D.Moore

I am very satisfied. Kylo Ren and Rey are great characters and their story and relationship is interesting, dramatic and well done. Mark Hamill relishes his return to the lightsaber and he is good in his somber role. I probably won't write any more so as not to inadvertently suggest something that it is good to be surprised by (and there are plenty of such moments in the eighth Star Wars). There is also the fact that in terms of the number of assorted creatures and some lighthearted moments, The Last Jedi is considerably closer to the new trilogy than the previous installment, but never crosses that line that divides fun from ridicule, and that's a good thing. John Williams again composed great music and I can't wait for the soundtrack.

A satire that has teeth and claws that likes to go into the most painful places and revel in open wounds. But most importantly, it's also crucially funny and intelligent, not even a bit cheap. I look forward to every new video of the great John Oliver, and thanks to him, for example, I started to measure good and bad people using the Hanks-Hitler scale.

A strong story, excellently shot and acted. I was (pleasantly) surprised by the large space dedicated to staying in the lifeboat, I was entertained by the credible power of the spirit that emanated from the protagonist from start to finish, and I did not see any unnecessary pathos for even a moment, which I was originally a little worried about. Everything was human, Roger Deakins' camera was beautiful as ever (he did great especially with the aforementioned richly yellow boat on the surface of the blue ocean), Alexander Desplat's music was this time mostly rather inconspicuous, but in a few important moments not to be overlooked, and Angelina Jolie again directed in that Eastwood (and perhaps a little Spielberg) style - clearly, lightly and every now and then with some great shot, such as when the boat arrives in the shadow of a Japanese ship (the ocean again, I know).

The immensely sympathetic main protagonist, a current new idea and the beautifully colored camera surprised me and turned Nerve into a pleasant experience. The finale is, true, a little barren and the most thrilling scene was the motorcycle ride. However, watching till the end was not as much of a problem as it might seem after seeing the teaser.

One of those many TV short stories that builds on a simple point that is easy to see through, and it must therefore rely mainly on actors. Lubomír Lipský and Josef Větrovec are (strangely) a very good pair, but unfortunately the script is stretched and therefore everything takes them so LONG... I would cut it down, then it would be better.

It never seemed to me that DC films would attempt to copy Marvel in terms of style, even in the case of Wonder Woman compared to Captain America. This time, however, yes, because Justice League is actually The Avengers, including humor at all costs, in which nothing happens (at least at first glance) that would somehow affect the film universe. Yes, it's about the resurrection of Superman, but it's kind of shallow, and Superman is different than before because of the script (“It itched" can boldly compete with the sand that Anakin Skywalker had everywhere). Plus, I didn't really recognize Zack Snyder's hand in the film. Compared to the excellent Man of Steel and even better Batman v Superman, Justice League felt almost too intimate, unimaginative and flat. Despite all that, my two hours at the movie theatre weren't wasted, because the film has some really good moments, I liked the music by Danny Elfman (the return of the Batman motif from Burton's films and the original Superman motif by John Williams!), and Ben Affleck is a really great Batman.

A relaxing comedy (it sometimes reminded me of a more vulgar version of Kolya), which I would screen as a double film with Wes Anderson's Moonrise Kingdom. It's playful, sensitive, funny, very well acted, filmed and accompanied by great music. It perhaps bothered me that it was a bit predictable. However, I wish I would see such films more often in the movie theatre.

“The murderer is taunting me. Ok. His first mistake!" How I would like to not know how it is going to turn out, I thought from start to finish, because if Murder on the Orient Express offered me that detective mystery, it would be even better. But of course, this is not the fault of the film, which is perfect in almost every aspect. Understandably, Poirot (in Branagh's superbly moderate and sensitive performance, with a mustache like from Hogwarts) is the focal point of the plot, but the other characters are certainly not forgotten, the design is digital, but beautiful, and when emotions are supposed to happen, they happen, and it doesn't matter if you know the book or not. Perhaps only Poirot's recollection of Katherine (from The Mystery of the Blue Train) seemed excessive to me and I didn't like the final stumbling block too much, which suggests that the sequel will take place “on the damn Nile".

Holmes solves a very dark mystery, examines a charred human bone, opens a coffin… This film has a lot, really. Watson plays more of a second fiddle this time, but it doesn't matter, he watches his brilliant colleague with the same fascination with which we watch Jeremy Brett's full commitment.

Although it looks better at first, in the end Colombiana is just an average, overly long action film with a sympathetic Zoe Saldana and not particularly original direction. Compare, for example, the weak scene with the police unit with the one Luc Besson shot 23 years ago in Leon, and you'll see the abysmal difference.