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It's nice that Boll understood that if he has to adapt Postal, then in a strongly satirical way. The problem is that he tries to mock everything, make a bloody action film, and even wink at the players. In doing so, he forgets that the twisted charm of the video game source material was in its freedom. The decision of whether to peacefully accomplish the given task or to use a cat as a shotgun and occasionally jokingly target Americans only enhanced the atmosphere. But here, this subtle teasing is taken to the extreme, thereby losing all entertainment value, not to mention Boll's seemingly likable but actually embarrassingly egotistical self-promotion. The only proper plus is Sammy Bin Laden and that is not enough. Some things simply weren't meant for the film.

1st season - 90% - Another genre under the reign of the king of series. One building, countless missions, and the inevitable realization that the world of agents, clients, or spies has never been so amazing and mysterious. Of course, the most captivating is the mythological storyline of puppet fates, Ballard's investigations, or the auras of Alpha himself, but Whedon surprises mainly by the fact that even mostly episodic missions of the week are genre masterpieces and only slightly lag behind in tension. Thanks to the rescue of the second season, the future has remained even more open. 2nd season - 100% - Those who lost attention even for a few minutes got lost in the Attic. Those who gave up the fight against Rossum completely made a completely unforgivable mistake. Whedon, Minear, and co. fought the battle with the viewership at its peak and expanded the potential as magnificently as even the most loyal fan base did not hope for. I don't even know what to praise first. Whether it's the perfect performances of the actors, the ease with which the individual missions intertwine with the main story, or the deadly escalation that accompanies the final three episodes. The deepest impressions, of course, are left by the final Epitaph Two. So many surprises, emotions, and immortal storytelling can hardly be grasped even on the first viewing. The event of the season is therefore behind us, and the smartest series of its time bids farewell. And we can go to sleep. Maybe again for that short moment that lasted twenty-six beautiful episodes.

I would deserve a slap for expressing everywhere that the other Transformers cannot be great. Because they, in fact, once again gave me a sense of absolute happiness that cinema has given us blockbusters. The revenge of the defeated may not rewrite history and will never be anything other than a thrilling ride, which surpasses the story with its visuals (even though it is irresistibly fairy-tale-like). Those who were so captivated by the adventure of the boy and his protector are suddenly disappointed when Bay's vision brings something even more magnificent. Not me, I bow before the story of the same boy, who, however, has much more to do this time. Enthusiasm, wide-eyed and touched by how intoxicating a film can be. I go to the cinema because of this, and I'm sorry that the series never reached this peak again.

Anxiety, sexuality, confusion. Any failed romantic comedy is much less evil than this tangled hybrid. It is an art to turn the lovely Brittany Murphy into an extra annoying main character.

No cautious tapping and cuddling with the ship. Frakes starts off at full throttle from the very beginning, and so far the darkest Trekkian script (Moore's pre-Galactic manuscript is dreadfully evident) is transformed into a captivating spectacle. Thanks to this, the Borgs do not appear in any way ridiculous, and the same crew that was almost annoying in the previous film suddenly functions as a plot guide. Perhaps only the earthly teasing with the drunken Cromwell could have been less. Otherwise, together with The Voyage Home, it is certainly the peak of the series, and it is no coincidence that this happens again during time-playing with Earth.

