D.Moore

Countess Dracula is a very dark fairy tale with an atmosphere like The Brothers Grimm, which occasionally slips into romance like a soap opera, from which it is always rescued in time by some murder, some exposed breast or at least some intrigue. Nothing more, nothing less. Just another B-movie from the Hammer studio, which is duly proud of its origins.

Disastrous dubbing, in which the actors, with the exception of Alois Švehlík and Karel Heřmánek, do not even try to give any performances, the vast majority of the sounds disappear, Morricone's music disappears as well, and tense scenes, such as the opening one, turn into a pathetic farce that arouses maximum ridicule. That's how Czech Television offered us this spaghetti western, which will probably be better in the original version. Although I'm not a big fan of downloading movies, this kind of shoddy work just makes me do it. Bleh, bleh, bleh!

A good adventure-drama with the excellent duo of Lino Ventura and Hardy Krüger (the other members of the gang, including Charles Aznavour, are a bit excessive, but they also have their moments). The only things that spoiled it for me was the sometimes inappropriately jubilant musical accompaniment, almost in the style of The Seventh Company Has Been Found, and the ending, from which more could have been squeezed if it hadn't been so fast and cut-off. That’s too bad. At least the much-maligned dubbing didn't bother me at all. I think Martin Stránský managed Ventura.

It occurs to me that it's not exactly flattery when (for example) Hollywood is referred to as the Dream Factory. If it makes the audience dream, that's good. But when the stars HAVE to dream because of it, it's worse. Sunset Boulevard captures all this transience very convincingly, mercilessly passes it on and still has something to say. Buster Keaton's role (he said one word, but twice!) delighted me, and Gloria Swanson, William Holden and Erich von Stroheim thrilled me.

The film has a number of really good scenes (Josef Kemr with Lubomír Lipský, Jan Pivec with Jiří Sovák, Vlasta Burian with Vlastimil Brodský) and directorial ideas, but also a rather annoying guide in the form of Ladislav Pešek and, above all, one big paradox - the second story is about a cautious literary critic who is unable to take a clear position and is afraid of being too praised or criticized. I have exactly the same feeling from the script of Focus, please!

One of the best Marvel movies, if not the very best. Fortunately, the trailers didn't reveal everything, so the plot of Civil War is surprising, whether you know the original or not, and yet it is not at all overdone and, moreover, from beginning to end it flows so naturally, not a trace of any awkwardness... In short, the complete opposite of (the first and second) The Avengers. Impressive quiet conversational scenes like Singer's X-Men are interspersed with Paul Greengrass-like action, jokes are not a necessity but a welcome spice, what is meant to be dramatic and fateful is so, and when it comes to emotion, it is 100% touching and not the least bit ridiculous. The new characters fit in quite naturally (the likeable Spider-Man), Henry Jackman, unlike the previous Captain, composed seriously listenable music, and finally someone thought that in the epic ending of the film, a flood of digital special effects does not have to destroy cities to make the audience clutch their throats.___P.S. It wasn't until now that I realized what Batman v Superman was missing, which, by the way, has a very similar plot, but it just serves it worse.

To my surprise, it really wasn't an outright horror, although the name of Vít Olmer (and his own grinning face at the end of the opening credits) prepared me for the worst. Fortunately, however, it is a story based on Oscar Wilde’s work, which stars 100% reliable people like Petr Nárožný, Jiřina Bohdalová and Naďa Konvalinková, and it just had to turn out at least a little decent. And it did. "Dear Sir, a well-behaved person, as well as a well-behaved ghost, when he walks into someone's bedroom, he knocks first. And please don't shake those chains! Don't even knock during the quiet hours of the night, otherwise I'll have to banish you from the house! If you can't do without your night walks, then oil the chains. I could recommend an excellent Tammany lubricant to you with rising sun. Good night, sir." - "Good night."

The film has not been preserved in its entirety, but there is not much missing in it, and if it had been preserved, it probably would not have been better. In its best moments, The Twelve Chairs resembles a silent grotesque, in which somebody speaks here and there by mistake, but otherwise there is not much that is worthwhile. Vlasta Burian and Adolf Dymsza form a very strange and unbalanced comic duo (guess which one is the better one), they don't understand each other unless they speak the language they just made up, and neither did I.

A pretty original idea and a pleasantly unpleasant Carpenter-like atmosphere, but the shooting scenes and the like bring it down from my point of view. Surely characters who appear in a horror movie don't have to act stupid just because they appear in a horror movie, right?

You don’t often see such an elaborate and still entertaining film, in which there is suspense, humor, romance, action and who know what else, without it getting in the way. Hitchcock doesn't wait for anything, he gets things right at the beginning and, with the help of the actors and Herrmann's predatory music, does whatever he wants with us for more than two hours. And we don't mind one bit.