D.Moore

I think I've seen the first two movies, but I'm still not sure, and most importantly, it doesn't matter. I learned from Bill & Ted Face the Music that the most important stuff "happened before" anyway, and in the finale, what remained secret from me and what was created for the knowledgeable audience was probably as important as the time paradoxes. Actually, not at all. Childish goofy fun, that's what's going on here, and from start to finish I had the impression that the actors - from Keanu Reeves and Alex Winter to Samara Weaving and Brigette Lundy-Paine in the roles of their daughters - had at least the same amount of fun on set.

Like Liam Neeson in 2008, another great actor has become an absolutely believable action hero, and someone that we did not expect it from. And Nobody benefits from how great an actor Bob Odenkirk is, just like from the action scenes directed by Ilya Naishuller. We are interested in Hutch's gradually uncovered past, we are interested in how much his loved ones actually know about him, and at the same time we are having fun with scenes such as the huge brawl in the bus, which reminds us that even such heroes get hit. Along with all this we get humor to lighten it up at the right moments, a great song soundtrack, Christopher Lloyd... Although, unlike John Wick, I don't want a sequel all that much, Nobody is still a great film.

I would be careful with the word "western" (although it's nothing against the "comedy" genre, which, God knows why, HBO presents), but it's definitely a drama, even a great drama. The creators prove that even with such a rarely sober runtime, you can tell a big story with a relatively large number of characters, and they also manage to draw attention to the still hot situation in Cyprus, which will probably never be completely resolved.

I wanted the ending to be a little different and it didn't quite fit with how everything kept working out for the main "hero", but I can't deny that the film is stylish, worldly, nasty and chillingly contemporary and I was constantly wondering what would happen next, where it would lead and how it would end.

Bo Burnham would probably be able to write great, serious songs in perhaps any genre, but that probably wouldn't be enough for him. He gives his songs extremely funny lyrics, which are also quite cunningly satirical, and when you listen to them, you often find that you are having fun, but you actually start to think them, because they are right. In fact, Burnham reminds me a lot of Eric Idle, who had the crucified people in Life of Brian sing “Always look on the bright side of life"; in the musical Spamalot, his characters find out that you won't succeed on Broadway if you don't include Jews in the game, in the title song from The Meaning of Life he makes fun of human wandering for nothing, and in the same film he convinces us of human puniness with Galaxy Song. Burnham does the same, but applies it to today's world, to current problems... And he does it great.

As bizarre a as The Lighthouse is (and it’s very, very, very bizarre), there can be no doubt that it is also a superbly filmed master performance by two great actors that impresses the viewer exactly as the filmmakers intended. Basically, you feel you’re going crazy, too, while having fun.

Everything (and actually everyone) we liked last time is back and it's still a great spectacle to watch and hear. The main novelty of A Quiet Place Part II is Cillian Murphy, and he is perhaps the best possible actor that John Krasinski could cast, because it is practically impossible to take your eyes off him, no matter what he does (or doesn't do). The second A Quiet Place is closely related to the first that I felt like I was watching another part of a great series and I enjoyed meeting well-known characters, and during the next, pleasantly sober hour and a half I also learned more about the strange quiet world... The end of the film again clearly points towards the next one, which does not bother me in the slightest.

A surprisingly good film that certainly doesn't put the original to shame (unlike the second one). Story-wise, it's a bit of a combination of The Exorcist and The Medusa Touch, but who cares when George C. Scott is so great and the atmosphere is so cool!

I'm almost monstrously satisfied. After the previous film, let alone after the trailer for this one, I didn't expect the atmosphere of Edwards' Godzilla to return (although it's too bad), and I was mainly looking forward to the fun with special effects, which I also got to see. Perhaps the only bad thing is the full-speed-ahead rush from the very beginning, because I could easily wait for a while for the first duel between Godzilla and Kong on ships, or even give it up, and I would like to stay longer in hollow earth. I appreciate that the title monsters have become regular characters, and for example, when Kong triumphantly raises an ancient ax or sits on the throne, you get exactly the feeling you should get. A giant plus is the well-arranged action (the finale in Hong Kong, and that's why I'm glad I waited to see it in the movie theater) supported by Holkenborg's music.

Robert Zemeckis in great form. I can't think of another director who could tell such a story with half of it being acting and half animated, and firstly cleverly switching between those forms and then gradually letting them intertwine and influence each other... And to keep it fun and at the same time something more. Very often, Welcome to Marwen has the atmosphere of the Zemeckis films that I fell in love with, from Back to the Future (after all, Marwen is a time machine and yes, it can fly) through Who Framed Roger Rabbit to Forrest Gump. In that case, of course, no one but Alan Silvestri could have composed the music, and also when it rumbles, one remembers with a smile the way things used to be. That the film has such a low rating surprises me. After all, even if the directing games leave you cold, Steve Carell is still 100% fantastic, isn't he?