Goldbeater

I really liked the elaborate design, the well-chosen cast, and the whole leading of the original story from The Haunting in another direction. I can imagine Mike Flanagan coming to the Netflix people with "I have a great idea for a three-part miniseries for you," and they said "You're right, that's a really great idea, but you'll actually do ten episodes.", and that's the stumbling block here. The plot of The Haunting of Hill House is so stretched out, that it is filled with fluff and flashback clichés just to get to the tenth installment. I have to say that after the climax, which is the 5th episode (with the familiar face of Russ Tamblyn), I had quite a problem watching the remaining parts. For a series that takes place over a very short period of time and everything being very much predictable from the start, and really you're just waiting for it to fill in the details, the character’s motivation and watch some scary scenes here and there, the overall pacing is inexcusably stretched beyond credibility. After the hours you have put in and can never get back, the final part hits you with eye-watering sunshine that makes your head spin. It looked nice but was just way too long.

In a way, this movie was actually a phenomenon. After watching it for an hour and a half, a handful of absolutely, yes absolutely extraordinary characters are involved in such a banal and thin plot that it shouldn't really be called a plot at all, yet this is one of those movies that will stay with you for a long time, and you will remember how hard you laughed. Jon Heder in the title role is out of this world!

A perfectly shot silent movie. Timeless. Victor Sjöström manages to bring to life tangible intrusions of natural elements into an already rather inhospitable environment, and this creates a melancholic mood underlining the frustration of the main character. Lillian Gish is quite rightly regarded as a legend of silent movies, whose acting lifts the whole work to a more-than convincing performance for the audience.

Videoman handles the theme, various details and the credibility of the characters and their lines extremely well. It follows the story of a man who has been lost in the world of VHS for many years. His struggles with alienation, loneliness, and his own ego are a strong concept in its own right. However, unfortunately, they also try for a kind of "Giallo'' stylized plot, which I didn't buy, as I found it severely misleading. If it was just a chamber play about people who somehow got lost in their mid-life crisis looking for new ways to find like-minded souls, I would applaud it. Unfortunately, the creators had a different vision to me, so it is a fan-made mess that should entertain you, and maybe seem a little touching, but ultimately will be a disappointing watch with hidden ambitions remaining unrealized.

From the depressing and disturbingly suspenseful score to perhaps the most legendary and iconic head explosion effect scene in movie history, this classic horror movie covers a lot of ground. David Cronenberg, with a seemingly cold distance, lays out a twist-filled battle between two secret organizations, with a naive infiltrator in the middle of it all, who is sucked into a strange world and manipulated just like the audience itself. On first viewing, I had a bit of a problem with the slow pace of the movie, but on second viewing I was taken aback, I loved every single shot, the Cronenberg style of "body horror" plus all those practical effects managed to put a smile on my face.

Eighty minutes of tired old-man melancholy without a drop of action and fifteen minutes of a sped-up Home Alone ripoff. This is, in short, Rambo: Last Blood. Did anyone actually want that? After a high-quality, action-packed and especially ballbusting fourth movie, which should have ended the series with all its dignity intact, came this practically unjustifiable lullaby, built on a banal script and forced emotions for one-dimensional supporting character shoehorned into an established series, who the audience is expected to feel for. A forgettable sequel with ugly CGI effects and a picture undeserving of the character John Rambo.

The Last Aristocrat is first-rate kitschy nonsense, which consists of scenes in which characters say something and then leave long pauses for the audience to have a hearty laugh. Unfortunately, the at least slightly amusing jokes only number about one in fifty. And with an almost two-hour runtime, watching this movie is a test of bravery, I mean to actually get to the end of this "cringefest".

I would expect to find the command "On the forehead, the chest, and the belly" in a slightly different genre of movie, but so be it. Nevertheless watching Jan Svěrák murder his own reputation and deny his own talent, was simply excruciating.

Tiger King is a fascinating and blunt insight into a specific community of people who have based their careers and business on the exploitation of big cats, devious schemes, outright lies, and sometimes even crime. Already after last year Don't F**k with Cats: Hunting an Internet Killer it was clear to me that the Netflix staff just had a knack for "true crime" projects, which this has confirmed to me. Now, I'm just wondering if and how the planned feature version of Joe Exotic's "adventure" with Nicolas Cage in the lead will turn out!

You shouldn’t be expecting a shallow action movie, Ric Roman Waugh shows us carefully measured scenes of devastation, often indirectly and with very realistic CGI, thanks to which this movie looks like a movie and not chaotic computer animation. The story focuses on a group of people just trying to survive the impact of a destructive comet, and you will them on to succeed. This is slightly damaged by some typical, predictable tropes - for example, you learn one of the characters suffers from diabetes at the beginning, so it is  immediately clear this is the device that later significantly spices up the story. In other respects, however, I was very satisfied and within a specific subgenre, Greenland is a decent movie that definitely deserves attention.