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In terms of Czech cinema, this is top-tier, and on the international stage, it's a solid above-average. I never would have thought that we Czechs could make a quality detective film, especially one based on a real person. We’re good at series in this genre, but films haven't been as successful. I don’t know how much of the film is factual and how much is slightly altered truth, but it was still a gripping watch that I won’t forget anytime soon. I associate Vetchý more with comedic roles, but to play such a convincingly cold person, who’s unafraid to take down almost anyone? That requires real acting talent and a natural gift, because not every top-tier actor could pull that off. He also brought charisma. The film has energy throughout, even if it might not seem that way to everyone. It was necessary to show how Mrázek gradually rose to the top, becoming the boss of the underworld. The police team assigned to take down Mrázek was well-cast, and Vaculík absolutely nailed it. For Czech standards, the brutal scenes were quite intense, but they clearly reminded us that no one should mess with the mafia, and that even an important and high-ranking position in society might not save someone from the long reach of this organization. I’m satisfied—I wasn’t expecting miracles, but I got a lot of bang for my buck. I give it 91%.

I expected a great show, and I got a great show. Soderbergh is already an experienced pro in his field and knows what can elicit a strong response from the audience. Side Effects starts off quite innocently, with the first few moments being rather dull, but after Tatum’s death, the wheels start spinning and don’t stop—the mechanism is already in motion. Rooney Mara delivered a fantastic performance. At first, she appears to be a fragile and broken woman, but as the story gradually unfolds, you realize that’s not quite the truth. Jude Law plays a psychiatrist, which interestingly suited him. Zeta-Jones didn’t have much screen time, but every moment she appeared, I knew something wasn’t right. Tatum felt more like a fifth wheel, probably because of his early death. The film’s ending with a breathtaking twist, where the supposed victim turns out to be the murderer who teamed up with the psychiatrist to take out poor Tatum’s character, nearly floored me. Soderbergh created a great, chilling thriller where you don’t know until the very end who the culprit is and who is just a mere victim. Still, I can’t give it five stars because some scenes felt unnecessary to me. 84%.

So far, I had only seen Kormákur’s excellent Everest, so I was really excited to see how he would handle a full-fledged action movie. 2 Guns is quite a funny film with a star-studded cast, but on the other hand, it offers a weaker story and a somewhat illogical plot development, which definitely doesn’t do it any favors and undermines the movie. Denzel Washington is one of my favorite actors, and I can’t think of a role where he didn’t deliver. He carried this film as well, but Wahlberg also performed decently (I won’t discredit him). As I mentioned, the one-liners were good, and I even laughed a few times. There are plenty of action sequences, but with a budget of $61 million, I would’ve expected a bit more lavish execution, where you could really feel that kind of money. Bill Paxton as the CIA agent was outstanding. I didn’t quite understand why the Navy wanted to get rid of Wahlberg when they were actually on the same side. That, and many other unexplained things, led me to give it 70%. P.S. I would’ve given it less, but the likable duo at the forefront kept it at four stars.

What’s going on? I’ve never been too lenient with Czech detective work, but lately, I’ve actually started to enjoy it. Well, I guess times are changing. I’m already familiar with the collaboration between Jan Pachl and Hynek Čermák from The Fury series, and I know this duo produces quality work. Gangster Ka is no exception—it even reconstructs the story of a well-known Czech mobster. Again, I can’t say how much of the material is based on reality and how much is pure fiction, but the creators here claim that most things are accurate, so I’ll take their word for it. Čermák is a great choice, and the role of Káčko suited him perfectly—his expression was as chilling as it needed to be. Bjelac in the role of the Albanian bodyguard and Káčko’s most loyal friend was excellent, and he fit the role incredibly well. I liked his narration and description of Káčko’s persona (perhaps also because his Czech accent sounded cold and lethal). I think the atmosphere was portrayed perfectly here, and you can tell how Pachl strives to get as close to Western productions as possible (the monumental music helped with that too). The result is immediately noticeable. The first part was great—it introduced us to the character of Káčko, and I can’t wait for the sequel set in the Seychelles and South Africa. I give it 86%.

