DaViD´82

Gothic horror movie should, by its very nature, contain elements of romance, as well as Gothic novel should contain elements of horror. There is no doubt about that. But this ration must be well-balanced, whether in favor of horror movie with elements of romance or the other way around. Which is exactly where Toro fails. He took half-and-half approach and so it's neither a dog nor a cat, but a kind of hybrid covering two genres, which does not work very well in either department and the ending of "intense snowy Kill Bill final" is not appropriate in terms of genre rules. Audio-visuals are highlighted too much and it lacks a decent story line (it would hardly be enough for a short story), atmosphere, mystery, pace or just a hint of tension between the characters. If del Toro wanted to make the Gothic subgenre more interesting for today's youth, he did not pick his battle very wisely. If his intention was a traditional movie of this subgenre, then he failed terribly. If he tried to pay tribute to Hammer’s horror movies, he did exactly the opposite in a very disrespectful way. In any case, we must admit that the aforementioned audio-visual side of things is really impressive (except for the horrible CGI nonsense...I mean, ghosts and I do not think that in the gothic genre movie it needs to be so obvious) and along with the cast that does their best, is the only thing that makes it bearable.

What is more important, the basic legal pillars of society, where everyone has the right to a fair trial, a higher moral principle, which is however not stipulated the law, the inner integrity of each individual or just a giant pile of dust? Yes, difficult and ambiguous ethical and moral dilemma, which is viewed from different perspectives during the footage and Miike constantly forces both character and viewer to take sides. And it's not an "academic discussion over a cup of tea", but a well-paced action thriller packed with action. Back then, Nolan tried to do something similar in the Dark Knight for a few minutes, but only here is finally "did the job". And as if that wasn't enough, it also works on the third level as a psycho (logical) insight into a closed group, which is under enormous pressure because they can not trust anyone from the outside and not even each other. It is simply Miike's idea of a "normal" blockbuster.

A movie without the past and the future, which will be (not only because of this) described as a holocaust-style Come and See (1985). Thanks to the chosen format of "long scenes over the shoulder", it is unusually intense, suggestive (amazing sound work!) and gets under you skin very quickly and for a long time. Maybe too much, because it's constantly moving and it is so dynamic that the viewer (nor the character) will be sitting on the edge of his char all the time. What can happen is that the viewer becomes used to it by the end of the movie, although the horrors during the Sonderkommando shift are shown "seemingly accidentally", are sidelined and presented as a daily routine. But as a result it is even more terrifying and disturbing. No matter whether you become used to it or not and whether you can get over it or not, it is indisputable that Saul's son is one of the exceptions confirming the rule that the film's qualities and the importance and urgency of the theme form one functional unit, which rightfully deserves "festival fame". If nothing else, it is because such a view of the film depiction of the Holocaust through the industrialization of death was desperately needed, because although these events are captured in literature from time to time they are almost never depicted in a movie.

Iranian feature version of Taxi. Although without Hama and the competitive aspect, but this is more than enough made up for by mirroring and making the system look evil with humor and exaggeration. PS: Are there any cars of other colors than white, silver metallic, white, black and white in Tehran (apart from taxis)?

"I'm reluctant to rate it with the hackneyed phrase of "form overshadowed content", though it's pretty much the best way to describe it. In any case, the chosen format "in real time" is bold and ambitious, everything is in constant motion, it is made as one uninterrupted shot and through several different moods and genres it can be undeniably engaging, intense and as “Mann-style" captivating in many scenes as anything else. However, when something does happen (and it does more than it is appropriate), then the chosen form is on the contrary the cause of complete alienation and total exclusion from the movie, when you get so bored that you start noticing the smallest technical and production aspects, how they did a sloppy job in some scenes, and you will not pay that much attention to what is (not) happening on the screen. It's just the whole footage follows the sinusoid curve, for some time it is great, while some time it is out of place. Yet at the end of the day, what is the worst thing about this movie is a way too long, unjustified footage, especially the opening hour. As a result, I would be much more interested in watching a documentary showing how this movie was created including its pitfalls rather than watching the movie itself. Still, great job! We cannot deny that it is something that no one has ever tried before in such a scale. And more importantly, this movie is rather a success than a failure.

