D.Moore

“We're not in a prophecy, okay? We're in a stolen Toyota." This enjoyable action crime comedy is set in a fantasy alternate reality and it's actually a good thing that the fantasy doesn't draw attention to itself that much, and it's still mostly about the story. Although I'm not saying that I wouldn't want to see the mounted police of centaurs in action or that I don't care more about the dragon circling over the city. But so what? Will Smith is excellent and I liked watching him again in the most proven acting position, and Ayer's direction is brisk and there's no time for any boredom. Admittedly, I'd like to explore that whole world, but on the other hand, it didn't seem unutilized to me like, say, in R.I.P.D. - luckily, it was much closer to Men in Black and Hellboy.

What I love about Captain Marvel is that it takes place in the 1990s and is thus made in the style of action/sci-fi films from movie theatres and video rental stores. The action isn't (too) overcomplicated and action scenes don't tend to be long, good jokes are interspersed with good, more serious scenes, which don't take themselves all that seriously, and I still care about the characters and what they are doing. In particular the very sympathetic Carol, who Brie Larson conceived as a tousled young woman who is delighted with the action and enjoys the fact that training is over and she can finally do something. Similar to recently with Alita - one sneaky smile was enough and she had me in the palm of her hand. In addition, we uncover her past along with her, it's an interesting uncovering, and it's good that it persists, because it cleverly distracts from other characters who will take care of a surprise (the biggest storyline twist brought me great joy). The visual aspect probably isn't worth commenting much, because it's great; however, I need to highlight digitally rejuvenated characters who are 100% realistic, and those who don't know about the special effects will probably not even notice them. To cut a long story short, this origin is slightly (specifically one star) more sympathetic for me than the more traditionally conceived Doctor Strange, and I look forward to seeing what Captain Marvel will show us next month.____P.S. It's the first film that ever moved me during the opening logo.

The first film was no miracle, but it was quite alright to watch, but this one is slightly worse. Especially Paul Blart is a much bigger idiot this time, and he's no longer the underdog we might have felt sorry for last time. It's actually a similar style of humor to Johnny English 1 and 3, just with the difference that Kevin James isn't enough of a comedian to be able to save it. And Jayma Mays didn't come back, and that’s too bad.

A comedy? No way. But it is an amazing study of characterless people and those who (don't) stand up to them. On one side of the scales is the insidious and poisonous Karel Höger, on the other a silent resigned Radovan Lukavský, and although it is about teachers in one Austro-Hungarian choir, it is also about everyone else and at any time. Unfortunately.

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 captivating drama in which it wasn't about all the surprises and revelations (the observant viewer receives various clues on an ongoing basis, and it's just up to him or her how to handle them), but rather what they do with the characters. I like films like that. Hugh Jackman and Jake Gyllenhaal are perfect and I believed absolutely everything they did, and the combination of Villeneuve's directing, Deakin’s camera and Jóhannsson's music once again ensured a million-dollar atmosphere. It was dark, dirty, dense and I'm glad no one made a stretched series out of it, but instead one proper film.

Since the previous two films were not afraid to do quite harsh and unexpected things, I expected the ending of the trilogy to be a little more impressive. It could have mostly improved the villain, who I was not interested in and who was awkward. Yes, the atmosphere darkened so much that I wondered if it was even an animated film for children, but the classic weird humor came later to make it up to the kids... I had mixed feelings about it. Regarding the technical aspects, the third How to Train Your Dragon is excellent (for example, John Powell is now responsible for one of the best soundtrack trilogies ever), the Toothless romance is 100% cute and they also managed to conclude Hiccup's story - not in any way memorably, which is a shame.___P.S. My impression may be improved by the version with the original language, although the dubbing wasn't bad - Simona Postlerová has pretty much the same voice as Cate Blanchett, but I prefer to hear Cate, just like Kristen Wiig in the role of Raffnut (definitely the best character of the whole film).

A perfect James McAvoy, honest design and visual effects (the monster looks amazing - he's very similar to classic Karloff) and Craig Armstrong's music is great. The directing, which is also kind of seen in Ritchie’s Sherlock Holmes, got about halfway there, and sadly, Daniel Radcliffe is bad. He didn't suit the character of Igor, and the story confusion, which tried to make something more out of all this by giving us uninteresting villains, but it didn't. It's not a completely bad film (certainly not as stupid as I, Frankenstein) and I didn't suffer, but I also don't feel like I ever want to watch it again. Ok, maybe a few of the scenes.

From the first shot and from the first sentence, it's clear what this film will be about - and it's a bit to its detriment because when you then watch a likable believable couple, which Ali MacGraw and Ryan O'Neal definitely are, you don't really enjoy it. Constantly - albeit subconsciously - you wait for things to happen. And when they do... Well, it's impressive, but it's not the shock I'd need for Love Story to impress me even more.

I was disappointed by it less than by the book, during which I just shook my head disbelievingly and yawned. The script improved the silly story a bit, but the main stupidity, unfortunately, remained - it can't be said that the film is bad because it has a brisk pace and at the end everything essentially works together (unless you think about it more than necessary), and both Tom Hanks and Felicity Jones are fine. Only Hans Zimmer didn't do anything extra this time and if I didn't know that the music was composed by him again, it wouldn't have occurred to me (compared to the perfect The Da Vinci Code and especially Angels and Demons). I think Ron Howard should have done The Lost Symbol... Or preferably film something completely different.