The second part picks up right where the first one ends. Káčko is on the run from the police, leaving the country, and chooses the Seychelles and later South Africa as his next destinations. Now, onto the review. I really liked the yellowish filter used in the film. It gave it a touch more authenticity and especially helped with the visual aspect. Hynek Čermák, with a slightly altered hairstyle, once again threw murderous looks in every direction. He perfectly embodied the type of person you can be on good terms with, but if you say the wrong word or, heaven forbid, stab him in the back, don’t expect things to end well for you. Čermák played it so convincingly that at times I believed he was genuinely part of the underworld. Predrag Bjelac, in the role of Dardan, stole every moment he appeared on screen. I do have to criticize the actor playing the lead investigator again, as he didn’t quite fit the role, and I could imagine a better alternative for him. The sequel has its chilling moments that will make your blood run cold, and there’s even a shootout with fatal consequences for one of the main characters. It’s very similar to the first film in all aspects. I had fun, and I give it 85%.

The best Coen film by far, combining all the positive aspects of the brothers' work. The Big Lebowski is a comedy that defies all established ideals. You have to pay attention while watching it because, quite simply, you don’t want to miss any of the punchlines or brilliant references. This is where it’s clear that when you have quality actors who deliver performances you couldn’t even dream of, you’re guaranteed entertainment and, above all, immense quality. The two main characters, Walter and Dude, are some of the best-written characters—I found their actions hilarious, I laughed out loud many times, and, most importantly, they are so likable that the audience falls in love with them within seconds. At first, the story seemed a bit secondary to me, but soon enough, the Coens' craftsmanship shines through, and it really picks up. Carter Burwell (again) came up with one of the most pleasing soundtracks I’ve heard in a film so far. Everything is meticulously crafted, and nothing feels half-baked. This is exactly how every film should be treated in its creation. And the Coens are the perfect pair who exemplify this. I give it 92%.

Rupert Sanders is a big unknown for me (besides Snow White and the Huntsman, which wasn’t anything spectacular), so it felt like I was diving into uncharted waters. But in this little sci-fi film, the director showed that he’s hiding some talent. Ghost in the Shell doesn’t bring any innovations to the genre—it follows an already established system—but everything is wrapped in such great visuals (it immediately reminded me of Blade Runner) that you can’t take your eyes off the screen for a moment. Then there’s the star-studded cast, although I wouldn’t highlight Scarlett Johansson in the lead role as much as Kitano, who plays the head of Section 9. He didn’t get a lot of screen time, but he also didn’t waste a single minute of it, showing just how much charisma this man still has (especially his scene in the parking lot was worth it). I also have to praise the script, as I didn’t notice any major plot holes, which pleasantly surprised me. The story doesn’t particularly stand out, but it still boasts an interesting plot with a few twists. The action was straightforward, well-filmed, and especially the sound was done well, just like the rest of the film. In recent years, I haven’t come across a sci-fi hit, but this film suddenly appeared on my radar and immediately became a perfect experience. It’s not worth a full score, but it’s a solid four stars. I give it 86%.

Now I can definitely say that rejecting the fifth Alien movie, which would have been directed by Blomkamp, was an inexcusable blunder. He’s got it in him. Zygote takes a different approach than its two predecessors, relying on uncertainty and the oppressive atmosphere of a station in the Arctic Circle. Even with just two actors, you can deliver an incredible spectacle—it's been a long time since I’ve seen Dakota Fanning, and once again, she didn’t disappoint. She still has many successful years ahead of her. The creature was truly unique, though disgusting and repulsive as a horror monster should be. I have a few complaints (she could have ended it with that axe, and there are some plot holes), but the execution makes up for it all. The music is also captivating. If you’re a fan of sci-fi horror, take 20 minutes and give this little film a chance. I give it 84%.

