D.Moore

It's silly in exactly the same way as the animated series, but it has one big advantage: it knows it's silly, and constantly uses that to more or less successful jokes. Child audiences will find it just as enjoyable as lovers of racy double entendre, but I was most amused at the stylization into a brainy, deliberately parrot-like slapstick and the presence of Rowan Atkinson. The titular canine hero was also fine, and as far as the Mysteries Inc. gang goes, Matthew Lillard is second to none.

After a number of very tense episodes, this one felt like a ready-made treat with a lovely, almost optimistic feeling at the end. Mackenzie Davis in particular is amazing here; I didn't see the cold semi-mechanical qualities from the last Terminator in her for a second.

Whoa. I almost don't know what else to write. Just whoa. Again, such an intense episode, where in the end, little is as it seems until the last moment. And the punchline this time is perhaps even more insidious than in the episodes I've seen so far.

Good and unpretentious entertainment slightly above the level of the first part. The characters aren't very complex but it doesn't matter at all because I trusted the actors; the action scenes are honest (except maybe the overly digital finale of the first one) and it all paces and progresses nicely thanks to Justin Lin's direction and Brian Tyler's music. I would have loved to see the final dusty chase in the cinema.

Without exaggeration, anotherone-of-a-kind Bong Joon-ho film (if I’m saying it right), once again a 100% impressive combination of many genres, but one that doesn't feel cluttered because it's simply so well shot and acted. It's only a step from a cute children's adventure to an action film, from slapstick to the most gag-worthy, merciless critique of the treatment of animals. Is it agitprop? So what? I'm glad someone wasn't afraid to point that out. Like the last half hour of this film, the Roald Dahl short story "The Pig" once took my breath away – as memorable as Okja.

I'm not familiar with Josef Burger's work, but I wouldn't be surprised if Zdeněk Svěrák was just inspired by his stories to write something so beautifully Čapek-esque. Thanks to him, thanks to Ladislav Smoljak behind the camera, thanks to other Cimrmanologists in small roles, and thanks to the Three Constables produced by Voskovec and Werich, Two from the Police Bag is a similarly pleasant intersection of Czech humor – Karel Čapek meets the Jára Cimrman Theatre and the Liberated Theatre, and it's definitely not one to be missed. "President Beneš. You know what he wrote me? Nothing. Apresident. A doctor. And he can't even answer a scientist's letter."

Judging by the trailer, which depressed me in theaters the year before last, I was expecting something worse. Instead I was quite amused by Robin Hood's admitted lack of historicity in the opening monologue. The crusade looks like a scene cut from Black Hawk Down, the guards in Nottingham are simply a hit squad faced down in the finale by thuggish anarchists whose Molotov cocktails shatter against riot shields. In the process, quite topical issues are tackled, such as xenophobia and the haves and have-nots. Why not? I like Taron Egerton and Jamie Foxx too, and they were quite good as partners. It's just... It's just that it's still not a good movie, because the script full of annoying catchphrases sucks and Otto Bathurst clearly wanted to do a Guy Ritchie impression, but King Arthur: Legend of the Sword and its personality, predatory nature, and fun just remain in sight. Average.

Again, a great episode. This time a horror film that simply makes fun of some of the genre clichés but uses another part very cleverly to give the main character (not meant to be likeable, just responding to some of the comments here) a good beating. And the viewer, if possible, too.

Both stars go to the two action scenes, the urban chase and the final race, which make it worth watching the extremely unappealing lead and his dull story about nothing. Justin Lin is a good director, but unless he has a script that's worth something and good actors (see Star Trek Beyond), there’s only so much he can do. Vin Diesel, in a ten-second or so role, showed that he doesn't necessarily have to be an Oscar-winning actor to be more interesting than all the Tokyo Drift characters combined without so much as blinking – all he needs is his charisma.

A total horror that rivals the scariest thing ever made, combined with black comedy? Why not. It's a perfectly nasty vision of a future that may be just a small step away for all of us. And maybe we're already living it. Either way, Bryce Dallas Howard is absolutely terrific under Joe Wright's reliable direction.