D.Moore

This is what a purposeful remake should be. From the original story, which I liked, Guy Ritchie took the most important thing, added a lot of new things, and made a film that I like even more. The uncompromising dark atmosphere draws you in with the first scene and continues to roll to the sound of flawless creeping music, mixing with the roar of trucks and gunshots. Yes, since the hero is played by Jason Statham, unlike the French original, what he can do is not that surprising, but many other things and characters, including the perfect Scott Eastwood, who obviously can act when given the chance, do surprise. I probably most enjoyed the chapter Scorched Earth, in which the boss and the team followed the footsteps and which was really dense. Great job!

If the first film seemed too long to me because of one useless action scene, this one seemed too long to me because of at least half of the film. The Hitman's Wife's Bodyguard pretends for a while that it will be a very light variation on Bond films, and after a while it turns into a parody of those films and at about the middle of the film, when the heroes get to Tuscany (and when I foolishly hoped it would end soon), it becomes a parody not of Bond films, but of itself. Ryan Reynolds’ character survives more than Deadpool, Samuel L. Jackson and Salma Hayek try to have a child, one villainous devilish plan alternates with another, apparently drugged Interpol agents hire killers and bodyguards like on a treadmill and Greece is facing an apocalypse because the European Union is an evil that came from hell itself. To make matters worse, perhaps every character speaks with a more or less terrible accent, which is also supposed to be funny. But it's not. More than once I thought of Casino Royale from 1967 or the two years older What's New, Pussycat?, which is actually very, very, very similar madness, but at least I had fun with them.

At the level of the previous two parts, i.e., an atmospheric film for audiences who are not very demanding, who were fascinated and entertained by the first and second Fear Street so much that they want to have fun once again and find out how it will turn out. Netflix really did a good job and I’d like to watch the whole trilogy again someday. If I had to highlight something from the final part, it would be great music by Marc Beltrami and Anna Drubic, both in the first folklore half and the second more contemporary half.

A very interesting documentary shot with style, or it feels as if documentary filmmakers from another planet may have landed in the Baikonur region and started recording what they see and what fascinates them. Without words. The film has no commentary, it tells its story mainly through image and focuses on the landscape, on the buildings, on various statues and monuments, on the spaceport itself and its wide surroundings, shot in long, impressive shots. If someone speaks, they are exclusively local - children, witnesses, a scientist, and some terrible karaoke singers make sounds for a while. The more one then appreciates the return to the magical desert silence that is sometimes disrupted by launching missiles.

In the 1970s, Charles Bronson or Lino Ventura would have acted in such a film. It's a pretty honest crime film that, in my opinion, has much greater potential, so I'm curious what Guy Ritchie and Jason Statham did with the story. It’s ridiculous in places, but Albert Dupontel is a great actor and waiting for the finale is worth it.

The perfect Jessica Chastain in another of the roles she is good at - the role of a woman who goes after what she wants and most of the other characters serve as a rug on that journey. It is a pleasure to listen to the dialogues written by Aaron Sorkin, but he also managed to direct in such a way that I didn’t even notice that two and a quarter hours had passed. I can't fail to mention Idris Elba, who was Jessica Chastain's equal acting partner and acts as good as Morgan Freeman in his best form, Kevin Costner in a smaller but very important role, and also as always the perfect music of Daniel Pemberton.

A cool heist movie with an amazing cast, without which it would have made no sense to make it. This is certainly not the last time I’m watching Ocean’s Eleven, it is one of those films that you enjoy on a rewatch, when you already know the what and the how.

Although it’s a bit a exaggerated, which actually does the same thing several times as the first film, but it presents it to the viewer as a novelty. It’s still great, bloody and exciting entertainment, though. Instead of Scream, it (more than) nods to Friday the 13th, the characters are fine, the director is good.... I'm really looking forward to the end of this trilogy.

I'm sorry to say it, but this is the most useless Marvel movie for me so far. I don't feel like it contributed at all to the MCU - it was created simply because the fans wanted a Black Widow solo film (and to find out what was in Budapest so that there would be peace) and Scarlett Johansson after Endgame probably didn't mind either. It's such a wasted chance, the film stays in its lane from start to finish, and although the action scenes are pleasantly and deliberately exaggerated (it's no coincidence that Natasha is watching Moonraker) and the main characters and heroes seem even more indestructible than Jason Bourne or any Terminator, which makes sense when I couldn't form any relationship with most of the characters during that fast ride, and in the end I didn't care what happened to anyone. Unfortunately, this also applies to Taskmaster, who is suddenly just there, and according to the creators we should be afraid of him, but we can't be, because it is clear to us that this is not the type of film in which the villain could win or at least come to a draw. There are jokes in Whedon’s style, and you can forget about any tension. If Black Widow can bring anything to the MCU in the future, then perhaps only the return of Florence Pugh and David Harbour. They would both make me happy. But there was no need to tell this Black Widow story.

Compared to the previous film, this one seemed somehow emptier and at the same time unnecessarily complicated with various subplots, but despite the multiple Pixar rip-offs, it was still beautiful with many disarming moments.