MrHlad

Little mermaid Ariel doesn't listen to her dad and is more interested in life on land than she should be, and when she sees a handsome prince, she falls in love with him. Being with him is going to cost he, maybe more than she wants to pay. Rob Marshall delivers an inoffensive remake of a Disney animated film that's barely two and a quarter hours long, surprises absolutely no one, looks solid most of the time, and gets a fine actress to play the lead. On the other hand, the effort to offer anything beyond a big family film is non-existent. Go through it with your kids, it won't hurt. But why anyone should see it without them, I really don't know.

Just as stupid as last time, but a lot more entertaining. This time, Dom and his family face an enemy that's been preparing for a clash with them for ten years, and he wants to enjoy it. And most of the cast enjoys it too, not afraid to push the tenth Fast and Furious into comedy, but also pushing the most superficial characters to at least some development. Everyone here is trying and everyone here is having fun. Except Vin Diesel, who apparently still thinks he's making something like Hamlet with cars. Stupid, but fun.

Robert Rodriguez's latest is an interesting film. I haven't seen anything this stupid in a long time, but this film rips off other people's ideas and mixes them up so shamelessly that I actually enjoyed watching it.

The first half of the Guardians of the Galaxy: Volume 3 looks like a compilation of jokes cut from a mediocre sitcom. The second half is just as uninteresting in terms of depth, but at least it has drive. The fatalism doesn't work and doesn't lead to anything decent. But surprisingly, I ended up enjoying it quite a bit.

Sam Raimi produced and Lee Cronin directed Evil Dead Rise to make fans of the original as happy as possible. An audiovisually aggressive gore flick with great sound design and a lot of imaginative violence, it's a wild ride that goes by pretty damn fast even with its short running time. It also has fine heroes and even the derelict building setting works well enough to not mind that it doesn't bring much new to the table. I'm just not sure if a similarly off-the-rails horror film can capture audiences.

Renfield has served Dracula for years and allowed himself to be terrorized by him. Now he has a chance to take the things on his hands and finally be happy, only he won't have it easy in a world of corrupt cops, gangsters and angry vampires. Neither will you if you go to the movies. Renfield is an overwrought borefest that doesn't know what it wants to be, so it tries to be a horror movie (doesn't scare), a comedy (doesn't entertain), an action flick (poorly edited) and a psychological drama (doesn't work very well). Oh, and it has Nicolas Cage running on half throttle, so it's not even entertainingly weird, either. A dud of a film, worth seeing if only to watch how things crumble under the makers’ hands.

This successful adaptation of Dumas's classic slightly updates the famous story and relies on great action scenes, beautiful sets and a charismatic cast. It completely omits humour and plays on a serious note, and it mostly works very well. Unfortunately, Martin Bourboulon doesn't quite manage to sell the more intimate scenes and dialogue, and towards the end it feels like he's bitten off too big a bite; the finale, however impressive, is a bit too much. But despite these problems, this is a highly above-average adventure flick straddling the line between old-school and modern filmmaking.

Shortly before the screening began, I told my mates that Air would have to be a damn good film, because the story of how a pair of sports shoes became so successful was not interesting to me in the slightest. But fortunately, as the minutes passed , it turned out that it might not actually be thanks to Ben Affleck. Air is still about Sonny Vaccaro trying to talk Michael Jordan's family into signing a deal with a failing division of Nike, but in the end it's about something else entirely. About people who know they're mediocre and that their name will end up in obscurity a few years after their death, and they hope they can stand alongside the legends for a while. Affleck avoids pathos, knows how to lighten the drama with wit at the right moments and knows he can rely on the actors. He manages to perfectly evoke the atmosphere of the 80s (the opening credits are great), keep it civil and tell a seemingly ordinary story about small people who sensed a chance to do something special and be part of something big. A good film

Last time the murders were on a yacht, now they're looking for kidnappers in Paris. And it's more or less the same boring movie, with Adam Sandler and Jennifer Aniston screaming cutely at each other most of the time, and capable actors standing around with nothing to do. Despite the 90-minute running time, Murder Mystery 2 drags a lot, because despite a stellar cast and a couple of unexpectedly decent action scenes, it's a routine that you'll forget by the next day. Even if it's not garbage, it's hard to find a reason to recommend someone spend ninety minutes of their life watching it.

Chad Stahelski may have bitten off more than he can chew when he tries to build a world and mythology around John Wick, because he's not very good at it. But all those clumsy attempts at worldbuilding are forgivable when it comes to action. The fourth John Wick is crammed with great shootouts and fights that once again show Hollywood that the action genre is far from having the last word, and that when the right people get their hands on it, the result is breathtaking, and you don't even notice that it's three hours long. In terms of action, John Wick stands at the absolute cinematic pinnacle. It may handle the in-between scenes a lot worse, but nobody goes to the movies to see this franchise for that filler anyway.