D.Moore

A great experience. A selection of the best, varied by slightly less familiar but no less good pieces (the suite from Jaws, the song “The Rebellion Is Reborn" from the eighth Star Wars), a great submission by the Vienna Philharmonics, solos by Anne-Sophie Mutter (I was only a little worried from her involvement in “The Duel" from Tintin, by contrast Schindler's List sounded like it came straight from the heavens), and of course John Williams personally. As far as I'm concerned, Hans Zimmer can hide somewhere in a corner with his mega-super-giant overcomplicated Prague show, because this is what a rousing concert of film music looks like, and all it needs for one hundred percent impressiveness is the music and one admirable person with a baton in his hand. And it wasn't even spoiled for me by the tacky Czech commentary with occasional gems such as “March of Imperators."

I'm glad that the second series does not continue with what the first was doing and that it comes up with a new story, with a new headquarters and also a new atmosphere that this time is not 100% horror and ghosts, but at the same time is no less cryptic or suspenseful. Great characters, a great script that gradually reveals everything necessary, and certain direction (possibly supervision of directing) by Mike Flanagan, who works admirably well with mysteries of all kinds.

I wasn't worried about Anthony Hopkins, he's as great as ever, but a youthful Brad Pitt as Death? Well, at first it wasn't quite what I was looking for, and that almost comedic tone didn't quite suit me, but over time... What a transformation! Death was becoming more sympathetic to me until I liked him completely, and it was only after the film ended that I realized how Pitt actually played it perfectly, because that's how Death was supposed to be transformed. He was supposed to humanize himself as much as possible so that the magically sensitive, cultured and cleverly written story could turn out the way it turned out. Simply a beautiful film. With beautiful music by Thomas Newman.

It's hard to complain about the fact that it's terrible crap when I was expecting terrible crap. I'm rather disappointed anyway, because the film had much more potential and could have been funnier if it had been less awkward and if Adam Sandler didn't think that a character with a speech (and brain) impediment would be funny. The king of Hubie Halloween for me is Steve Buscemi - thanks to him, thanks to the main teenage protagonists and thanks to Maya Rudolph, at least it was worth something.

John Wick meets Robocop and Black Mirror. I had fun and it didn't seem stupid to me at all. Quite the contrary. The world of the future surprised me with its thoughtfulness, and I was excited by all imaginative implants, especially the weapon implants. Although... there was no time for any major explaining or pausing over the action of the protagonist, the plot is not superb, everything is resolved briskly on the march, and thanks to the direction it has style and thanks to the script, it makes sense. Last time I was this pleased was when I watched District 9.

David Attenborough puts an exclamation mark on the amazing series A Life on Our Planet. At the age of 94, it is a very personal confession of someone who was lucky enough to see a lot of beautiful things, and at the same time unlucky to have also seen them disappear. And you may wonder, who else but this admirable man should be explaining to humanity how stupid humans are and what can be done about it? If you only have to watch one documentary in your life, let it be this one.

An amazing sports film about the fact that no dream has to be as big and as unfeasible as it seems to someone after all. Rudy really captures the heart, and if you let yourself get captured, you will experience every bit of enthusiasm and every disappointment with him, and get angry and you will be impressed, mainly thanks to the very sympathetic Sean Astin. Although the plot hints at cliché, in the end there is none of that. Both the screenwriter and director were able to skillfully avoid it. And, lest I forget, everything is supported by the completely bombastic Jerry Goldsmith - no one will ever compose such music again.

I feel really sorry for anybody who's bluntly yelling out that a film with a main female character is an emancipation agitation film. Enola Holmes is stylish, a filmed super adventure with an overview. Perhaps it’s just a little long, and if there is anything I was disappointed by, then it was the fact that the two cases were not interconnected in any way. That’s too bad. But Millie Bobby Brown is wonderful, and with her vigor, and, regardless of my complaints, Henry Cavill is a different Sherlock than those we have seen lately - he’s human and not freak, but he's still a character that is in a little bit of different place than the others, but he's still Sherlock. I'd be quite interested in what his solo film would be like, but I'd much rather support a sequel in which he appears alongside Enola. I dedicate the last sentence of my review to Daniel Pemberton's music, which... well, it's just fantastic.

It's actually exactly what I expected it to be, which is certainly not a criticism. Bigger, more witty and bloodier (or more marmalade - lemonade - geyser), slightly sexier and, in the end, rather surprisingly, but at the same time logically, it has a point. If you liked the first episode, you'll be satisfied, if you didn't, then I suppose you won't watch this one. And if you do, then good for you.

One of the best films I've seen in recent times. And not only on Netflix. The “prologue" alone with Bill Skarsgård is so amazingly atmospheric and emotive, and it's actually just the start. It’s waiting for a much bigger acting concert which, in this mosaic with the mood of The Assassination of Jesse James by the Coward Robert Ford, is played by Tom Holland, Robert Pattinson, Jason Clarke and co. I like these types of stories and I like to let them to do whatever they want with me.