novoten

No matter how charming Zachary Levi, to whom none are indifferent, and how cute Alexis Bledel, that winking doll who can break the most innocent smile even at thirty-two, I would indeed prefer to forget this Sunday. Chuck and Rory have ventured into extremely predictable romance (the Hallmark Hall of Fame brand should have been sufficient warning), where an interesting plot quickly becomes annoying, supporting characters are fatally boring, and the main duo, despite having more than solid chemistry, are undermined by the script as much as possible. Moreover, the last third act only new loaded questions instead of answers and instead of catharsis, it's just more cotton candy.

A dream come true, namely my dream of how Peter Davison, David Tennant, and Georgia Moffett poke fun of how fairytale-like their family ties look to us fans. When combined with the singing John Barrowman and fanboy Russell T. Davies, a perfect treat for everyone who sees far enough beyond the TV curtain in Doctor Who.

When darkness surrounds the horizon and the Behelit show their true face, you can literally break apart, and yet the fates of everyone involved can only be altered at great cost. The deadly intensity of the increasingly depressing actions of the main characters takes your breath away, but because you can only watch the final act with great nervous tension, that's not enough for the highest rating this time around. Paradoxically, those destructive moments and fatally open ending were what pushed the Berserk series into legendary status in my eyes. Now, on the contrary, the knowledge of the inevitable hell depressed me greatly, and I wanted to get out of it as soon as possible, mainly so that so many years after watching the series I could finally find out what happened next. And it must be said that despite the fact that I learned everything I needed to know in a few shots and sentences, I remain satisfied. As the finale of a golden age trilogy, this amazes you; as the promise of (hopefully) better things to come, it's even better.

A true golden age with a magnificent rise and the inevitable error that precedes the fall. The Battle for Doldrey undoubtedly brings the strongest chapter to the trilogy covering the plot of the series , where a shiver runs down my spine almost constantly during the dramatic dialogues, character breakthroughs driven to the brink of emotional possibilities, or just visually perfect scenes (the encounter in the snow). When destiny breathes through fantasy and every decision has fatal consequences, there is nothing left but to tremble with delight.

The most magnificent holiday adventure of the creative era of Russell T. Davies. The Doctor saves those who don't really deserve it, loses those we wish he could rescue, and delivers legendary monologues that make us want to take David Tennant home with us, and not just for Christmas. One of the easily repeatable journeys of the last Time Lord, which, thanks to a bit of stardust, leaves tiny sweetly painful scars on the soul.

The heated emotions from the finale of last season haven't even had time to calm down, and already a talkative and perpetually unsatisfied redhead is showing up for a visit. It took me quite a while to get used to Donna's chatterbox nature for quite a while, but thankfully, the situations in which the Doctor has to react to a completely different type of companion turned out to be great. A surprising, confident, and most importantly, satisfying start to the second half of the Russell T. Davies era.

It left the world and took its flight / over the wide seas of the night. / The moon set sail upon the gale, / and stars were fanned to leaping light. Favorite scenes from the book elevated to adrenaline peaks, incredibly functional new characters, and references from other Tolkien works finally depicted in a way that we don't have to grasp for every footnote. And when I was afraid that the tempo might suffer with the arrival at Esgaroth, I didn't realize I would receive such a hearty dose of Smaug that would surpass everything and make The Hobbit: The Desolation of Smaug the film of the year again. Okay, I'm lying, I did suspect the last part. And I had missed that atmosphere of fantasy, adventure, and this time even real fear and courage much more throughout the year than I was willing to admit.

A well-deserved phenomenon that in its time upset stagnant waters and reached into every corner of the world. The unprecedented pacing, shocking twists, and love for the central trio of Eren-Mikasa-Armin, as well as for the outstanding secondary characters (Levi, Sasha, and more and more as time went on), resulted in Attack on Titan becoming one of my favorite anime worlds even before I knew it. Such fierce editing, soundtrack, and effects are simply unprecedented, and even with the increasing number of episodes and seasons (though waiting for them is often painfully long), I can't help but marvel at how daringly rational answers are given to the boldest plot questions. I know that the biggest charm now lies in the biggest question mark, that is, the question "How can this possibly end?" However, I would eagerly follow every clue for a good few more years, and I am deeply saddened that this is not possible.

Greater emotional richness, surprising creative courage, and a healthy self-confidence behind and in front of the camera. In most aspects, it's just as complete an explosion as the original (and even my favorite installment). In the wrong hands, it could easily have become a tearful prologue from the first half on, but fortunately, that did not happen. The spark slowly turns into a flame, and when Peeta becomes a clear leader and Johanna steals all the scenes in such limited space, Catching Fire is a winner. Although there isn't too much space devoted to the history of the Quarter Quell or the individual veterans over the extra fast-paced half-hour, thanks to a more coherent picture, it is almost the best film installment. But there would still be more to come.

For how exemplary Lily Collins is as Clary, there's so much disappointment on the whole that it's downright tragic. Jamie Bower is clearly desperately bored in Jace's shoes, the creators forgot to tell the wild Jonathan Rhys Meyers that this was not just another episode of The Tudors, and my favorite Isabelle has turned into a snappy dominatrix. Jessica Postigo may have dutifully read the saga, but she wants to incorporate practically every supporting character with all their motivations into the script, even though in this format it would take up half the running time to explain the entire mythology. Luke and Hodge then merely fill the role of forgettable sidekicks instead of making a proper impact on the plot from time to time. The creators ultimately did not even get the chance to return to the Institute, so no further damage was done. I have a great fondness for the saga of the nephilim world in book form, at least as far as the original trilogy is concerned, so I don't want to delve too deep into this rating on principle, but considering how the outcome could have been, a 50% rating is quite a sad limit.