D.Moore

A cute and funny spectacle, which is really similar to Shrek and The Princess Bride and far from, say, the latest Snow White from Tarsem Singh. Anne Hathaway is not only charmed, but somehow charming as well, and the casting of the other roles is perfect. I particularly enjoyed Cary Elwes as the conniving uncle and the sensational Lucy Punch as the evil stepsister Hattie. The cover version of ‘‘Somebody To Love" is excellent, Eric Idle... is just Eric Idle.

I really didn't expect something so stupid from a comedy with Ben Stiller. Unfunny situations alternate with unfunny disgusting situations, and there are very few moments to laugh or smile.

I was expecting an adventure spectacle, but what I got was a wacky comedy in which World War I looks roughly the same as World War II in 'Allo 'Allo!. I of course didn't mind. A suicidal British squadron operates in France, which has a base as a flying circus in a classical circus; the planes are handled by the brilliant mechanic Fritz, a German who hit his head in a shoot-down and has been pretending to be British ever since... And then two Americans come in, acting typically American. There is probably no point in describing the plot any more than that. I can understand people waving their hands over this film and muttering something about the perpetual crap (it's certainly true that it's not miraculously shot, and for many scenes I felt that the editor cut them off in the middle, even in the middle of the dialogues). However, I really enjoyed it. I roared with laughter during the final (by the way, very good) duel between the airship and the formation of two, three and four quadruplanes made of car wrecks.

The tales involving the jester and the queen, the perverted TV competition, the giant breast attack and what happens inside a man during sex were absolutely flawless. The rest could have been a bit funnier (for example, the story with the sheep was saved by the excellent Gene Wilder), but I still had more than a good time with it. And Cole Porter singing in the credits... What more could you want?

Nothing groundbreaking at all. Plot-wise and in terms of any kind of suspense, The Eye is in the same position as most of the Beyond Belief: Fact or Fiction episodes (i.e. poor), and it doesn't offer much in terms of acting either. I liked the blurry and hazy scenes just after the operation, then the scene in the smoky apartment. That's all. Perhaps only the music of Marco Beltrami.

I probably won't agree with others that Iron Man 3 is the best installment of the franchise, because I like the second one a bit more, but I'm not dissatisfied with this one. On the contrary, I'm cheering, because I've been waiting for this satisfaction as opposed to the boring The Avengers. Particularly with everything that takes place after the destruction of Stark's mansion, the third Iron Man is one of the funniest adaptations of Marvel comics (Thor's position is seriously threatened), it's also a very action-packed film, and it's gratifying that Tony Stark often gets into the action without his suit - for example, during his escape from his captors, which is quite possibly the best scene ever. The script doesn't lack emotion or insight, and I'm glad they're not copying The Dark Knight as much as I feared (the new Superman will be worse). Thanks to Brian Tyler, Iron Man finally has a proper musical theme (I have nothing against Debney). I would deduct points for Guy Pearce’s bland character, who was not very well thought out. In contrast, Ben Kingsley's unique Mandarin was perfect.

It's rare that anything good ever comes out of a television. The atmosphere of the first half is amazing (though Spielberg and Hooper could have done without the tree), but the second half not so much. You have to shake your head at times at the behavior of the characters, especially when they voluntarily decide to spend one more night in the house, and sometimes it's a bit too far-fetched (the clown), yet the pros still win out. I bet on the fact that Spielberg started writing the script for Amazing Stories, but he was sorry to have to cut it short, so he put Poltergeist in a drawer for a while (hehe). I think you can tell which scenes he shot (the best ones, like the night visit) and which ones Hooper shot. What pleasantly surprised me was the breezy black humor when the professionals arrived at the house and the performance by little Jobeth Williams.__P.S. Jerry Goldsmith did great again, and the American anthem is even more frightening than normal.

An unconventional western that surprised me. The plot moves slowly but it’s not boring, the atmosphere is (ominously) calm and quiet, Marlon Brando (by the way, quite decently dubbed by Miroslav Donutil), my favorite Emilio Fernández from The Wild Bunch... And, of course, there are a number of scenes to remember (besides the scorpion arm-wrestling, the church opening, the hiding in the grave and the canyon ending). It was more than good.

Factually, of course, The Fourth War is silly, but in terms of a story not based on actual events, I can rise above that more than in the case of, say, Operation: Daybreak. John Frankenheimer simply made a B-movie this time, and yet it looks genuinely A-list in many scenes, the two leads are well suited to their roles and Bill Conti wrote rather good theme music for it. Just don't expect a realistic drama from the Czechoslovakian borderlands, please. What the film wanted to say, it said very well.

Although there have been quite a few good adaptations of Gogol's stories in Czechia, this is not one of them. My favorite fairy tale took quite the beating. Everything that made the story unusual and pleasantly magical (a witch collecting stars, a devil who wants to steal the moon) has disappeared, all hints of farce have disappeared, and what is left is an ordinary and easily interchangeable story skeleton, which Věra Jordánová made into a typical Czech fairy tale full of jumping people.