The conclusion of the Vietnam trilogy, which isn’t very well-known to a wide audience, and that’s a shame. Oliver Stone showed us the first half of the Vietnam War from the perspective of a girl who lived through it and later documented it in her memoirs, which this film draws from. The film, with a few exceptions, doesn’t focus so much on the actual combat, but rather highlights the impact of the war on the civilian population, who had absolutely nothing to do with it and still had to suffer. The second half, when Tommy Lee Jones enters the scene, deals with post-traumatic war disorders. Even though you’re safe at home, you replay the war over and over again, and the actions you took in combat haunt you in your dreams, making you dangerous even to those closest to you. Hiep Thi Le’s performance deserves to be placed on a pedestal. You don’t have to be well-known to deliver an amazing performance with all the bells and whistles. Tommy Lee Jones appeared fairly late, but he was still unbeatable (during the shotgun scene where he wanted to shoot his wife, I was holding my breath at how chillingly he played it). Although the story isn’t exactly rosy, everything is told incredibly poetically and accompanied by wonderful music. This film is a perfect example of how a war movie doesn’t need action to captivate you. All it takes is one true, almost unbelievable story full of unpleasant moments to leave you in awe, and Stone knows how to do this. I give it 89%.

James Bond took a real beating because this is what I imagine a proper spy film to be like. You won’t find many action sequences here, but instead, a well-thought-out plot with a dense atmosphere that will have you glued to your seat the entire time, along with a star-studded cast where everyone competes to outdo each other (with Gary Oldman and Mark Strong being the best). Tomas Alfredson appeared on my radar out of nowhere, and suddenly, he’s shining like a beacon, as if to say I should start paying attention to him. As I’ve already emphasized, this is mostly about believable and slow storytelling where you really need to stay sharp because you can’t miss even the smallest detail (you’ll hear so many different names and see so many actors that it’ll make your head spin). I’m not saying I understood everything 100%, but I’m not criticizing the film for that in any way, because it tries to lay everything out clearly and thoroughly for the viewer. The 70s vibe emanates from every shot, and it’s clear that an experienced pro was behind the camera. On top of that, otherworldly music plays throughout. A few times, I got chills down my spine, and overall, the film convinced me that being an agent like this takes courage we can’t even imagine. The mole’s elimination at the end with a small-caliber gun, accompanied by that otherworldly music, tied everything together. A spy thriller you can’t afford to let slip through your fingers. I give it 91%.

It’s been eleven years since the last installment of this unforgettable series, which has deeply embedded itself into all our hearts and ranks among the top films dealing with sports themes. It was unusual to see that in the new installment, Rocky is no longer the main character, but instead Adonis Creed, the son of the famous Apollo Creed. Michael B. Jordan was an uncast actor just a few years ago, but in recent years, he’s been proving that he’s slowly but surely carving out a permanent place in Hollywood. This guy has a bright future ahead! Creed is a great product of today’s times, where I no longer expect such perfect sports films, but lo and behold, I’m surprised. Stallone walked away with a Golden Globe for his role, and it must be said that he deserved it every bit. He’s no longer playing Rocky at his full strength but a normal aging man who has to fight a serious illness and the challenges of daily life (and he does it convincingly). Most importantly, though, he delivers one witty remark after another, which this film desperately needed. Adonis’s training had something to it—it was clear how many hours Jordan had to grind in the gym for his role to make everything seem believable. Maybe I would’ve delved a bit more into his opponents’ characters, but in the end, that didn’t bother me much. The final match was quite emotional. Admit it! Who else got goosebumps like I did when the famous Rocky theme song played? Such small details bring joy, but not every film can boast them. Compared to Southpaw, I liked Creed more. I give it 88%

