D.Moore

In the previous season, the creators of Sherlock made me believe that I didn't trust them at all now in what they do, not even the death of one of the main characters. And if that death was to be the best thing that happened in this episode, I'm sorry to say that it didn't work out. The thing is that it started so well, with the echoes of the first season, it looked like a decent investigation, but then everything got complicated, overly complicated and in the end the twist put a halt to everything. Neither Sherlock nor Watson had the best scene, but rather their borrowed dog.

I was expecting a period story with the same cast from the special. However, The Abominable Bride is, in the end, a strange hybrid that builds on the end of the third season and brings us closer to the fourth season, without, however, anything important happening in it. It's really just a drugged plaything that does not take itself seriously, which is quite nice, but at the same time the traveling a hundred years back, forward, back and forth again is unnecessarily confusing. Arthur Conan Doyle probably wouldn't be happy.

The villain is great. Disgusting, slimy, cunning. He could have been a worthy opponent for Sherlock, if the creators wanted him to be. But they didn't. It’s like they gave up on having any tension and replaced it with humor that is far from always effective, exchanging Sherlock's believable deductions for absolutely unbelievable thought processes (if in the last episode of the second season you found his search for an abandoned chocolate factory to be ridiculous, this time you will be force to take a sedative), they mix various supporting characters into the story, which are either as ingenious as Sherlock or as stupid as Lestrade, the plot is overly complicated in order to hide its shortcomings... And in the middle of it all, Watson stumbles around helplessly, which you can easily empathize with. And the final solution? I was surprised, but not in the way I would have liked.

Unfortunately, the weakest episode of Sherlock so far. I can hardly believe how boring, at times annoying, it was. What's more, in the end, the creators tried to convince me how they had thought everything through, but I still couldn't get rid of the taste of the sitcom wedding party, which made it so that the episode only got to the case after half an hour (!)... Then I didn't enjoy it anyway, because the script kept crushing it with that wedding and an absolutely awful bachelor party. The gentlemen did not deserve this.

It's more about Sherlock and John, their tiptoeing and how things actually went down last time, than it is about a new case, which actually almost ends up unsolved, which is a bit of a shame. The ending promises a better show next time, so I will believe it.

Leigh Bardugo's books are great young adult reading that won't offend the readers of the genre, and the series is the same. I would even say that no fantasy has grabbed my attention so easily since The Witcher. Perfect casting of each character, rich design, the great environment of fantasy-pseudo-tsarist Russia, an interestingly intertwining story, tension, action, emotions and exaggeration always at the right moment... And at the end, the open gate leading to the second season, which I hope will be made.

Nothing that we haven't seen before (perhaps with the exception of Steven Seagal's films), and it’s been done better. Jessica Chastain battles not only killers, but also the stupid script, the rest of the cast looks good in the credits, but as a result it's all a big missed chance. In addition, Tate Taylor can't even shoot a proper action scene, which is pretty bad for an action movie.

A bit of the Cimrman "I suggest eating dogs" in space, which I'd give a fifth star if it answered the literally hanging question: "How the hell did he get there?" In all respects, this is a film exactly for me, i.e., quiet, not full of unnecessary effects and relying on the actors (the absolutely excellent Anna Kendrick) and the fact that you will find yourself in their situation and try to think for yourself how you would resolve it. P.S.

A great film with a strong story told in the style of Amelie or Big Fish. Absurdity and exaggeration balance the rawness and brutality of what happens over two hours, and the atmosphere is hard to describe, just like the perfect acting and a careful script full of metaphors that flow so magically to a beautiful end.

Walter Hill, an expert in straightforward action movies, has made, well, a straightforward action movie. This time, a rock and roll western from a kind of indefinite timelessness, in whose journey various decades of American culture meet from the 1920s to the 1970s, a bit similar to Warriors. The story can be summed up in one sentence, and it was probably only possible to drag it on for an hour and a half thanks to the musical numbers, which are great. Hill's screenwriter doesn't bother with classic dialogues this time, but lets the characters speak to each other only in harsh one-liners, and Hill the director doesn't wait for anything, and as soon as it is possible, he lets someone beat or shoot someone. It's simple, but it's fun. Unfortunately, the only stain on the beauty is Michael Paré, who really lacks what it takes to be the main tough guy.