DaViD´82

A reserved procedural satire on (not only) the Japanese bureaucracy and the government's inability to respond dynamically to the devastating "nuclear" earthquake of 2011. Yes, you understand that this is not guilty pleasure monster film like the later (I mean, actually earlier) Godzilla (which on the one hand is a pity, that´s for sure), but entirely following legacy of Honda's original film full of post-war nuclear trauma. This version, in addition, is enriched by the role of today's Japan towards itself and the rest of the world. This is done using dozens of talking heads or zero direct connection of passages with Godzilla. In any case, most of the time-consuming "meeting" segments are fantastic, because in addition to the satirical and "reflecting" mode, they also serve as a believable mediation, as it would (not) have worked at the highest executive level during the national crisis. And the rest of the footage is packed with catastrophic passages with "Godzilla, King of the Monsters!" having a destructive walk through Japan, which masterfully combine total destruction, magnificent design giving tribute to the original, imaginative (and damn impressive) shooting and congenial Sagisui/Ifukube´s music. "Restart" of Japanese Godzilla is by no means for everyone and not even remotely for every uncritical fan of the monster king. With an untraditionally chosen concept and adaptation, it explicitly calls for contradictory acceptance. And that´s exactly what it deserved and what it got. Anyway, it's at least interesting and hardly about who ever says "a mediocre disaster movie that blew out of my head with the final credentials start", because whether you condemn it for those bold decisions or on the other hand fall in love with it, the movie will affect you and leave you with a specific opinion about it. And what other high-budget blockbuster is recently capable of doing this? Howgh.

Adventures, troubles and mishaps of one school day of Peter Parker before he got bitten by an eight-legged vermin. Looks like a (not?) admitted remake of High Noon. Crystal clear 80's portrayed in a movie that runs at such an uncompromisingly frantic pace that all legitimate accusations (sometimes it's too long, way too long, consistent character behavior doesn't exist, there are whole lines that seem wasted… I mean, where have I been?) come to your mind not earlier than when the credentials end. And maybe even later.

Rob Zombie gives tribute to The Texas Chain Saw Massacrea and the 70s. Again. Rob Zombie employs all (non) actors of his family. Again. Rob Zombie fully shows his clown phobia. Again. Rob Zombie has made variations of his previous films. Again. And it's a hundred times seen pulp perverted disposable movie, with no logic, no continuity, where is not even a single nice character you wish would not die painfully. There is no clarity of the editing and similar redundancy simply does not do the job. However, it is something that you would expect in the circle of well-tuned / drunken friends, in other words by far the biggest obstacle to the right trash fun is that the Hispanic Nazi Chihuahua leaves too soon at the expense of the imaginativeness of individual gore deaths and the actions of pervert killers (with the honorable exception of Doom-Head).

The villain makes the story. The villain makes the story. And there are a lot of those. That´s for sure. The most rodokaps series far and wide or a dark version of Hornblower's / Aubrey's adventures in the form of a treasure island prequel free of any signs of gentlemen. Yes, at first it does not go smoothly, not even remotely because it is inadvertently ridiculous, due to the fact that the creators do not seem to know whether to follow the path of obvious violence, cheap controversy and wannabe roughness, where dialogs serve purely as an excuse to show goats, lewdness, blood and adultery where the only strength seems to be a magnificent theme music. Fortunately, the creators soon realize that this road leads to hell (the second half of the first season has already been itself in terms of style) and as soon it picks up speed compared to the second season, creators learns from their mistakes, give the characters the necessary depth (especially motivation which was so absent in the first season), so the intoxicating smell of Caribbean rum, the crackling of the spars or the of the roaring of the rising waves suddenly emanates from it. One succumbs to it and doesn't even know how. In any case, the heart of every fan of O'Brian, Forester, Stevenson and, of course, historic sailboats and sails get over-excited. Then it is a joy to jump on a boat full of intrigue, fights, dirt, treasures and power struggles, where everyone tries to outsmart each other (literally) and put knives in each other´s back (literally), thinking of nothing but a free way of life and of course some gold to have a better life. And so one of the most stylish Golden Age series of this format emerged from the ugly duckling, which was initially a parody of itself. No, this despite the charismatic cast (especially Luke Arnold is such a talent that you wonder how come he did not become a movie star much earlier), a great set design, fantastic music or even surprisingly solid dialogs, even in the most foolish respect. It is not quality TV, but still just and only a patchwork of history and legends in the form of a pulp style movie about killing pirates. However, it is such an orthodox pure pirate tabloid movie with all the pros and cons of it that it is impossible not to succumb in a way children. As an adult who read plenty of those adventure novels as a child. And thanks a lot for that.| S1: 4/5 | S2: 5/5 | S3: 4/5 |

