Nowe recenzje - Wszyscy użytkownicy

Godzilla -1.0 is a film about the tragedy of inaction and fear and the motivation that drives individuals to action and the ultimate sacrifice. The opposite of the cheerful American fooling around, made for relaxing entertainment I saw a few days ago. The Japanese open old wounds here, using a metaphor derived from the two nuclear bombs that Oppenheimer served up to the US military for quick use. Broken people slowly getting back on their feet after a lost war, only to be trampled by another disaster. Stunning destruction, backed by a roaring musical score, vivid characters where you care who survives and who doesn't. Surprisingly, the main character, a coward, lives.

During the Storm plays with the motif of the butterfly effect, mixing elements of crime drama and science fiction about playing with time, and manages to hold the viewer's attention for almost the entire running time. The final third was perhaps a little wilder script-wise, yet I rate the film as a whole very positively, with the detective plot and the gradual uncovering of the truth, trapped in the turbulent snares of time, playing a large part. I could complain about the main character Vera, who was a bit too (typically Spanish) hysterical at times – they could have toned down the talking, as it detracted a bit from the believability.

If you watch the trailer of Abigail before the screening, you'll be revealed on one major plot twist, but the film still has a few more surprising aces up their sleeve, especially in the final third. The central motif of an ambiguous cat-and-mouse game bears a strong resemblance to previous pieces by the creative duo Matt Bettinelli-Olpin and Tyler Gillett, but this time the bloody murder mystery is given a supernatural twist. I haven't seen Ready or Not, but I really enjoyed the last two Scream films, especially for breaking the boundaries of the genre, flirting with them and playing with audience expectations. Abigail rides a similar wave, featuring more than one good allusion to the genre or pop culture, yet the film as a whole failed to engage and entertain me as much as the fifth and sixth Scream did. The big stumbling block for me was some of the largely unlikeable characters and their theatrical badass acting. Alisha Weir, on the other hand, was bloody charming and I'm curious to see what direction her career will take.

Ballerina had the potential to shine much brighter, but the Korean creators seemed to get lost in meaningless scenes instead of injecting more wild action, a livelier pace, and better camera work. While the story didn't break new ground – revenge journeys are a dime a dozen – I found the main heroine likable in her laconic demeanor, and the decent kill count kept things interesting, despite the often sluggish pace. Still, these elements weren't enough to earn a rating higher than three stars. However, I was pleased by the absence of unnecessary melodrama. In that regard, the creators made a wise choice, making it all the more disappointing that they faltered in other areas. / Lesson learned: Don't go running down corridors with a chainsaw revving.

Sand Land feels like the anime version of Mad Max, infused with a dash of fantasy and sci-fi from the mind of the late, great author of the Dragon Ball series, Akira Toriyama. Toriyama's signature humor style and overall atmosphere are unmistakable, reminiscent of the original Dragon Ball. Despite its simplicity, the series never loses its charm, keeping viewers engaged with straightforward yet intriguing storytelling. The characters, particularly the seasoned fighter and current sheriff Rao, are compelling and likable. However, the animation, especially the CG character animation, leaves much to be desired, like a sort of 2.5D. While it occasionally shines, it often feels heavy-handed and unnatural (such as Ann's hair), detracting from the overall experience. Additionally, the world's potential feels underutilized, failing to captivate enough to warrant further exploration or rewatches. Overall, Sand Land is a pleasant watch, earning a 6/10 from me. For fans of Akira Toriyama, it's likely a must-watch, but I suspect they will appreciate the series much more than I did.

Because of the strong main female protagonist (Aoi) and the prevalence of charming male characters, this is definitely an anime series aimed more at a female audience, although it is far from boring. As I mentioned before, the big draw here is the very appealing Aoi, who is mostly the driving force behind the plot and the one who provides the solution to most of the problems. I guess it is rare that it is fortunate that a main female protagonist in an anime series, who is surrounded by so many charming and capable gentlemen (all right, well, it is the ayakashi anyway), so intensely and sweetly gives a helping hand and gets down to work herself (because all too often the main female protagonists in such productions just sit around waiting to get rescued). Plus, the way Aoi does it (through food and kindness) can be very attractive to a male audience in particular. Also, the way Aoi approaches the issues she faces within the interesting and magical setting of the world the show is set in, there is a very pleasant atmosphere that warms the heart. Of course, it is not just a nice walk in the park, the anime’s creators sometimes manage to conjure up some kind of suspense, to set up an intense situation that Aoi has to get through and overcome either on her own or with the help of her companions. It has quite an interesting narrative, even if it may give some people the impression that it is merely going to repeat the same story twice (SPOILER ALERT Aoi is taken somewhere against her will, to gradually win everyone over and save everything END OF SPOILERS). Anyway, if I add to that, in my opinion, good animation, and an appropriately chosen soundtrack, I am going to award a nice 8/10, which is actually an excellent result from someone for whom this anime series is probably not primarily aimed at.