The Hypnosis starts out as a relationship movie that subtly satirises the environment of technology start-ups and then blossoms into a wonderful cringe-fest in the mould of Toni Erdmann, when your skin crawls because of the onslaught of inappropriate interactions. Director Ernst De Geer stages awkwardness as masterfully as his compatriot Ruben Östlund. He doesn’t go to similar extremes, though only for a few moments. ___ What if we could use hypnotherapy, for example, to release our consciousness bound by social conventions and rid ourselves of the fear of losing face? Like the protagonist manages to do, having returned to the self of her childhood and whose thinking is no longer limited by routine and rules. Everything becomes a game for her. But she has ahead of her an important presentation of the mobile app that she developed with her anxious partner, who expects Vera to play the role of the professional in meetings with mentors and investors, and to pretend that she is pursuing a worthy cause and, like him, wants to save the (third) world. However, it no longer makes sense to her to be only outwardly authentic just to not step over the boundaries within which “naturalness” and “true self” are merely harmless slogans aimed at increasing the attractiveness of the product. She wants to play with an imaginary chihuahua, drink vodka with milk and dance to loud music until the morning. Her dedication to the game highlights the hypocrisy and prudishness of the other characters, who have standardised their behaviour in the interest of career growth. Their imagination has atrophied in the meantime. Therefore, the question arises as to who is actually hypnotised, who behaves as if they are not themselves, but is instead a slave to norms and expectations. ___ The Hypnosis basically updates Lars von Trier’s The Idiots, though with a lesser degree of filmmaking radicalism. It adds the motif of performative feminism, corporate virtue signalling and a modern approach to relationships and to the psyche, which we constantly attempt to optimise as if they were our work projects. Unlike von Trier and Östlund, however, De Geer doesn’t approach the characters only as the objects of a social experiment. He is also interested in their feelings, not just the masks that they wear, thanks to which The Hypnosis ultimately works best as a relationship film in which the ultimate expression of love is acceptance of one’s partner in all of their positions. Including the absolute strangest ones. Or the most authentic. 80%

Fuqua knows how to make films, and this time I watched this solid genre detective movie from his work, which doesn’t have any big surprises but follows a tried-and-true formula where nothing can really go wrong. The story is divided into three storylines, each focusing on a different character. The best one was probably the storyline with Don Cheadle, who, as an undercover cop, is supposed to bring gangster Snipes to justice, but as often happens, he grows more and more attached to the gang, to the point where he no longer knows who he really is or what his mission is. Cheadle is a great actor, and he fully utilized his experience here. The part with Gere felt the weakest to me because it didn’t offer a particularly interesting plot. It wasn’t bad, but I would have changed quite a few things. Hawke, with his family problems and desire to steal money from drug dealers, gave an impressive performance. It was clear that things couldn’t end well for him. I liked how all three stories came together at the end, with the main protagonists meeting in the same house. The ending was pretty intense, with no shortage of blood and bodies, and even the main characters weren’t spared. The film had some flaws, but within the genre, it’s still an above-average product. I give it 74%.

Let's be honest. Who among us could come up with such a crazy story full of absurd moments where you’d think, “There’s no way that could actually happen”? I don’t think anyone could, but lo and behold, it’s not made up, it really happened (and of course, where else but in the USA). In recent years, I’ve been somewhat transformed in my opinion of Bay’s films. Pain & Gain was a refreshing change from this director. The story is so improbable that I still can’t believe it’s based on a true event. The central trio around whom the whole plot revolves were, forgive me for saying this, total idiots. They wouldn’t be able to steal a loaf of bread from a supermarket without getting caught, but imagining them planning a kidnapping? That’s a whole different league. Everything in the film builds up perfectly—you know that people like them will make so many mistakes that there’s no way this can end well. Mark Wahlberg, Dwayne Johnson, and Anthony Mackie were unbeatable. I haven’t seen characters so well lived-in for a long time. Ed Harris as the detective was a pleasure, and Shalhoub was fantastic. I’ll definitely remember a few moments from the film that you just can’t erase from your mind (grilling hands, the attempt to run over Shalhoub, the dumbbell killing the guy). Everything is wrapped in an appealing visual package with an amazing soundtrack. I give it 85%

Another Czech crime film, this time focusing on the story revolving around the most famous Czech prisoner, Kajínek. Petr Jákl wasn’t afraid to tackle such a well-known topic, which took courage, but he jumped at it like a chicken on feed. The opening massacre scene at Plzeň’s Bory prison was reminiscent of Western competition in many ways, and overall, the camera work was one of the key elements the film could boast about (F. A. Brabec knows his stuff). I liked the storytelling style, even though it deviated quite a bit from the real script in many places, but I guess it wasn’t possible to transfer everything to the screen. Lavronenko was the biggest surprise for me—it must have been unusual for the Czech audience to see a foreigner in the role of Kajínek, but he blew everyone away. You could see how well he had prepared for the film both physically and in terms of character, as I totally bought into his role. I’d also praise both of the Dlouhý brothers, as they are a clear guarantee of quality. Vilhelmová didn’t fit into the role of the lawyer for me, and I would describe her performance as dull. Where I would criticize the film is in the sometimes chaotic jumping around, Václav Noid Bárta's music that pushed a bit too hard, and also some of the acting performances. However, the escape from Mírov prison and the subsequent arrest of Kajínek in the apartment were handled perfectly. It has its flaws, but within the domestic scene, it still outshines most of the competition. I give it 77%.