Talent reality show about baking in all forms in a tent in the English countryside… It may look like a waste of time and it may call to be labeled as "guilty pleasure" from the department the Czech show Prostřeno, but that would not be entirely fair. Because it's really good and it offers a nice alternative to all those glorious, too loud super-talented mega show. In fact, "bake off" is nice, homely, it offers a lot of useful tips (if you are into baking) with typical English hosts and jury that stay on top of things, without being unfriendly or fishing for emotions. And yet (or precisely because of that?) it can be exciting and it can work in terms of emotions. No wonder, there have already been a few seasons and it belongs to Britain's most watched TV shows for several years in a row. Although I must admit, that this TV show is intended for a completely different target-group than those of FilmBooster users. In any case, it is surprising that no Czech adaptation of this has not yet found its way to the Czech republic in a from of Saturday evenings on Czech TV. In fact, this kind of TV show would suit us much more, as there are many grandmothers, aunts and mother who are into baking, than countless shows that we so gladly and often adapt without even thinking.

The sports line serves more as a tool of perception of Hispanic social part, which is what it's all about. As a result, it doesn't matter that it follows the same path of a gutsy emotionless guy found his way through prejudices and despite the initial setbacks and losses, they finally brought joy to everyone together even if being outsiders. At the same time, however, it is true that creators managed to avoid genre clichés and when they do occur, they are decent. In other words, as a social-sports-fairy-tale drama we get to know a different ethnicity and at the end we will be moved by their accomplishments and it is actually a nice watch. And you will also get Adam Arkapawa's camera as a bonus, who proves again and again that he is able to level up anything, regardless of format, quality or genre. And this is also true here, because what he does with the arid landscape of California, sunsets, night scenes and graceful silhouettes of runners, all without lapsing into kitsch, so you can simply enjoy it.

Matt Damon needs to be rescued. Again… So the bestseller Handbook of Young Martians written by Bear Grylls finally got a blockbuster film adaptation. And this adaptation is so successful that it rectifies most of the weak points of the original (especially the repetitiveness of the first half). In any case, advertising of NASA through the fate of the botanical MacGyver, who starts to like Abba, sand, red, taste of potato and solitude, is fun, stylish and what is nice is that it is relaxed and humanistic in a feel good style that is rather unusual in terms of survival films (let alone sci-fi blockbusters). It is as unusual as refreshing and surprisingly fitting.

The 80s original of Sorkin's Newsroom (which I mean as a compliment), in other words its non-news part that is relaxed in terms of relationships, when in addition to the same style there is also an unacknowledged inspiration of many characters. For example, MacKenzie McHale is such a faithful copy (in terms of behavior, abilities, craziness, obsession, articulacy and talkativeness) of the local Jane Craig that you can hardly tell them apart. Yes, it could have been shorter, and in the second half it shouldn't have turned completely into a relationship movie "one she and two they" at the expense of that behind-the-scenes insight into the news media, but overall it's very likeable and nice. But even so, the best part is that pre-subtitle prologue is worth having its own movie.

Undoubtedly nice and not bad in any way, but there is nothing that sets it apart from countless similar movies. I mean, apart from the fact that the story takes place in boys' choirs. Although... It is not something that sets it apart, as the French did the same thing ten years ago and it was more stylish and by far better, both in terms of cinematography and music. And despite the fact that they made something that had been made before a hundred times, they were at least successful in terms of raising emotions. The chants here sound nice, but it's as reserved and cold as a polar night. And for a similar type of film, it's simply the last nail in the coffin in the same was as for an action movie without any action.