DaViD´82

(Non) humanized (non) adaptation of Snyder's freezing Bloody Lands in the form of Ukrainian-Polish-German-Russian-Jewish (non) coexistence. But it is sadly fragmented into individual scenes from hell à la Come and see at the expense of cohesion. Gradually, the viewer becomes apathetic in the same way the main character does. Whether or not it was a purpose and how much it is / is not useful to the overall experience is a completely different question.

Adults and teenagers are not allowed to watch. This movie is only for pre-school children, perhaps for the primary school children too. Which is not necessarily a drawback, it just surprising a bit. Because today even the greatest animated childish craziness has at least some adults jokes to keep parents entertained. Anyway, for the target group, it´s exactly what one would expect. In just a few seconds, it picks up the escapade pace that won´t slow down, so it runs grotesquely runs/falls/jumps/dances/trips/sail/fights/smurfs, etc. And at the same time it never becomes dull or unbearable. The result is a standard episode which has been stretched beyond its limits to make a feature film.

To his own detriment, it deals to much with constantly increasing suffering purely for suffering´s sake. In this case, more than anywhere else, less would be more. The constant martyrdom of the central heroine caused by all men makes the viewer become indifferent, not disgusted. At the same time, this would fix even the biggest snag in the form of too long footage. In any case, as an impressively constructed drama of a (non) western with a patina of a fatal Greek tragedy about a loving "a little" misogynistic father and a "ungrateful" excellent daughter that love men too much. Especially because there are some moments of hypnotic enchantment and because of great acting of Dakota.

Nordic noir, which is surprisingly not in the form of a freezing thriller as usual, but it´s a financial crime movie, where instead of blood and corpses stock trading piles up thanks to non-public information, where one shell corporation with a bunch of straw men covers another one and where corruption is a regular way of conducting business. Unlike the overseas Billions, which work with many similarly constructed dynamics, here all the corporate, financial, negotiation and sharp practice hidden behind stacks of documents are not a purely umbrella pretext, but a regular part of it all. It doesn't detract from the excitement of the result, because at the core it's still mainly about the characters and their actions, or simply "white-collar nordic noir" with everything one would expect from it: conflicting characters with incredible motivations, reserved procedural approach, everything tangled and confused and the already traditional problem of Danish series, where the pace is so specifically slow that it could / should be told in eight episodes instead of ten (or ten with shorter footage) and at the same time it would not seem rushed. | S1: 4/5 |

If you want to get your feet in it, it requires more than general knowledge in pre-Munich political plots. In other words, it´s more for knowledgeable viewers. But at the same time, it's not even for those who has a basic idea about the topic, because it doesn't offer them anything they wouldn't already know. It does not go into too much details in this regard. The same can be said about the plot frame that is done through the mentally broken Masaryk as a person who feels betrayed and at the same time he feels that he has betrayed as well. It is not that this mode is not interesting, but it does not get under your skin so simply put, it does not do the job. And then all the art-like shots of shattering waves, etc. In any case, as a feature film version of the Czech Century TV series, it's not really bad at all.

An apt satirical detached view of how caring for children has been replaced by obsession with children, trifling violent disputes in a small town and about what happens behind the closed doors of households when no one is watching (despite it is not so "scary", it is one of those chilling portrayals of domestic violence which will give you shivers). Rather than an adaptation, it is a literal illustration of the original, but it is so stimulating and packed with different themes (however on the leisure side of the spectrum) that, together with the excellent cast of parents and offspring is more than enough to keep you entertained. The only problem is the length. After all, just seven episodes showing four hundred pages is way to much. Not to mention that the original is already struggling with flogging a dead horse in the middle part. Surprisingly, in spite of all the literality, however, it has a rather sloppy ending compared to the original, where the story lines not only don´t have a proper ending but some of them in this version even make absolutely no sense.

