some parts of the line that parodies Nenávist, but what about the rest? Towards the end, not even a smallest smile appeared on my face, and I have seen all the original films. Sometimes the fault was in me (see the absolutely over the top Million Dollar Baby), but mostly in the dull and toilet humor script. Is this from Zucker? I don't believe it.

The best Belmond's film with Morricone's music, perfectly fitting the atmosphere of Paris. The scene where Beaumont finally meets Rosen is unforgettable. I said I would always be behind you...

Mannequins do not break the genre boundaries, but they move in them more than well and the often criticized combination of a teenage massacre with an atmospheric horror did not bother me even a bit in local comments. When considering the ultraviolet finale, beautiful Elisha and a solid tough guy, Chad Michael Murray, it seems to me that American horror is not dead. Although I realize that this is a seasonal matter, which my favorite actors have pushed to subjectively high places for me.