novoten

"I'm sorry you're so sick" Beautifully written, sincere and touching story of an innocent person, which is partly directed as a sarcastic notch at American politics and society. I don't understand how, but it works brilliantly.

I consider the first story to be an example of perfect filmmaking craftsmanship and Inarritu, to me, was a genius while watching it, someone to whom I would confidently entrust any subject because his visual ideas or the alternation of contrasts are absolutely flawless. My enthusiasm faded after the remaining two stories, which are not bad, just not as disturbing or captivating for the viewer's senses as the first one, and rather focus on the gradual psychological development of the characters. Unfortunately, most of the time it is a bit too gradual and almost tedious.

Great genre crossover. Noir is parodied here and at the same time receives a proper tribute, and buddy movies, as a practically dead genre, get a substantial injection for several years ahead. Above all, the central duo of "Perry the Gay Guy and Harry the New Yorker" can convincingly toughen up, turn established tough-guy tricks on their head, and surprisingly get under the viewer's skin from the opening minutes.

The unbearable frenzy of costumes and literally infantile exaggeration contrasts with unexpected and unconvincing attempts at sincere confessions seriously infuriating. Moreover, the ending ruined all chances of at least a tolerable climax.

When little Kirsten Dunst argued with her brother in Jumanji, it resulted in an unforgettable adventure. In Zathura, the sibling trio argues much more, the storyline tries too conspicuously to copy its predecessor, but not only due to the dysfunctional ending, it miserably fails. Surprisingly forgettable game that does not measure up to the wild Robin Williams at all.

The Last of the Mohicans goes against established customs of adventure films, whether it concerns the development of the plot or its culmination. Of course, I won't reveal it, but when it comes to the character development and the story, it does not alternate, as is usually customary, between purely thrilling and action-packed sequences and the slow ones. Instead, it carefully adds depth to its characters for almost an hour and a half, subtly sowing the seeds of omnipresent tension, only to unleash all the fate, romance, and action in a straightforward and brilliantly executed final section. Cooper's adaptation is by no means perfect, but, in the end, Mann might deserve some award because it is mainly thanks to him that most viewers feel like they just watched a flawless film. If there is something perfect in this movie, it is definitely the soundtrack, one of the best music compositions in history.

Hunt's most balanced escapade. Innovator Abrams managed to revive a somewhat exhausted series into a position of a strong blockbuster player, and thanks to fast editing, well-developed characters, and a close portrayal of Ethan's character, he achieved a nearly historic success. Despite his specific approach, he never lets us forget which action hero we are watching, taking the best from the cleverly targeted mood of the first installment and the action-packed sequel. This time, I found myself holding my breath for the central adventurer, rooting for him intensely, and shivering during all the action sequences. Until the period when McQuarrie took the series under his wing (forever?), I actually liked the third installment the most among the entire M:I franchise. As the years go by, it loses some of its uniqueness and irreproducibility, but fortunately, not the entertainment value, tangible drive of the story, likable attempts to deviate from genre conventions, and last but not least, the atypical (and cunningly) villain.

A suspenseful and sufficiently intricate piece that was dangerously fashionable to criticize at the time. Traditionally excellent performances by Hanks, beautiful Audrey, and devilish Bettany in a story that is attractive both in terms of historical and contemporary, as well as relational and religious aspects. On first viewing, without knowledge of the source material, it is demanding for the viewer's attention, and it is only during the second viewing that one can calmly fill in the context.

How Uwe managed to be almost sympathetic with his harmless Alone in the Dark effort, I quickly change my mind after Bloodrayne. All the criticism and hatred is justified this time. The fight scenes are painful to watch, the camera movements from a distance unsuccessfully try to imitate The Lord of the Rings, and the actors are terrible, one worse than the other. Madsen looks like he doesn't understand where he ended up, Michelle Rodriguez has nothing to play, Ben Kingsley just recites his lines, and Billy Zane probably only came for a paycheck. Only Kristanna Loken remains with some dignity, even though she plays clumsily, at least she has a passionate scene with real intensity. How this could have become a multi-part saga, I will never understand.

I enjoyed the storyline of the Chinese agent even more, which made the impact on the ground even harder when Bridget Fonda took over the reins. The excessive emotions, unfinished action scenes, and zero suspense are partially redeemed by the surprisingly well-graduated finale, but ten minutes of fantastic action don't outweigh the rest of the suffering.