D.Moore

It's not a bad film, I'll probably like it even more the second time around, because it's not about anything other than entertaining the viewer and not embarrassing itself, and that's a pretty sympathetic approach. Still, I'm sorry that there wasn't a more imaginative remake that would have put The Magnificent Seven in a different setting - it could have been a gangster movie, a story from the Second World War, a Cold War retro, sci-fi from another planet... Look what Pixar did with that tired plot in A Bug's Life.

Another very suspenseful case. Holmes' adversaries this time are unprecedentedly slimy and unpredictable and the viewer has the feeling that everything is at stake. I never imagined Mycroft to be that old, but what the heck, the two Holmeses (even with Watson) complemented each other beautifully and didn't overdo it, as they usually do in other adaptations.

I didn’t know this story and it was a very pleasant surprise. A downright horror atmosphere and an excellent beginning for the second season.

Not a pleasant film, but definitely interesting and very authentic - every character is somehow a strange person. And not always sympathetic. The fates of all the characters, young and old, are compelling and unpredictable, some evolving (for better, for worse) and others actually going round and round, like local radio playing the same songs over and over again, only occasionally including a unique song. Peter Bogdanovich filmed it all so cleverly that one has the feeling that one is really watching a film from the fifties - a kind of sleepy film that moves slowly simply because it can.

A number of great scenes, a decently mysterious atmosphere and skillful direction, which sometimes plays with the clichés of horror films (several times during the introduction, for example with the refrigerator door). Unfortunately, at one point it kind of logically stalled and I got a few questions about the curse and its cancellation (so SPOILER): Why was Rachel hallucinating all the time when the curse didn't really affect her anymore and only Noah (and later Aidan) were supposed to die? Is there some kind of "You may not die, but you'll hallucinate until the other guy dies" rule? Or is it simply a hole in the script? I'd be willing to accept the explanation that Rachel's hallucinations were just memories of what she saw in the video, but that would have been undermined by the finale in the well... I don't know.

This film is at times too convoluted for my taste, and I think it's also a bit longer than necessary, but it's still fun and the surprise ending is really impressive. An amazing Marlene Dietrich and an excellent score (if I didn't know it was composed by Leighton Lucas, I would have guessed early Bernard Herrmann).

For another undressed actor (I know, Robert Sedláček, we all have our perversions...) and for the unnecessarily cheap rabbits I take off a star, but otherwise the fourth part of Bohéma was very strong and impressive. Chilling. Especially thanks to the uncompromisingly-presented story by Anna Letenská (the eye-to-eye scene in the Gestapo corridor was definitely the highlight of the evening), but the others did not miss out either. In the previous episodes the cards were dealt well, now they are "just" being played, and it seems that the narrative line from 1968 is also leading to something.

I really liked Helen Mirren as the terrifying battleaxe from whom students and teachers alike recoil in terror. I didn't even mind that her character was such an exaggerated caricature... Actually, not only hers - the three students who take her to the laundry were doubly true. But it's a pity that when it came to intrigue, psychological tricks, twists and similar delicacies, I didn't believe almost anything about Teaching Mrs. Tingle.

John le Carré could boast to his fellow writers that few have been as lucky with adaptations as he has. Once again, A Most Wanted Man is a book-to-movie conversion with all the trimmings - above all, it manages to maintain the cool and quiet atmosphere of a modern/non-modern spy story that dispenses with action, or at least a bit of fast-paced scenes, but somehow, mysteriously, has sensational momentum. The excellent characters are fantastically accurately cast and the whole thing looks beautiful. Anton Corbijn impressed me with The American a few years ago, and now I see that it was no coincidence.

An increasingly mediocre film, and without kidding, it seemed to me that it lasted more than two hours... And yet it starts off so well and then it is good for quite a long time. In my opinion, the biggest stumbling block lies in the elimination of the main villain, which comes unexpectedly soon and after which only an uninteresting anonymous bunch of whites are chasing the protagonists. The final shootout corrects the impression a little, but only a little. But if something is great from beginning to end, it is definitely the music.