D.Moore

Some really good jokes, but at the same time a lot of unfunny vulgarity and especially the much-loved awkwardness, which I simply don't understand. Rather than: "What idiots, I have to laugh at them!", I usually say to myself: "What idiots, and am I really supposed to laugh at that?" The film wants to be a cross between Hot Fuzz and (the film) Starsky and Hutch. Unfortunately, without likable main characters and with the aforementioned negatives, it couldn't succeed in my eyes. Three and a half stars.

Paul Greengrass is a master of immersive atmosphere and has reaffirmed it with this film. If someone seems to find the scene of the absolutely crazy massacre rushed and non-captivating, I feel really sorry for them (and it may well be the founder of FilmBooster), because I haven't seen anything more repulsive in a long time. Besides Greengrass, the representative of Breivik, from whom radiates unadulterated fear, does his share, and the longer he is in the film and when he turns into an exquisite psychopath from an originally silent character, then that fear is even greater. In addition to Breivik, we also see the consequences of his actions, which one of the families must deal with, we will also get to know his attorney and feel the pressure on the Prime Minister of Norway... It seems to me that the film really had everything. I can't say I enjoyed watching it, but it was one of those memorable experiences. I guess like... Well yes, probably like Greengrass' United 93.

A classic tale about a reformed gangster who one day finds his past breathing down his neck, but it is also a classic (and this is important) French tale. All the reasons I love movies with Ventura, Gabin and others can be found here. A chilly, unpredictable atmosphere, great main character, family values vs. criminal values... I really liked Jean Reno in the lead role. Charly Matteï is actually his first proper character since 2004's Hotel Rwanda and he really needed him. The director, Richard Berry, is completely unknown to me, but the opening twenty minutes, in which "it all" happens, won me over to the max - the shootout is spectacularly bloody and the transfer to the hospital and the passage in which everyone gradually learns of Mattei's shooting is again extremely imaginatively shot. As I suggested, if this film had been made thirty-five years earlier and starred Alain Delon or Lino Ventura, it would undoubtedly be a classic today. Four and a half for Badelt's music.

Three and a half stars. James Franco, Sarah Gadon, the retro atmosphere and the first and last episode are great, but in the meantime I was quite bored here and there. The biggest flaw of King's novel, that is, the sprawl during Jake's teaching, was removed, but it was replaced by another flaw - the completely unnecessary character of Bill and the large amount of space the script devoted to him. Otherwise, I didn't mind the changes from the book.

I liked it very much, but I can't help feeling that a good chunk of the film ended up in the editing room because the transition between the two parts (the road movie part and the military part) felt a bit rushed. Otherwise, I have nothing to complain about. It was clear to me that this horror film directed by Danny Boyle was not going to be an ordinary horror film... And it's not. Luckily. Many times I was amazed at the carefree atmosphere it exudes, which was certainly due to the soundtrack. The jump scares worked, the infected flesh-eating sprinters were suitably scary... And the over-the-top, nerve-wracking, breathless finale was great too.

If the film hadn't added one quite unnecessary plot line compared to the book (yes, the one with Leonid's wife and scheming senators) and just stuck to flashbacks, it would have had even more momentum and 300 would have become an uncompromising digital blood-ride during which you’d be holding your breath. It’s a bit of a shame. Still, the result is an excellent show about a tough fight for the right cause.

In some ways worse, in some ways better than the first film, but in the end still a good show. The protagonist may not be as charismatic as Leonidas, but he is interestingly portrayed as a sophisticated strategist who also makes mistakes. I liked the fights and battle scenes perhaps more than in 300, especially the opening one in the storm with slow motion lightning was breathtaking, Eva Green played the very erratic wild woman excellently and the whole thing went by pleasantly. Frank Miller's comic hasn't been published in Czech yet, so unlike the previous film, we don't have a chance to compare how much the writers, director and designers were inspired by it, but I liked the fact that the film didn't feel like a repetition of what had worked before, but came up with a number of new things.

Jessica Chastain can be very believable, for example, in roles of strong women who can mop the floor with men thanks to their brains (Miss Sloane, Molly’s Game), but when she does the same in the action genre with guns and moves, I don't trust her so much. Unlike, say, Diane Kruger, who for me is the star of The 355 and ultimately the main reason to watch until the end credits. This film makes clear the genre we are going to be in already in the first scene with the hacking of a plane. It's just a pity that it takes itself so seriously and, above all, that it's so long. It’s an average flick with several good scenes, but I’ll likely forget it soon.

36th Precinct gives you a whiff of the good old days, when all those Gabins, Venturas and Delons were swarming in front of French movie cameras. On the one hand, we have an excellent central pair of actors, a coldly raw story (which may turn out well, but may just as well turn into a tragic slaughter) and an unenviable oppressive atmosphere. On the other hand, there is an effort by the director and screenwriter(s) to make the film "watchable" for everyone, including the younger generation, and so the calm pace is disturbed by almost unnecessary action inserts for my taste.... And as much as I'd like to, I won't give it a fifth star for that. Nevertheless, the film is excellent. And I especially bow to Depardieu.

Because of the (as always) brilliant Steve Carell and the (utterly) charming Catherine Keener, I'm able to forgive this film for being so dirty. I laughed, I had fun, I thanked the filmmakers for restraining themselves (except for two short scenes with bodily fluids) in what they show the viewer... And when the film ended, I almost couldn't believe it lasted over two hours.