Backwoods outsider Martinón is good at hunting and skinning animals, but he’s not very good with women. Will his dream of having a child be fulfilled? A gently told story with a minimum of dialogue, with a remote mountain setting in which only the chosen ones survive. Interactions between a man and a woman as if in the Middle Ages, without smiles, foreplay or embraces. The actors and unpredictable screenplay are worthy of praise. But it’s a shame about the absence of a satisfying ending.

Wait, wait, wait… I must be about to write a review of a different movie because there's one thing here that doesn’t add up. This film has 43%? I’m definitely going against the crowd here, but the new Fantastic Four certainly doesn’t deserve such harsh criticism. To start, it’s important to note that this isn’t the typical formulaic superhero movie—it starts at a much slower pace, and action scenes are few and far between, but that doesn’t automatically mean the film is bad. Quite the opposite. The first half does a great job of fleshing out the individual characters and clearly shows us, the viewers, how each team member got their unique abilities. The cast seemed quite young to me; I’d probably change a few roles (especially Michael B. Jordan as Johnny Storm—he didn’t quite fit… Chris Evans was far more entertaining). Miles Teller as Mr. Fantastic was fun, and he handled his role well. The best character was the villain Doom, who didn’t say much, but his actions spoke volumes about him. It’s just a shame he didn’t get more screen time. The final action sequence was short but essentially to the point. Beltrami’s music complemented everything perfectly. The biggest downside of the film is probably the need for a more experienced main cast and more action. I also didn’t like the overly serious tone of the film, which sometimes undermined it (it could’ve used more fun moments). But I liked the well-told story that didn’t rush the audience, the dialogues, the music, and the villain Doom. Overall, it’s a solid three-star film, and I give it 67%

The Polish continue their successful streak with Netflix, delivering another solid film. From a technical standpoint, there’s really not much to fault—it’s well-made and has plenty of entertainment value. However, the ratings don’t quite reflect that, and I think it’s partly because, after a series of high-quality Polish films, the bar has been set really high. Perhaps the filmmakers got a little too ambitious here. The story is a fictional one, but it’s set in a very real time period, referencing not just one athlete but an entire phenomenon of athletes fleeing from a communist regime to the West. The acting is top-notch, with Eryk Kulm and Eryk Lubos delivering brilliant performances, and Adrianna Chlebicka holding her own as well. But the fictional angle feels a bit odd, and the screenplay doesn’t offer many surprises—it’s a mix of things we’ve seen before. At nearly three hours long, the film can feel like it’s dragging, but it’s worth sticking it out—the ending is genuinely beautiful.

Tim Burton is finally off the leash again, and honestly, it was about time. Where better to let loose than with the world he first introduced us to, packed with his signature quirky ideas? And he absolutely delivers. A sequel more than 35 years later is a bold move, but as a fan of Burton’s work, I can confidently say it was worth the wait. The only drawback for me was the somewhat rushed script. It opens up a bunch of storylines, then scrambles to tie them all together for an epic, totally off-the-wall finale that feels very Burton-esque. But by the end, you realize some things didn’t quite need to be there, didn’t make much sense, or were just unnecessary. Case in point: Monica Bellucci. Let’s be real—there are obvious reasons why Burton included her, but she didn’t add much to the story. That said, I’m still satisfied. This is what filmmaking should be—full of creativity, fun, and humor, with a cast that’s clearly having a blast.

When you have to start a Tim Burton film several times to get through it, you know something’s off. I finally managed to finish Big Eyes, and to be fair, the story seemed tailor-made for Burton—personal, unique, and quirky. Casting Amy Adams and Christoph Waltz was a smart move too; they were solid in their roles. But everything else felt like Burton was making a TV movie. It lacked his usual creative flair, and the script seemed flat, almost like it was written by a beginner. It’s rare for me to watch a biopic and feel like I’ve seen it all before, but with Big Eyes, I couldn’t shake that feeling.