D.Moore

I was not expecting such a beautiful documentary. It depicts a thirty-year relationship between a capricious perfectionist and a person who was first his driver, later his assistant and finally his friend. I enjoyed Emilio's civilian view of filming all those masterpieces, from A Clockwork Orange to Eyes Wide Shut, and I enjoyed Kubrick's messages and instructions on how to save dogs and cats in a fire. I would have to be made of stone or tin if it didn't bring tears to my eyes in the end.

Joe Wright likes Hitchcock, that is evident, and that is fine. It's a pity that the screenwriter didn't care about The Woman in the Window, because the finale is, well, awkward. I was definitely expecting something more interesting than the slightly anticipated showdown, which only impressed me with Wright's direction, Amy Adams' performance and Danny Elfman's music, but not much by what (and who) it was about. Otherwise, I am satisfied, and the scene with the car is, in my opinion, quite unforgettable.

Despite all the surprising events of the film, something is missing that would make me want to watch it a second time, but it is definitely a good film. It could be ten to fifteen minutes longer, because at the end, in addition to the main protagonist, the story also runs out of breath. Mélanie Laurent is excellent, Alexandre Aja uses the cramped space of the cryochamber in such a way that you do not get bored, and I really enjoyed the unpredictable computer MILO, which can execute almost any command, but only after it is properly told about it. One may guess the point, but it's mainly about the atmosphere, and it's great.

If someone filmed my favorite series, Black Hammer, I would like the result to look exactly like this. Just like a superhero series that doesn't forget that superheroes are humans, too, and have problems like everyone else. Fly to Mars? Okay, but on the way back, stop by the dry cleaner's. And so on. When there are good characters and a good script, one enjoys both of those positions, and Jupiter's Legacy succeeded in that. As a result, the first series is mainly preparation for the second, in which it will probably (similarly to Doom Patrol) go into even greater twists. Yet I enjoyed every episode, whether it took place in the present or in the thirties, where the creators told the story of the birth of the superheroes with a 100% Lovecraft story. Netflix really did a good job with this.

A teenage comedy, but with adults instead of teenagers. For every good joke (and there are a few) there is a bad one, so the result, although it didn't particularly pissed me off, is just mediocre.

A great spectacle that takes place almost a hundred years ago, when everything was somehow nicer and better. Or so it seems. It's actually a documentary with a story. Beautiful shots of Prague and nature, a suitably boyish story of an almost Foglar type, only without real heroes, the promotion of a noble scout idea, back then being ten years young and so beautiful. And the music of Wabi Experience works great with that.

It feels like it’s going to be a classic horror story - the family moves into a house where "something" happened and they are not alone. But in fact, it's a lot more than that. The atmosphere gradually thickens, it turns out that few things are really what you thought they were ten minutes ago, and who knows, in the end, maybe the supernatural will be the last thing you should be afraid of. Amanda Seyfried is perfect.

A perfect animated film. Furiously funny, but at the same time still about something, not just about that fury. The 3D animation playfully combined with 2D looks beautiful, and if you remember The Incredibles in a few of the moments, you won’t be able to accuse the creators of copying, but will rather give them the best possible praise. And let's not forget the amazing dubbing by Danny McBride, Maya Rudolph, Olivia Colman and others. It never occurred to me that the film lasted almost two hours (like almost everything today).

It was actually quite decent... Until it became Saw and I started wishing it would be over before it got worse. Sherlock has changed remarkably in four seasons. I don't just mean the central character, who has turned from an eccentric, brilliantly thinking antisocial to a an absolute psychopath dangerous to himself, to those close and far from him - by that I mean the whole series, which went from something unexpectedly amazing to something unexpectedly unsuccessful. I'm not angry, but I'm very disappointed. However, I will be happy to return to the first two seasons. They were good, the episodes built on each other and did not refute each other.

Toby Jones is a great villain, but this episode doesn't deserve him. And if you don't find yourself shaking your head at the plan to save John or the revelation of who's who, there's probably nothing wrong with your life, and you can go and teach Zen masters about peace. Yes, I liked Sherlock's drug scenes, and the part with a devastated detective catching up with his own brain, but it seemed like a completely different series. I'm sorry to say I'm looking forward to the last episode of Sherlock mainly because it will be the last.