A pretty nice movie with Mark Wahlberg going on an adventure race in the jungle where he meets a dog and becomes a full-fledged member of the team. I'm a bit disappointed that the race itself lacks any sort of typical survival parameters, there was no significant thrilling obstacle apart from the cable car, and the whole thing is mostly about the doggie's relationship with Marky, which can stir up some minor emotions at the end, but I won't scratch for a higher rating. Nice but ordinary. 6/10.

Teenage silliness with a fresh idea involving two dead guys who are detectives solving supernatural cases and various ghosts, witches and other monsters. I was quite looking forward to it, I'm just disappointed that it's conceived in a teenage style. It's kind of a combination of Wednesday, Ghostbusters and Chilling Adventures of Sabrina, leaning only lightly on the horror theme, but more darkness and and R-rating would have done it a lot more good. It also deals with a lot of relationship and LGBT stuff, which I'm not a big fan of, and it lacks stronger characters and a better developed script. The best episode was #3 with the time loop with a father murdering his family for several years. From episode 5 onwards I watched it purely out of obligation and wasn't really enjoying it. I'm not the target audience. 5/10.

Shogun is definitely a revelation in the series field this year and should be seen by everyone. Until the 5th episode I was sure of a 5 star rating, but then my great enthusiasm started to wane as my faith in some epic battle started to fade away, and it ended up being very intimate. The series has spectacular sets, great performances – Hirojuki Sanada is awesome, Mariko is perhaps the most beautiful Asian ever, and Aijin is also great. It has meticulous dialogues, great atmosphere, strong emotions (episode 9 is probably the strongest) and it's also quite suspenseful. The series is actually flawless in all respects except for the lack of action sequences, and I can't forgive that because the samurai didn't just conduct political intrigues, they also cut each other and there was obviously a budget here, so they could have easily crammed a 15 minute battle into those 10 hours. Considering the whole 4th episode was dedicated to cannons (there was even the best gore scene of the series), it's a shame that they didn’t use them once more during the series and the ending just disappointed me because nothing was resolved properly. I'm sorry because there won't be a samurai movie or series this expansive for quite a while. I still enjoyed it, but there was no ejaculation. 8/10.

I think in this duel of the daughters of horror greats, Shyamalan vs Cronenberg, the winner is decided. The daughter didn't didn’t do a very good job and delivered a sort of talky drama that cuts to thriller at the end. I don't think daddy will give her any praise for this one because it was boring as fuck. It's got a pretty interesting theme that could have turned out well in more capable hands, but the acting is pretty bad, the pacing is very slow and there's definitely nothing satisfying at the end, where some gore could have come in handy. This was quite painful. 3.5/10.

Godzilla is enjoying a vacation in Europe and Kong is looking for more apes in the hollow earth and has a toothache. A modern version of the Verne films, which degenerates into unadulterated Kaiju-porn at the end. Swashbuckling battles, solid visual effects, 80's soundtrack backed by Holkenborg synths, tremendous destruction and people who don't get in the way but are props for the main fighters. It's rubbish and digital crap, of course, but it's fun and even in neon colours with a pink Godzilla who justifies the change by sucking out nuclear power plants in Europe to fulfil his part of the Green Deal. It's got a bunch of subliminal messages. The villain is OK, but the main asset is Adam Wingard's wacky ideas, which somehow manage to get implemented. The most entertaining entry in the franchise.

Right from the start, the opening music felt like a blow to the head, setting the tone for what would become a series of disappointments. Once again, Netflix stuck to its formula, introducing a gay character that made my eyes roll harder than a medieval cartwheel. The plot stumbled through logical gaps, Albion felt strangely condensed (or maybe someone was using teleportation?), and key characters seemed to vanish into thin air. The fourth and fifth seasons pale in comparison to the series' former glory, and this one feels like the final nail in the coffin. / Lesson learned: Don't expect miracles, brace yourself for disappointment.

