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The original, of course, remains a cut above, but despite the hesitant storyline, I must discreetly give Wendy's offspring a leg up in my rating. Even in the most bare, simplified variations, Neverland captivates perfectly for a place we've seen before, and moves with unbelievable force at the very end. Above all, it features one of the most famous villains of all time at its service: Captain Hook need only pleasantly smile and it would still be a fabulous spectacle.

Ellen DeGeneres was the queen of the evening, with Idina Menzel's phenomenal (and rightfully awarded) "Let it Go" right behind her. It is disappointing that 12 Years a Slave was snubbed, even as Dallas Buyers Club and Gravity scooped up all the major awards, but that just happens sometimes. As usual, Leonardo DiCaprio is also left out in the cold, although even his critics wish him luck with the statue, but Matthew McConaughey wiped away all the sadness with his phenomenal acceptance speech. There still isn't much consistency, which traditionally fades away with the various side awards presentations, but as long as the tribute videos work as they did this year, I will happily return to the red carpet every year.

As a short film this could have been a five-minute shootout or even a twenty-minute nostalgia, but Spike Jonze decided to give this idea a full-length form – and he did well. He holds the whole concept at such a high level that it is clear from the beginning that the finale cannot meet the audience's expectations. Because no matter how it ends, it will mean the end of that dream come true. And precisely at the edge of two hours, the elevating and universally personal premise spills over, not least in terms of how intensely it is intimate for us, romantic thinkers. However, I am still amazed at how perfect all the scenes are that depict a person in a state of hunger for love and hurling themselves down obviously blind alleys.

The touching, comedic, and patriotic aspects sometimes clash with each other, but George Clooney manages to chew on this giant chunk thoroughly enough that he gives me a war experience so atypical I would even trust him with the attack on Berlin alone. Besides, Matt Damon simply knows how to handle the role of the strong, smiling type.

A bit about aging, a bit about sadness, a bit about family. And due to the swinging indie spirit, actually a bit about nothing. The acting in Nebraska is certainly excellent, but the directorial style of Alexander Payne manifests in the same way that once unpleasantly surprised me in Sideways and disappointed me in The Descendants two Oscar seasons ago. For a while, a story about ordinary people is told without any embellishment, only to then start oscillating between heightened moods of love, desires, or nostalgia. And this cycle repeats itself several times. Such dreaming and sobriety can satisfy many, which I actually understand quite well. However, I feel somewhat deprived, just like in the two aforementioned cases.

False Queen – 40% – Right from the flight from the hostile high school to the promising world of kings, monsters, and other dangers, I was pleasantly excited, but then the mood gradually decreased with each episode. The central trio is incredibly annoying and only the sidekicks Keiki and especially Rakushun drive the plot forward. In addition, the nonsensically dense dose of history and the interweaving of individual kingdoms unbearably slows down the plot, which only moves forward thanks to subplots like the cunning spirit of the sword. I welcome the changes at the very end with open arms because it has not been like this so far. Black Kirin – 90% – This feels like it's from a different series. The new characters are pleasantly mysterious, the simplified plot keeps the attention throughout the series, and the episode in the cave is clearly the best of the entire anime. Few dramas can dream of such a tense atmosphere, let alone a fantasy story that improvises slightly in terms of plot. That's why the small number of episodes and especially the fact that The Twelve Kingdoms never went this way again really hurts. Youko, Suzu and Shoukei – 40% – The story that surprised me the most. Who would have guessed that the creators would venture into places as mysterious as in Taiki's adventure. Such a person would be deeply disappointed. The storyline grandiosely called Skies of Dawn offers intertwined destinies of three indecisive, uninteresting, and unfortunately, extremely unappealing girls in the case of Suzu and Shoukei. The intrigues are sleep-inducing, the dialogue almost insults the viewer's intelligence, and if the more reliable heroes hadn't occasionally shown up the embarrassment would have been a done deal very quickly. Nevertheless, the third chapter of these chronicles turned out to be pure boredom, and it took incredible effort to ultimately decipher it. Another Me – 50% – The narrators and main protagonists this time around are considerably nicer and more remarkable, but the problem lies in the reveal itself. It is nothing more than an echo of a several centuries-old rebellion. And that is damn little for the final batch of episodes, not to mention that using pure filler for the last episode is a downright dirty trick. The histories of the twelve kingdoms have thus received a lower rating from me. The Black Kirin chapter will remain in memory as a commendably written one, but the fact that it did not get a continuation or a definitive conclusion underscores the disjointedness of the series as a whole.

One of the most mature Disney fairytales, where the twist is not far away and proof that the display case of legendary princesses even has room for two new members. Elsa and Anna are two adorable creatures, one with her fateful loneliness ("Let it go...") and the other with boundless honesty ("Could it be this way...?"), and despite the charisma or lines of the supporting characters, the kingdom relies entirely on their relationship. And thanks to them and the usual top musical numbers led by "For the First Time in Forever", the score is a rich one and the product of careful consideration. Frozen is definitely not flawless and it falls half a step short compared to my most beloved pieces (including the oft-mentioned Tangled), but it is not worth underestimating the animated event of the year. For some, it is worth melting for. Without hesitation.

At first what seems like a pure spectacle of reality, then a sinister psychological thriller in the guise of an action flick, and at last an overwhelmingly escalating drama of people doing hard work in an unbearable place. During the operations and the necessity to draw a weapon, you can truly feel every breath and drop of sweat, and thanks to Jake Gyllenhaal's sincere gaze, End of Watch will stay with me for a long time. The reason it didn't make the highest rating is precisely because of its main asset – realism. In its authentic filth, David Ayer's romp cut a little too close for me to simply see it as a "mere" spectator experience.

My loved ones have now reconciled themselves with the fact that I have become an inconspicuous Lovatic. If anyone with a similar condition has any trouble convincing their loved ones that Demi Lovato is worth more than just cursory attention, Stay Strong will be the ideal weapon for them. Even though this MTV ad succeeded only halfway as a documentary, it works incredibly well as a demonstration of Miss Lovato as a caring, strong, and vulnerable person.

Bernard and Bianca do not have it easy even with the most dedicated domestic fans of the world of master Walt Disney. Though they at least managed to have a beautiful edition of elaborate books from Egmont at one point, unlike their more famous colleagues, they did not receive revival showings in theaters. And that's a real shame. In a fairytale without princesses or heroic knights, it teems with brave mice, confused birds, and maniacal humans, but The Rescuers does have a solid place in the Disney world.