D.Moore

A masterpiece with all the trimmings. You couldn't cut the tension, as it's practically omnipresent, not least because Hitchcock cared about the characters as much as he did. James Stewart trying in vain to sit down in a Moroccan restaurant and then struggling with the food, Doris Day singing and dancing with her son, these are all such beautiful moments that make the characters just grow on us so much that we don't even hold our breath waiting for the cymbals during a riveting scene at the Royal Albert Hall.

Thanks to the Finále Plzeň festival I saw the version without sound and I have to say that it is perhaps one of the most thrilling silent films ever. Only Anny Ondráková was awkward at times (immediately after the murder she behaved in such a way that she was really terrified, but I'm not sure if that was the intention). However, Alfred Hitchcock obviously did his best, used a lot of imaginative directorial tricks, made the ending very action-packed and as a screenwriter he didn't forget about black humor - when a customer in a shop condemns knife murders, whereas she doesn't mind beatings with a brick.

It's a good thing the ever so greedy ravages of time have thankfully left The Jungle Book alone - it's still as lovely fun as it was years ago. Plus, it's very nicely animated, not overwrought, features the catchiest songs from all the "classic" Disney movies, and the lessons about finding yourself are not the least bit awkward.

The very opening episode had me wrapped around its finger, but I don't know if that was entirely a good thing because none of the subsequent episodes topped it. The main strengths of Fargo are the actors, especially Martin Freeman, Billy Bob Thornton and Allison Tolman, and the fact that it is not an ordinary remake, but a quite clever sequel that reminds us of the Coen brothers' film every now and then. I don't give it a five-star rating, however, because some things some people got away with too easily and most of the police force, not to mention the FBI, acted really incredibly obtuse. Also, the writers could have gone to some trouble to finish some of the stories, since they told so many - for example, what happened to Chazz and his family?

It's a really big... disappointment. You just don't make a film about three people locked in an underground bunker (where one of them is weird, the second is weird and dangerous, and the third would just like to get out) without even a bit of suspense. And as hard as John Goodman and Mary Elizabeth Winstead try, the script makes them stupid. Without wanting to give anything away, I have to say that various things happen in 10 Cloverfield Lane simply to be surprising, but they are not logical, and when I asked myself for about the fifth time "Why in God's name...?", I realized how boring the film actually is. Yes, the ending finally had decent momentum, but if anyone is looking forward to seeing something this time - without the constraints of a handheld camera - they should indulge their appetite, because apart from a few brief shots, the picture shakes just as much as it did seven years ago. Two and a half.

A fascinating film, suspenseful literally from beginning to end. It exhudes drama. And if James Stewart's friends stopped inviting him to parties after Rope was released, I wouldn't be surprised.

This is a much better film than Saboteur. The tension is constantly mounting, the doubts thicken and Hitchcock plays with the viewer like Uncle Charlie with the Newton family. In short, an impeccably written, acted and shot noir with an utterly nerve-wracking ending.

About halfway through, it's classic comic book Lucky Luke with all the trappings of a feature film, and it's a joy to watch. Not only because of the precise Jean Dujardin and the many jokes, but also because of the beautiful production design and direction, which plays beautifully with every shot. But then Luke hangs up his gun and it goes downhill. With the romantic plot comes a completely different kind of humor, suddenly it drags and only the ending corrects the impression a bit. It's a shame, because if the whole film had the level of the first half, it could have been on par with the second feature Asterix, and quite possibly could have competed with Lemonade Joe.

Some scenes that are really flawless, but a few of them are too naive, and the main character's performance was unbearably dull, and the atmosphere was spoiled a couple of times by overly romantic and inappropriate music. The ending, on the other hand, was superb.

An honest old-fashioned period crime film, full of tobacco smoke and starring the simply superb Rowan Atkinson, who I hope will now be showered with offers of character roles. His Maigret is one hundred percent Maigret - sad, quiet and stubborn, just as he should be, and if anyone wants to compare him to Jean Gabin, they can do so without any problem, because it won't be the least bit unfair. This movie just made me very happy.