Goldbeater

With films like One Life, it is often difficult to separate the importance of the story from the art of getting it right. Here, however, I don't have much of a problem with that. The film doesn't aim for the easy stuff, it presents things in a complex way, and when it hits the emotional notes with all the force it deserves. Moreover, when Anthony Hopkins' character is confronted with the agonizing truth about the fate of the people he failed to save, he doesn't launch into a heartfelt self-pitying monologue, he doesn't try to cheaply impress the viewer, instead he walks to the window and gazes out at the landscape. Nuance plays a role. Hopkins reaffirms his reputation as one of the finest actors working today, and he's also excellent and captivating, even if he only has half the film at his disposal. And Johnny Flynn ably seconds him. It's just that the Czech actors stick out like a sore thumb at times with their performances. I deliberately put that aside.

Bradley, you're a hell of a talent, but don't push it too hard. It's embarrassing and painful to watch.

The dramatic roles that Adam Sandler has been doing so well so far have brought some rarely successful achievements in his filmography, but Spaceman seems to be the first misstep in this respect. I let it sit in my head for quite a long time, I wanted to go along with it because of the Czech imprint, but unfortunately I can't help it, it just doesn't work. I mean, not at all.

There's not much this film does to show why, at its core, it really should be so important. Instead, it has so much pathos that it borders on the ridiculous.

How much you will like The Iron Claw will probably depend on how far you have set the boundary of when a tragic melodramatic film becomes downright "misery porn". For me, that line was crossed here. In any case, this is otherwise a very well made, acted and (without knowing the actual history) suspenseful film. Holt McCallany should be given more roles.

An incredible banality. When will Czech filmmakers finally realise that it is not enough to take a seemingly dramatic story and somehow just translate it to the screen with the idea that it will work. If you don't have any creative handwriting, ideas, courage to try something new, an interesting style, or God forbid some kind of idea and point (scandalous expectations, I know!), then just give it up...

I love the original Road House. Strip it of the 80's charm, the sex appeal, the fighting philosophy, the brutality; swap the charmingly oblivious overkill for self-awareness, swap the practical effects for repulsive digital ones and you have the new Road House. The fact that this one had huge ratings is a testament to the lack of masculine films for contemporary audiences. I agree. But I also want it to be good and entertaining.

I haven't been this conflicted in a cinema for a long time and I haven't asked myself so often whether I like what I'm watching or whether it annoys me. Luca Guadagnino simply evokes in me with each new film either a slight interest, a slight disinterest, or just this complicated love-hate relationship. In his filmography, it just flies back and forth in both directions for me, like the tennis balls here. I guess it just fits. However, with the conclusion of this film, everything just falls into place so bombastically, and it hits such a smash that I'm going to allow it to advance to the next round after all.

It's exactly what you imagine it will be. I must add, however, that the running time is quite unwarranted with such a simple plot, revealed by the trailer and synopsis. In fact, there are zero surprises here, and many elements look very familiar in the filmography of these filmmakers. I have nothing against filmmakers repeating schemes and ideas that have worked for them before, but I'm a little worried whether Matt Bettinelli-Olpin and Tyler Gillett have run out of steam as writers. Either way, Kevin Durand should be cast more often and in bigger productions!

This is my kind of revenge movie! We were probably all on tenterhooks as to how it would turn out, but George Miller once again delivers what he promised, with a few surprises thrown in for good measure. While making prequels, where we also know exactly where they're going, may seem pointless and unappealing to audiences, Furiosa will historically be one of those rare examples of getting it absolutely right. Its story works perfectly on its own, it's quite different from its predecessor, the action is exceptionally imaginative and choreographed, and the worldbuilding is again broad and unique. We get a glimpse into the workings of the post-apocalyptic world, the divisions of the factions, the logistics of how they work together. In short, the whole film works under the impression that it has a whole other unseen backstory of everything and everyone, something that many current "shallow" blockbusters are completely lacking. I'm crossing my fingers that it does what it can at the box office, because I'd very much hate to see this franchise head to Valhalla. Miller's still got it!