The underdeveloped Cumberbatch overplays the main character as if he were playing a tragedy of all the tragedies from Shakespeare somewhere in the middle of nowhere. He has a silly smile on his face all the time which, combined with the normal performances of the rest of the cast, moves his performance to the "edge" of guilty pleasure so you simply fall in love with it. In something light-hearted in the style of The Princess Bride, it might work, but this wants to be an adult fantasy fairy tale. And in terms of excellent set (exteriors and studio setting) and Horner's music it really is. It's exactly the kind of movie that would benefit from nostalgia, because if I had watched this movie as a boy, I would have not complained about its drawbacks (namely: the movie is too long, duo of Ergo/boy who do absolutely nothing during the whole movie is needless, passive hero, who just delivers a spinner, more time is devoted to the exhibition than to the story itself, the mutual inconsistency of the individual otherwise great passages, where if together it works really well, charming second rate villain, the expedition to the lair of Odul, I mean, Lyssy, where fantastic design, the tragedy of one relationship and tension are all present, etc.). But sadly, I complained.

A stylish spaghetti heist film, hampered perhaps only by its unjustified running time, its revolutionary ending and the unbalanced ratio of humour in an otherwise serious film.

Nolan cannot be denied that he did not just shoot another war film according to a proven scheme. In many ways, it is in line with old-school war films, which are no longer made today, just in the form in which they were never made. Following the example of Greengrass's United 93, in view of The Dunkirk evacuation, he got rid of all political background, expressed no opinion, did not mirror anything. He was not interested in other parties of the conflict, sidelined characters, dialogs and story, and focused on a single aspect; the feelings of those thousands people who were evacuated, those soldiers who where cut off from their homeland. The movie strictly follows (except for the elaborate structure of the narrative and the form, which can be fully enjoyed only during the subsequent screening) the concept of "beach/week-water/day-air/hour" with an unseen enemy and thus fully mediates the feelings of pilots enclosed in a cramped, deafening cockpit, while German fighters circling around, panicked drowning boys in the billowing night waves and soldiers on land who don't know if they'll get their turn during the evacuation or will be left at the mercy of the advancing German army. This is by far the greatest strength of the film. The cast couldn't have been better, because even if Branagh doesn't move from the pier, Hardy from the cockpit or Rylance from the helm, they are so convincing and charismatic that simply could not be any better. At the same time, they play everything purely with their eyes or imperceptible gestures (and in the case of Caine, using purely intonation). Thanks to the symbiosis of Nolan/Zimmer/Smith, the result is undeniably captivating, chilling, nerve-wracking as well as intense and earthy production (the difference from the best CGI is simply tangible, that´s for sure) and a technically refined masterpiece like no other far and wide. But… But at the same time, Zimmer's phenomenal addition of sound (not really a music background) is overused so that the whole footage rumbles and ticks. It´s non-stop. I repeat, non-stop. Do you get that? Non-stop! Neither a second of silence, nor a second without the highest possible intensity of pumping creaking, while the "calm" sequences on the ship would obviously call for quiet moments. However, it is still a "Dunkirk miracle", because everyone in the seventy-millimeter Imax took the bait and myself breathed exclusively in the rhythm given by Nolan.

"I didn't count on being happy." Fairy tales about one of the best Batman feature films ever are not so exaggerated or influenced by nostalgia, as it might seem at first glance, when you say something like this about a seventy-five-minute animated movie "for children". But what can you do when such animated movie for "kids" is more advanced in terms of themes, emotionally more engaged, better-sounding (not only in terms of music), more embedded in his fictional world and with a more distinctive face than the vast majority of current blockbuster animated movies. There is nothing you can do.

It follows strictly the tried and tested plot of a typical Sundance midcult feel-good flick; i.e. it’s not serious about serious things, with social overtones, not overdone and with likeable characters. Of course, it doesn't matter at all if it makes you laugh, moves you, and also teaches you something about cricket in Pakistan.

An apocalypse (in terms of structure and "the negative character" and even annoyingly frequent visual references) incorporated into the ending of the trilogy, which in turn is incorporated into all the story lines, characters and themes based on the original Monkey Planet through a torn inner struggle for Caesar's soul. Yes, it's overcomplicated, and despite it´s not the Conrad´s Heart of Darkness in apes version, the resulting "Ape-pocalypse Now / ape Logan" is a surprisingly faded, free from any action (there's no war, and even taking about talking about fight or dispute would be an exaggeration. This is the Bridge on the River Kw... Planet of the Apes), whose many obvious drawbacks "but" (all humans are stupid, unreasonably long footage, unbalanced pace, deus ex machine ending) don´t really matter thanks to emotions, captivating Serkis, enchanting first half and "invisible" CGI effects, which are not here to impress.