lamps

Utterly unique. The most suspenseful or second most suspenseful movie I've ever seen. The first hour is a boring but absolutely necessary preparatory manoeuvre for an uncompromising and formally riveting spectacle, which even today ranks in my eyes among the top of several genres. Rarely do we, as viewers, feel such fear and excitement just because the camerawork is flawless and the actors perform as if their lives depended on it, and it's really rare how the psychologically and visually exquisite anxiety builds up precisely throughout the long 150 minutes. The closing five minutes may be a bit too out of context, but the rest is undoubtedly among the best cinema has to offer – I've probably never been this emotionally drained after a black and white film. 100%

200 minutes of exquisite filmmaking and beautiful sets only to learn that the communists were/are manipulative and heartless bastards? The first two episodes work perfectly well, script-wise and dramaturgically, and the story, spread among many characters, unfolds as smoothly and casually as the life of the Sultan of Brunei, but in the last part things get unfortunately relegated to a poorly built-up trial that gives too much space to politics and suppresses the real human emotions so abundantly present in the previous two episodes. Nevertheless, it’s an exceptional achievement in terms of direction, music and especially the actors, meeting almost world-class parameters for a strong biopic. This is the path that Czech cinema should take, and the international awards will certainly not be long in coming. 85%

It's a treat for historians and film enthusiasts alike, packed from top to bottom with great ideas that, combined with the severely limited technology of the time, inspire genuine wonder. The protagonist's behaviour was hard to like and the actions of the law enforcers often made me chuckle, so I didn't have much to cheer for, but with its narrative drive and straightforwardness, the film immediately won me over and is completely out of line with the sleep-inducing science fiction films of the time, starting with Frankenstein, also by Whale. A great leap forward in the genre.

Take out Affleck's dull, inarticulate expression and Helen Mirren's superfluous character of a principled journalist, and you are left with the best you could wish for in a conspiracy political thriller: a great plot, a dense atmosphere sculpted by tons of political dirt and forbidden machinations, a terrific score, and four or five excellent actors who we trust to live and breathe their characters. But be warned, it's still nothing but highly stylized and cleverly twisted Hollywood entertainment with an intrepid Crowe and an attractive McAdams, where the spectacular pursuit of justice far outweighs the honest themes of classic conspiracy films. But you have to get used to it, because you can't do better than this in the genre today – and personally I’m not complaining. 80%

I'm not going to write about how gorgeous Rachel McAdams is, because in my case it would be as redundant as putting makeup on her beautiful face. But still, I'm struck by the amazing way in which this cute girl leads the film, which also features the ageless Diane Keaton, the traditionally reliable Jeff Goldblum, and the swashbuckling Harrison Ford in probably his best role since The Fugitive. Especially the latter, in tandem with the vivacious Rachel, is the main driving force that makes this great comedy with a slightly overcooked story so energetic, lively, sincere and more than generational. And all with a humour that, not only in its intelligence, can easily put the whole work of Jim Carrey to shame (and I really like that guy). But the script is a bit rough around the edges, a longer runtime wouldn’t have hurt – just because we could spend more precious minutes in the presence of that beautiful, kind smile (you know who I'm talking about). 85%

The premise is great, the actors are brilliant, the execution is funny and creative, and yet there’s something missing. Or maybe there is so much that we gradually get lost in all the references, boogeymen killing boogeymen and boogeymen talking to strange people, and get so deep into Jackson's head that the very superficial, unoriginal and unexpectedly overwrought final act doesn't touch us and we are left with the familiar feeling of "this should have been different (and better)". I had fun the first time, the second time I would have to skip a lot between scenes, so a golden and harmless average – 60%

A time-honoured classic that doesn’t have much to offer today. If you don't know about it, I’d recommend Brannagh's 1994 remake, which has a better cast, is more psychologically precise and more emotionally varied as a result. This is rather another mandatory entry in the textbook, one that everyone skips without being noticed and without punishment. 60%

A small film without ambition and without expensive patronage, but with a big heart, a skilful director and a trio of very likeable actors, who fortunately don’t hesitate to "waste their talents" in movies like this. The combination of comedy and drama is excellent, the American pathos is dealt with in the only right way: with humour and self-aware sarcasm, and the dialogues are juicy and don’t hinder the plot in any way. I was a bit sceptical about the longer runtime, but from the first minutes I was swept away by a wave of strangely positive mood, gradually replaced by sincere joy at what a treasure the great people on the screen have found in themselves and in their friendship. But I do see one flaw: Rachel McAdams is so gorgeous, cute, talented and attractive that I’m going to be in love with her for the rest of my life. Maybe fate will smile upon me and she will move with her guitar to Budějovice, who knows... :))) 4* and a great piece.

A very well stylized parody with lots of jokes that beautifully mirrors Brooks's talent in telling the most classic stories in a slightly different way and with a completely opposite type of characters (if anyone wanted to make a parody of Titanic, it would be him). The plot intertwining with the original raises a genuine smile, while the subsequent creation of the monster and its introduction to humans is a veritable fountain of creative ideas and clever humour. Everything is also made more enjoyable by the excellent horror set and a number of endearing side characters, who are on par with the best of Spaceballs. In some scenes Brooks (as usual) treads water, but the result is again well above average and some of the gags simply need no comment... 80%

One of those movies that I could watch until I'm blue in the face just for its heap of delicious life truths. Levitt's personality now seems to be in a very specific phase, where he remains a free-thinking young man masturbating to death, while also being fully aware of all the problems and bitterness that free-thinking and an adult life full of "serious" relationships and different needs involve. As a result, Don Jon is not only a brilliant generational statement where the young prefer casual sex and the family is presented as a group of completely disparate and disconnected people, but also an enjoyable satirical comedy, aptly addressing the unbearable mannerisms of the female population, and disarming in its endearingly frank portrayal of them. The direction cannot be faulted at all, the script is well smart and very original within the genre and all the actors are really enjoying their roles – especially Levitt, who has risen incredibly in my eyes again. I'm even afraid that if I looked as good as him, I'd be living just like Don Jon... :P 85%