Nowe recenzje - Progresywni użytkownicy

A short demonstration of ball work by Jiří Štěpnička explains why this Cheb first-league kicker must take ephedrine. He compensates for shortcomings in kicking (and, as will later be revealed, in love) with physicality. After his mysterious disappearance, the club doctor steps in, who is both Holmes and Watson (he examines the object of his investigation himself), only to be replaced halfway through by a professional from a local string trio that meets solely to drink beers and stuff themselves with goulash and cracklings after their fiddling (don’t be misled by the content here, which may give the impression that the captain of the football team continues the investigation). Through gradual, slightly probing questioning, the perpetrator is eventually revealed, along with the nature of coach Vrba, who, just like his real-life namesake, reacts irritably to questions when things go awry. A well-cast crime production that plays out a draw at training pace. A yellow card goes to Antonín Moskalyk for filming.

James Wan craved something less opulent between two swamp creatures from the fitness center, and influenced by slashers about serial killers from the late '80s and early '90s and figures like Bava, Argento, De Palma, or Cronenberg, he returned to his creative roots. The result is a "genre-blender" that painfully lacks logic, but the artist's ability to place these motifs into an appealing framework overshadows everything. Wan simply plays with us, whether we wait for a lightbulb from Godot or clean police stations (since a certain cybernetic organism rampaged in L.A., no one has done it this thoroughly). While the charm of the lead actress stimulates the imagination, her first name invites lascivious wordplay. However, there are films where the idea of anal sex with her is not so tempting.

"I'm doing what I can to scare you to death. It's hard work, but someone has to do it." Attitudes, influences, fears, symbolism, and the expansiveness of a child's imagination. Fantasy is shrinking. People, read...

It seems that the director, with the words "soft fish, sweetly tasty," ate the script at the beginning of the shoot, and then everything proceeded somewhat intuitively, knowing that the aggressive straightforwardness would save many elements in the unusually short runtime for the genre. The creators' reflections should lead to the conclusion that the "End of the Magical Misery Tour" has come, but it seems that the fish supplier will still try it on her own due to the earnings.

Anders Thomas Jensen doesn’t cut into the living flesh; rather, he simply slices off some oddities from his own leg and marinates them in 100 ml of dark humor sauce, 2 teaspoons of psychopathy, and a sprig of forgiving their expressions. Unfortunately, the more of his films I see, the more bland they taste. Kudos to the makeup artists for transforming Mads Mikkelsen, who was as sweaty as a stable door, into William Fichtner.

The suite of sinister tones uses a few tools from the cult thrillers of Demme and Fincher (I even heard strings from Magic with Hopkins) and fundamentally focuses on the idea that the devil hides in the details and that a mother will protect her child even if she must become Faust (Osgood Perkins was inspired by his own mother, who served as a shield against the awareness of sexuality and the related relationships of his famous father). Statisticians can tally how many times the silhouette of the Horned One appears, and lovers of symbols can ponder whether we should think that Bill Clinton is in Satan's grasp. And producer Cage? He enjoys those few minutes in the style of the seven-style John Doe, even while waiting at the bus stop. "I know you're not afraid of a little dark. Because you are the dark."

A bland debut from Destry Allyn Spielberg that you’ll forget in a few days, as there’s nothing here that leaves a lasting impression. It loosely tries to draw parallels to Hansel and Gretel, but the tension between the captor and captives falls flat. The house’s design makes no sense, and the big escape plan involves a hole in the wall (wow). While it's competently shot, that can’t hide the film’s weakest point—a dull script that offers nothing fresh or interesting. It also fails to logically explain the world it presents, which should leave us feeling uneasy.

A solid six-episode series that you will be happy to watch in one morning, because it's excellently humanly told and it's just good to watch. It has loads of jokes, a Christmas atmosphere and a fun theme, along with quality dialogue and plot – a great thing to relax to. Ida Elise Broch is lovely in her own right and her acting steals the show. The supporting characters are all equally entertaining: the rather rather weird suitors and the colleagues and patients at work. A cool thing for the end of the year that Netflix did well.

The introduction to the plot, characters and world is almost zero and people who are not fans of The Witcher franchise have no chance to fully understand and enjoy the series, which is a big drawback. At least Geralt's final fight was worth it, but otherwise nothing great...

The fundamental problem with The Witcher is the absolutely zero introduction to the plot, the world, the characters and so on, and so for those unfamiliar with franchise, it will be six episodes of incomprehension, confusion, pain and suffering. It doesn’t matter that Henry Cavill and his sword scenes are excellent or that the episodes where Geralt is the main centre of the action are great in general, when the rest of the cluttered plot and flashbacks that you don’t even know are flashbacks until they read the internet discussions, totally suck. Witcher nerds would give the series five stars even if it was total trash, but for the average person, it's a terribly unrewarding thing to watch, and it's just an average fantasy series with nothing that hasn't been in other similar genre works before. For me, it's as disappointing as this year's anticipated See, so I'm hoping that at least the second season of You will do well for the end of the year...

The second season followed the same vein as the first, it was different mainly in the characters and a bit more convoluted plot, but otherwise it followed almost the same template as the first, which is perhaps a bit of a shame. From the middle and towards the end though, it picks up an incredible pace, dropping one twist after another and showing that everything is different than it originally seemed. In the end, it’s surprisingly good and perhaps a little better than the first season, which doesn't happen often.

