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For me, the film was an attempt to map German production of the 1950s and its efforts to come to terms with World War II and Nazism. Unfortunately, this is not a second coming of The Bridge, and by that I mean the excellent German war drama from 1959. If the German production of that time was like this, then it is probably good that it was displaced by American blockbusters, because the average Hollywood product of that era is more professional and more acceptable to the audience. I have only seen the last part of the trilogy, and it is possible that as a result, some of the connections and situations may have been less understandable to me, but it is more likely a script mess with problematic acting of several characters, particularly the female characters, that slide into pure amateurism. There is an evident effort here to humanize the soldiers and reduce the guilt for war crimes to individual excesses and the NSDAP. Overall impression: 20%.

A classically cast and narrated adventure story set in the scorching environment of the western Sahara, where long before the famous Paris-Dakar Rally was created, merciless races against time, miles, and above all, rival truck drivers portrayed by Lino Ventura and Jean-Paul Belmondo took place. The pros and cons are actually the same - the viewer gets exactly what they are used to and what they expect. They will not be disappointed because the men are true tough guys who know how to fight against the adversity of fate, nature, and the schemes of enemies. On the other hand, they will not be pleasantly surprised either because this film consistently relies on certainties. Only a slightly more experienced viewer will soon guess how the cargo and the friendship of both men on opposite sides of the barricade will end up. The unused potential of Ventura's co-driver - a man with a mysterious and probably quite dirty past - is doubly disappointing. The screenwriter could have been much more inventive and daring in this section (and elsewhere). Overall impression: 65%.

A typical film that won't impress or offend you. Its strength lies in the theme of resistance against the mafia, which controls people's lives in Sicily. A nonconformist young man, who starts an independent radio station and challenges the local villains, must experience the power that the bosses of the local underworld possess. Unfortunately, it resembles mediocre Canadian films based on true events in terms of its quality. Everything is somehow average and destined to be quickly forgotten. Overall impression: 55%.

When looking back, the film doesn't seem as clever as it did while I was watching it. Its screenplay tempts us to expect some kind of mystifying twist, similar to Sexmission, and meanwhile... The film is interesting in that, during its runtime, it changes genres, similar to a chameleon changing colors. It's not about intertwining different genre elements, it simply functions as a pure horror for a while, then transforms into a psychological drama of an isolated group of people, later on it becomes an authentic science fiction, and elsewhere it turns into a thriller about encountering a deranged criminal. By the way, the main heroine is really unlucky. Ending up in the company of the biggest lunatic in the district after a serious car accident is not fair at all. All three actors deliver an appropriate performance. Mary Elizabeth Winstead in the role of a brave girl who doesn't want to sell her life for free is likable and appeals to me more than in a similarly constructed character in the prequel The Thing. The real treat, however, is the presence of John Goodman in the role of an eccentric property owner with peculiar hobbies. This is an immensely gratifying type of character and John Goodman thoroughly enjoys it. Although after the final quarter-hour, when 10 Cloverfield Lane definitively reveals its true colors and the illusion of sophistication dissolves, the impression slightly decreases, I will ultimately give it 4 stars, as no matter what genre it belongs to, it precisely provides the emotions it intends to. Overall impression: 75%.

I'll put it plainly - the vast majority of so-called American teen comedies are crap: poorly cast, badly acted, vulgar, and desperately unimaginative, all following a tired formula. Objectively, this film is no gem either; it relies on familiar clichés, the characters' behavior is entirely predictable, and the resolution can be guessed within the first ten minutes. However, it does have a pleasant and effective cast (both leads demonstrate why they later became stars) and maintains a certain level of quality. In the land of the blind, the one-eyed man is king. Overall impression: 45%.

A film often broadcasted in the 70s as part of youth programs, now, I think, somewhat outdated, but still a likable affair. At least the cast (if we set aside nostalgia) is worth a one-time watch.

I approached the 10 Items or Less with caution, as A Series of Unfortunate Events from the same director didn't work for me. However, I was pleasantly surprised, as it is a likable indie film or at least an independent-looking film. It is a movie about a rather ordinary supermarket somewhere in the suburbs and a tired cashier who, by a twist of fate, meets a retiring actor who used to be a sought-after star in his field. This chance encounter turns into a day-long trip filled with conversations about life dreams, goals, and values. Both of them part ways enriched by a positive experience. In its minimalism, it is inventive and tasteful. Overall impression: 80%.

One of the many Nordic titles influenced by Trier's Dogma 95. A real environment, a handheld camera, and a believable and, in its own way, banal story devoid of any decorative and manipulative elements typical for entertaining film fiction. The film suggests the feeling of a documentary. Denis may command respect with his giant muscular physique, but he struggles in his romantic relationships and is under the influence of his dominant and manipulative mother. The years pass relentlessly, and Denis decides to escape from the seemingly comfortable environment of the "mom hotel" at all costs. He travels all the way to Thailand to find love and a new home. An encounter with his mother becomes inevitable. Teddy Bear is actually quite an ordinary film in terms of content, and I'm not sure if it would work as successfully if it didn't feature the striking presence of Kim Kold in the role of the gentle giant with a good heart, who moves us with his clumsiness. Overall impression: 60%.

A bizarre bit of screenwriting that is influenced by Tarantino's famous film Pulp Fiction in terms of mixing genres, and shuffling the chronology of the story with several parallel character stories that get roughly the same amount of space in the film and are endowed with cool characteristics. Humor, as typical for Tarantino's films, is combined with violence and human suffering. There are also several crimes, dead bodies, one severed penis, and somewhat raunchier language - basically, everything that a cultured viewer nurtured by Bergman and Fellini likes. The film has a very reasonable runtime and fast pace, but it does not have as well-written dialogues as early Tarantino films, lacks black humorous lines, and the director's inexperience is noticeable in the film. Overall impression: 65%.

I still have not seen 12 Angry Men, so I have no comparison to make, but Michalkov's modern version is very high quality and it was one of the strongest experiences in the past year. Excellent acting on a level that is rarely seen, well-written characters that depict the cross-section of contemporary Russian society and speak volumes about the atmosphere of modern Russia, and an intense dramatic conflict that keeps the viewer uncertain until the very end and forces them to think. Excellent camera work and clever direction, which alternates static shots from the gym with flashbacks from war-torn Chechnya. By the way, the action scenes make up only a very small part of the film, but they are among the best that have been produced in the field of war films in recent years. The script cleverly and gradually reveals the motivations and characteristics of the individual jury members, as well as the criminal act itself. In two or three cases, the director went too far in his attempt to make the plot more attractive, for example, the scene with a knife cutting a cigarette is exaggerated, but Michalkov has to be credited with true mastery and his film, despite some minor flaws, is among the best that European cinema can currently produce. Overall impression: 90%.