D.Moore

The film is a bit longer than necessary, but a number of great scenes (the assassination, the car chase, the ending on the plane and the sea), and especially the natural and likeable central couple make up for it. Foreign Correspondent is an earnest spy film that doesn't come across as naive even after more than 70 years.

"Maybe that's why we still wear hats..." A huge musical, definitely one of the best I've ever seen. Chaim Topol is exactly the Tovje I had in front of me when reading Aleichem's book, despite a few changes (some added, some dropped), the unique atmosphere of a story of hard people tested by hard blows has been preserved. Mixing humor and emotion so naturally, John Williams made the original catchy songs unforgettable, and Norman Jewison recorded all the singing and dancing numbers with such infectious verve that I had to do my best to sit still and not jump around the room during one section. Three hours runtime? Who cares, if it's so great!?

An easy-going and enjoyable comedy, actually a variation on Midnight Run, with the lovely Reese Witherspoon. But Sofia Vergara was a bit too annoying for my taste.

William Shakespeare gets punched for all the children who will ever learn about him, Robin Hood dies after a short debate based on perfectly logical facts about the social background of Sherwood Forest, Wellington doesn't exactly pull his weight at Waterloo... Everything is in place and this Blackadder is simply one hundred percent. I was already laughing like crazy during the opening credits and I didn't stop laughing during the closing credits (with a great song as always). And if you are worried about the dubbing and especially Peter Rychlý - don't be afraid, he is really good.

A short film about two moods that clash very unpleasantly. The bachelor anecdote is terribly drawn out and is saved only by precise actors with a precise sense of humor, while the ending with Vlastimil Brodsky's monologue brings tears to the eyes. It's definitely worth seeing, although probably only once.

Literally a carousel of tension that thrilled me. Both actors are excellent, especially Robert Walker, and the film's momentum and suspenseful scenes from the most competent person make it easy to overlook the occasional slight naivety. The ending is a masterpiece.

An enjoyable film in which not much surprising happens, but it sort of flows naturally, and while it tackles big issues, it tackles them with insight. Most of all, I probably liked the relationship between the main character and his mother. My only regret is that I only got to Charlie Bartlett now, when Anton Yelchin has to be discussed in the past tense.

There was always something going on and there were so many ideas, but I still got bored, and quite a lot, unfortunately. It’s basically like the first or second Machete, nothing would have been lost if it had remained as a short. Regardless, the form is interesting and it was the only reason I stuck with it until the end.

I only regret three things - that the writers didn't pay as much attention to the new characters as their colleagues who wrote Star Wars: The Force Awakens, that the film is not longer (this could have solved the first problem) and that Will Smith did not want to, although he could have easily done what William Fichtner did. That’s too bad. Otherwise, the second Independence Day is exactly what I hoped it would be. Monstrous, funny, surprising and knowingly simple, with the promise of an even more monstrous third installment. I won't blame Roland Emmerich for not using miniatures, but everything is digital, because if everything could have been done digitally twenty years ago, he certainly wouldn't have bothered to build a plaster white house. In short, times have moved on, and during 2012 he figured out that he can do absolutely anything he wants to Mother Earth. And so he does it to her, too. Of the returning cast, no one disappointed me; on the contrary I was very pleased with Brent Spiner, who was given much more space than I had hoped for, and of course Jeff Goldblum is a classic and his scenes with Judd Hirsch still have that hundredth of a second comedic timing from years ago. ___P. S. The film is actually in the same position as its soundtrack, which consists of completely new but somewhat familiar music by Kloser and Wanker, in which one can hear hints of the well-known Arnold motif here and there as time passes, which returns in full force only in the last quarter of the album. And then it's regular Independence Day with everything that it encompasses.

Yes, there is only one The Exorcist, and as much as the ending gives me chills, I probably won't get chills from the ending of any other movie, except... except that The Omen is just extra-class, too. And Goldsmith's music in particular. I only knew it from listening to it on my own, but only here was it so demonic that I understood why even deaf academics were finally willing to give Goldsmith the Oscar (although he should have had at least three for Planet of the Apes, Patton and Papillon).