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Bond is running wild. The honest data disk to Casino Royale, which lags in the ability to operate independently. The scenario moves into a more classic dimension, James' emotional hesitation remains credible, I immensely enjoy the action, and above all, Daniel Craig loses the look of a wild beast who has been given a license to kill and behaves like an elephant in a china shop. Bond keeps killing, but with style, elegance, and I must say, with a certain sinful pleasure. The Bond girl (the classic one) is here briefly, but exactly as the fans want her to appear. Beautiful, slightly annoying, but in the consequences of James' deadly charm, also helpless. In Olga's portrayal, Camille is an equal partner, although she cannot fulfill the ancient fate of Vesper by principle. And the main hero remains seemingly insensitive machine that won't back down. During the screening shortly after watching the previous escapades of Quantum, the motivation or credibility of the villains gradually runs out, but in the face of scenes like the deadly edited Austrian cat-and-mouse game, it doesn't fall behind much.

No naive infatuation in the fight against difficult times, no fateful confession that will forever remain in you. The king's favor takes the path of uncompromisingness, where romantic ideals are suffocated in the bud, love promises end with only one resolute command, and a child is not always just the fulfillment of a relationship. Desperate romantics, therefore, must get a magnifying glass for the projection, to find their own and be able to leave satisfied, but those who tune in to the wave of intrigues and desperate efforts will undoubtedly enjoy this royal spectacle.

Anderson is usually unique, but here he still had significant reservations in terms of narrative pace and style. Even then, it was a portion of original entertainment with a sheer essence of melancholy, but the whole story, although we have all been platonically in love with a young smiling teacher at some point, drags on very slowly and I can only catch glimpses of it through slowed-down shots, a fantastic soundtrack, or occasional charmingly weird gags. As a whole, however, Rushmore is so specifically self-contained that I eagerly look forward to the director's shift in my favorite family three years later.

After the second projection and acceptance of summer rules and light recycling of the plot, it's also calm for the second time. And that even when such fundamental matters are resolved too often, like Troy becoming the antagonist instead of the good one. Especially during summer months, there is surprisingly positive mood coming from the local singing. And You Are The Music In Me is a gem.

I love his desire for revenge, his weapons, his allies, and his enemies, and I love boundlessly every piece of this snowy New York, where behind every door hides a group of killers, much-needed painkillers, or a new set of bullets. But all of this disappears in the adaptation and a new Max comes along. Even this time, he is not afraid to pull out a weapon, but only as a last resort. And that's why I am delighted by B.B., Aesir, Roscoe Street Station, or Alex, but in the moment when I, full of joy from the action that finally arrived in full splendor, realized that the journey to the roof is a cleansing path to the conclusion, inevitably disappointment also arrived. I do not blame Moore for being late with the action, and I do not accuse Thorne of taking the script in a completely different direction. I am just disappointed because I wanted to see much more from the beloved video game than just the scenery.

Luxuriously shot nothing. Cohen transitions from war strategies to a regular buddy movie in the style of Top Gun, interjecting and concluding it all with a spectacular action. Rather than being a failed average, Stealth becomes a very fast-paced mishmash, but it is the expensive-looking camera that compels me to forgive many usual illogicalities.

The deepest magic of atmosphere and nostalgia and an almost perfect example of ambiguous ending. The story also transcends the boundaries of both fantasy and children's fairy tales and presents a devilish demon, a bitter king, or the path of the last one towards their own destiny. With a beautiful musical backdrop, one can get lost in this timeless odyssey from the first note.

From an antique tragedy interspersed with Marvel action, it went a few steps down. And it remained standing in a contradictory mezzanine. Five years after Lee's vision, which was received rather hesitantly, it is no wonder that we are supposed to forget about it from the very beginning. I could see it a hundred times, but I give up because I know I am in the clear minority. However, Leterrier is so excited about the previously overlooked Hulk-smash that he doesn't care much about character depth or traumatic inserts, and the Brazilian introduction even annoys him. As for the central characters and their performers, I have to frown a bit as well, because Betty is nothing more than a lovely catalyst for Banner's emotions this time, and Norton's portrayal of the titular hero is occasionally disappointingly shallow. So why the high rating in the end? Because any action scene is an explosive, impressive spectacle that takes your breath away, and Blonsky aka Abomination boldly joins the gallery of marvel villains cursed in the future, to whom I regularly have a weakness. The decisive factor for the fourth star is that this version of Hulk works solely and exclusively as bait for the Avengers. Yes, Iron Man, Thor, and Captain America are a class or two better, leaving Bruce as a small green one behind, but from a rather inconspicuous superhero side game, he gradually matured into a pleasant bite-sized snack. Note: The translation has been slightly modified for better readability.

At the moment when Berg's fans started to curse their idol for what he presents to them, I finally understand him for the first time. A classic and at the same time anti-comic spectacle, from which enthusiasm can be felt from miles away, Smith enjoys unlimited space and humor and action surpass my boldest expectations. The surprise of 2008 and my favorite Smith.

A peculiar comedy, which starts surprisingly slowly, but hilariously transitions into the crazy genre with a magnetized eccentric, and concludes everything with an original variation on Bio Paradise. I will never see such a combination in my life again, but praises are definitely deserved for The Parent Trap, RoboCop, or Carrie. The film doesn't hold together at all, but it doesn't spare smiles or nostalgia.