So far it's not what I was expecting, but the characters are interesting, so it's quite fun to watch, with the hope that it will get tighter over time and the four so far separate storylines will become more intertwined. We'll see what happens next.

I haven't seen the old The Grudge so I can't compare, but there's no need to because this couldn't have gone any worse, and at the end of 2019 this is clearly the worst cinema experience, people even left the theatre or were texting. I wasn't expecting much from the director of three mediocre horror films, but what he's delivered here has makes no sense. From the beginning the film feels terribly B-ish, the cadence of scares is 10 in 5 minutes, but not ONE of them was good. The atmosphere is completely lacking because there is no room for it in the 93 minute running time, and that is where the low budget shows. There is a lack of dialogue or character portrayal, scenes jump from one to another without continuity just to save time, and what the horror film lacks in atmosphere, the director tried to make up for in abnormally loud scares where the only scary thing is the decibels from the speakers, not the scene itself. Stupid, without a shred of an idea and brutally botched, this should be banned from release, let alone theatrical release... I was counting down the minutes until the end, please avoid this film by all means.

What at the beginning looked like three ordinary dramatic stories grew into a huge web towards the end, where all the independent storylines came together in one place and all (probably) came to a close. The series is helped immensely by the well-acted characters, where after a few episodes you find your way to each of them, plus the great actors from well-known movies, and that's it. Plus, all three storylines keep their pace, they have drive and it's not (as it usually is) that one is weaker than the others. The tension and questions the series asks in the last third are delivered engagingly and it goes into the very end as a gritty, action-packed gangster flick. I didn't find much in common with the tales and perhaps found the final episode a bit rushed, which is a shame, but I'm still looking forward to the second season and hope it will be at least as good.

Ad Astra is not the cosmic little sibling of The Martian, Interstellar and their ilk, as it might seem at first glance. It's more or less just about the meaning of existence, monologues and the personal crisis of the main character, who deals with the question of life in the universe, which is ultimately hidden by the question of our life on earth. Visually it's polished, like all space sci-fi flicks, it offers its own and special take on other planets and the search for life, Brad Pitt plays it perfectly, but it's not a film for everyone. Most of the time it had a soporific pace, blank stares to nowhere and the action was incredibly minimal. For me, it's a film that I have no reason to watch again, and while it's a good philosophical grind, it's unfortunately not as engaging as the trailer would have us believe...

Knives Out is an unbelievable surprise for me, I didn't expect much from it, but it came out of nowhere as a terribly entertaining, suspenseful, situational humor-laden hit. What pulls the film up is that it's cast is mostly just familiar faces like Hannah from 13 Reasons Why, Toni Collette, Chris Evans, Daniel Craig, Jamie Lee Curtis and other stars, and their characters are all the better for it (the quiet great-grandmother, the Nazi grandson masturbating in the toilet over deer porn, the perpetually fractious family...). From the beginning, the film picks up a fast pace and the style with which the family's interrogations are delivered is great, making you laugh the whole time. Otherwise, it's a solid whodunit with everyone being interesting in some way and uncovering one mystery after another until the final minutes. I enjoyed myself immensely, and after the not so engaging Murder on the Orient Express, this is a far superior successor.

A terrifying picture of a future that may not be far, where people rate each other with stars and are accepted or rejected by society according to their rating. Chilling at times, perhaps tedious and a bit over-the-top at others, but still an interesting view of the world. Black Mirror really knows how to put a bug in your head and make you think...

At the beginning, a fast, straightforward and brisk post-apocalyptic chase of survivors by a robot dog, but somehow the pace was lost and the beginning faded into nothing. The story doesn’t have a point or an idea, and the black and white visuals didn't hurt it, but they didn't help it either. Black Mirror can do better, a weaker three stars...

Servant is one of those shows that turns nothing into a huge hit, getting more mysterious, grittier and more interesting by the episode. There's not much to be surprised about, the running time is just enough to keep it from getting boring, the music is without question masterful, the characters are incredibly interesting in feature and personality, the settings and the cooking “specialties” in almost every episode are breathtaking in their own right, throw in some scares, supernatural stuff and the weird nanny Leanne and it adds up to a great mix to work with. Up until the last episode, I was expecting some extreme subversion (SPOILER), but I wasn't thrilled with the result, maybe even disappointed. This is Shyamalan's style of storytelling, where he raises even more questions in the finale and answers almost none, but here it just didn't sit right... I missed an explanation of the supernatural build up, the splinters, the curses, the baby (which is more or less what the whole series is about and we don't get an explanation), and their cult. It takes talent to bring down to average such a brilliantly built-up five-episode series like that. Shame, shame, shame, this had huge potential...Weaker 4*.

Finally, the long-awaited second season of one of the funniest, most original and yet most human series of recent times. With it comes the return of old characters that have been good to see since the first episodes, as well as a few new characters that viewers will find their way to. In terms of humor, it's a bit weaker than the first season, it lacks stronger jokes, the situations are not as "extremely" wacky as they used to be, the profanity has been toned down, but it picks up in drama and teen relationships, along with the depressing ending – it felt like a hybrid of 13 Reasons Why at times. It was brisk, relationally intertwined, but maybe a bit too obvious and predictable from the halfway point onwards in terms of who ends up with who, and also a bit overwrought, with the cards turning and straight becoming gay and vice versa at one point. The sex counseling was dropped and it got more into the life of the school, and the ending left the door open again for another season. Binged in a day, I just enjoy this stuff, even if there's no intellectual or existential point to it.