A story of a man who is heading for disaster. To write that this is a French response to Homeland (in the style of The Hour / Mad Men) is like keeping saliva in your mouth for a few hours and then spit them onto the face of the creators, but... it is true to some extent, even if we might not like it. The main difference, however, is in the plainness of the concept (it is quite free of big words, gestures and actions) of the view of the operation of the department of recruiting "acquaintances", not only defectors, agents, terrorists, but mostly ordinary people who could potentially have access to interesting/dangerous (dis) information. It's about finding the way to them and controlling them, not about blackmailing them.* Simply put, a daily routine of an uncommon office full of hypocrisy, intrigue, outsmarting others, plotting, looking over your shoulder, paperwork, strict rules in the workplace, nicknames of operatives taken from Tintino and... And yes, it is absolutely cold procedural "lecarréov style movie" in the best possible sense of this word, which is moreover current and not at all black and white. Just an unbelievable believable spy master, where it is often not clear who is a mouse and who is a cat, with nerve-wracking tension stemming from the behavior and subsequent actions of missing people doing their job and what they are damn good at. Not from shootings, murders or impending terrorist attacks. Pragmatic decisions win, not emotion-driven ones. Already the first season had not many competitors in terms of movies with similar quality genre. Not to mention an even better second season, which then does not have too much competition across the entire serial spectrum, regardless of genre boxes. And after all, even the third season does not deviate from the established trend of "absolute quality", although in the last two episodes it contains the germ of something that could be a problem in the future, namely, excessive adherence to one of the lines, which potentially might become flogging a dead horse. Surprisingly, however, the problem of the "weakest" fourth season is not in the above so far. The creators handled that more than well not even in the quality of individual lines (they are on the same level as always), but in connecting it all into one coherent whole. There are three separate story lines. Let´s pretend they complement each other (although the one that looks like a major for a long time and eventually fades away and serves more/perhaps as a possible start for the next season), but one is completely sidelined from start to finish. It´s remote, far from all events, in another place and with different characters. Which, to a large extent, also applies to the fifth season, where the disarray and absent-mindedness is even more noticeable. With the only difference that the main story line is even more highlighted and slightly better. Unusual, however, is the final duo of bittersweet "epilogue" episodes, which close the chapter of one era. It seems, with regard to the building blocks of the series, almost out of place, as if they come from a completely different series (à la Soprano). After all, it is the fault of Audiard and we can clearly that he is the one responsible. But after five seasons, it starts work properly. It is completely justified as a conclusion of one era.* Your real task will be to destroy the lives of people who are not necessarily bad. They are only foreigners who work for their country and have access to information important to our security. People that we call villains just because they live on the opposite side of the border and know the things their government wants to keep secret at all costs. | S1: 5/5 | S2: 5/5 | S3: 5/5 | S4: 4/5 | S5: 5/5 |

The dark side of politics depicted using ambitious mayor of Dunkirk. Basically exactly what Netflix Marseille or Spin wanted to be. Namely, an advanced amoral uncompromising political thriller about all-able politicians who, with French charm and grace, put intriguing political knives into their backs (through turncoats, manipulation with distribution of subsidies, strikes, etc.) in the style of House of Cards or Boss. Except that not only is the politics of the highest political levels played here, but also everyday lives of normal people affected by it are shown here. Just a good old French school depicted in eight hours, based on non-template characters as well as on captivating course of grudge. The only flaw is the fact that while Rickwaert's motivation, which drives him forward, is clear, it´s not the case of Dorendeu/Laugier.| S1: 4/5 |

The more raw, the more mature. The comic equivalent of the Unforgiven / Gran Torina, in other words thank God it's not an adaptation of Old Man Logan, but an uncompromising advanced neo-western road movie from the department of "no change that things will go better, we just need to last till our death". It's just another Eastwood movie about the autumn of the life of an icon tortured by inner demons, only the footage is unreasonably long.

What is the second Raid movie compared to the first movie, is the first chapter of John Wick compared to the first one, let´s put it this way, creators learned from their own mistakes. We have not had the opportunity to watch something like this in Czech cinemas for a long time, something with such a clear, diverse (the monotony of action of the first movie is long gone) and above all an imaginative composition, aesthetics and choreography of true contact action scenes. And if, in addition, the "obligatory plot frame as a makeweight" is not really a make weight, then what more to ask for an uncompromising straightforward action from the old school? Perhaps just an imaginary icing on the cake in the form of graduating of the memorable final shootout in the gallery also of the equally memorable one-on-one duel, third round of "Wick vs. Cassian" would call for it.