Stuntman Ryan Gosling must find a lost movie star in order to save the film of his beloved Emily Blunt. And for her, he'll go through hell. David Leitch delivers an entertaining tribute to the stunt craft and all those who practice it. He combines great action with surprisingly even better romance, a nice bit of wit and humor, and the obvious joy of goofing around on set with the friends he's spent his entire career with. And it's great to watch.

The first season had the more attractive setting of Hawaii, not that Sicily isn't beautiful, but the Hawaiian exoticism had its charm. Yet I have to say that the second season has more interesting characters, better plot twists and overall I enjoyed it a lot more. Of the familiar faces, I liked Theo James, Aubrey Plaza and the return of Jennifer Coolidge. Simona Tabasco as the hooker was an instant crush, and for the biggest likable character there's Will Sharpe,  I felt quite sorry for him, that relationship was pretty toxic. You really care about the characters, their development and their relationships are very well written, you hate the opening theme song of the first season and then love it and the final twist is really very good. Very entertaining, gripping and addictive, I'm glad I gave it a chance. 8/10.

What's particularly disappointing is that the creators obviously had a bigger budget to work with, but oddly enough, this seemed to harm the quality of the writing. There were moments where I genuinely felt sorry for how clumsily certain plot twists were resolved. / Lesson learned: Money can't buy talent.

My Sweet Little Village without Menzel’s refined touch. Both when he is at home in his dingy studio apartment and when he is at work, the solitary truck driver played by Vlado Müller sticks to his routines, which long sections of the plot are dedicated to depicting. In her only film role, Pavla Kárníková portrays his unpunctual assistant, who conversely has no respect for order or authority. They can’t stand each other at first. They’re sure about that in advance. He sees her as a “whore” and a “bitch”, while for her, he is a grumpy “old man”. Through their dark past, however, they gradually find common ground and come to realise that it is possible to step out of the roles to which they have become accustomed or that society has assigned to them. In his case, it is the role of a curmudgeonly bachelor who holds others at arm’s length, whereas her role is that of a troubled “slut”. Unable to express their feelings in a healthy way, the two outsiders come together during Advent, and the undecorated tree and lonely Christmas dinner add a sense of melancholy to the raw, authentically gritty story. In the context of the collaborative works of Kachyňa and Procházka, Christmas with Elizabeth fits in with Hope, which took a similarly humane approach to depicting the relationship between a prostitute and an alcoholic, other social outcasts who in the 1950s were condemned to the roles of criminals unworthy of any understanding. 75%

The finale of this season was a letdown in certain respects. While I appreciated how Uhtred's story came full circle, I couldn't overlook some glaring issues in the lead-up to it. The siege scene, in particular, reminded me of the dynamic duo of Benioff/Weiss, who often employed questionable tactics in the battle scenes in Game of Thrones. In this instance, about fifteen men attacked the gate with a battering ram, while the rest of the army seemed to be waiting around. Plus, the brave king failed to realize he could've sent some men to the woods to tie up some ladders, so they all stood around like workers waiting for the morning bus. The show has definitely seen better days.

I enjoyed Eva Green in the corset more, but otherwise I enjoyed everything else less. The first one was better. Still top-notch production values, big-movie ambitions and the right dynamics and visuals, but the second part doesn't stand out in any significant way and only serves as a necessary bridge for the finale. Sort of like The Lord of the Rings: The Two Towers, a good second part, necessary for the great first and third.

A swashbuckling, raucous and modern adaptation of Dumas' classic. More emphasis is placed on the action scenes, which are gritty, dynamic, and with great choreography. There have been so many versions of “The Three Musketeers” that I'm not even sure how it was supposed to be done, but the snipers in the church is a very good sequence. Eva Green is incredible as Milady, and overall it's a very strong cast. The ending is outrageously open and I'm looking forward to the second one.

It's hard to tell if I'm reviewing the entire series or just its first season at this point. Nonetheless, the finale certainly left the door wide open for a potential second season, and I wouldn't mind seeing it. While this season may not be a masterpiece, the creators delivered a fresh, action-packed spectacle with a B-movie vibe based on the comic. It kept me entertained without overwhelming me mentally. / Lesson learned: Two heads are better than one. 3*+