1st season - 85% - Starting position in the shortened series, the main female protagonist and the effort to fit into the work collective. It would be the same nonsense to defend against comparisons to the beginnings in Seattle Grace as it would be to announce in advance that "it can't be it anymore". Shonda Rhimes' manuscript cannot be denied, but the overall mood is somewhere else. While in Grey's Anatomy the interns mainly tried to learn, not interfere, and integrate, in Los Angeles a professional team was completed after Addison's arrival, functioning more comprehensively than is seen in the original series. The reason why the beginning of Private Practice is not with absolute ratings is ultimately simple. It is the feeling that the series, which captivates me with its characters, emotions, and individual cases from the pilot episode, has already been here and the unique moment of surprise is missing, that someone has made a series exactly for me. Thanks to the sympathetic lead roles (especially Cooper and Sam, for now), I suspect that this story can work perfectly alongside the Surgeons. 2nd season - 90% - It can't even be expressed how pleasant it was to see that Practice really didn't happen by chance and that the Wellness staff shut up all those who took it as a useless cash cow for fans of the Surgeons. Meredith and the rest of Seattle Grace Hospital are still half a step higher at the top of the series, but things are starting to happen in Los Angeles that take your breath away. The initial hesitation about the financial situation disappears when the scripts jump into friendly-romantic waters literally at a high speed, and the subtle romances from the first season are kept in comparison. The brilliant climax of it all is the final episode, the last twenty minutes of which are one big breathtaking crescendo, and the open ending promises things that are almost unbelievable. The fully lit beacon is definitively here. 3rd season - 100% - A peak that was impossible to surpass. The relationships tore my nerves from the first moment to the last, and I suffered for the main characters and often for the patients, and in the end, I understood that Private Practice decided to live its own life. While crossovers with Grey's Anatomy are not absent, they are just minor pleasant plot upgrades, little insertions instead of being the climax of the series. However, the main reason is that the characters have outgrown all the boxes they could be put into before, and even with the beauty and effort of Kate Walsh, characters like Pete and Sam have easily become clear leaders of the series. On the other hand, Violet confirmed that she will probably never grow on me. The question remains how long the relationships can be maintained in their current believability without us experiencing an influx of new characters. But after such a perfect season, any admission of concerns would be almost blasphemy. 4th season - 80% - A hesitant period. We all know who has been there for a while, we all know what will be the stumbling block in relationships, and yet, are the incessant script tricks still enjoyable? Definitely not all of them this time. Mainly at the beginning, the creative team obviously doesn't know where to go, and everything works mainly because of their love for the characters. Lee McHenry stands out and his dramatic storyline, which is not far from causing severe viewer depression. The stumbling block may be the fact that for many fans, the end of the third season made the relationship lines settle into a favorable picture, and there are therefore fewer partnership twists. Although due to this, the story has become more mature, it is not always for the better (and Violet is unbearable even in a stable relationship). After closing several long-term storylines (Betsy, Pete's family), there is naturally a feeling of whether it would be worth ending the series with a still reasonable number of seasons. However, I underestimated Shonda Rhimes back then because her latest triumphs had yet to come. 5th season - 80% - One thing cannot be denied to this medical complex - it still maintains its standard. Although it has subtly slipped down by a star in the last two seasons, it still easily meets the reasonable viewer satisfaction. The script contributes to a great acting mega-concert (Caterina Scorsone cannot be anything but loved), and the ordinary cases either emotionally blackmail successfully or surprise at all costs. I enjoy both, so I gladly overlook the fact that due to a higher average age of the main characters compared to the Surgeons, it is simply not possible to examine them more thoroughly. In addition, Benjamin Bratt in the position of "how did I even get here" is the refreshing element that allows the series to discover new narrative levels. 6th season - 90% - Six years have passed faster than I would have liked, and a private clinic is leaving the screens. And surprisingly, it is at one of its peaks. Moreover, if this team had reached the finish line in a slightly different composition than allowed by the casting tricks at ABC, it would have been a complete peak. Nevertheless, the final season offers a wealth of fresh ideas and proven relationships from the first to the last episode, but in no way does it follow any expected notes. Each character faces a personal micro-drama interwoven with a slightly unexpected but perfectly escalated storyline of the missing girl, and when even the last script knot is untied, I couldn't help but smile slightly sadly. Maybe the second half of the series played it safe too much and sometimes dozed off on its laurels, aware of how much we love the main characters. But the feeling that even in the shadow of the invincible Grey's Anatomy, they managed to find their own face and path cannot be taken away from me.

Disney's sweets never offended or disgusted me. Rather the opposite. That's why I'm sad that Hannah is unusually engineered in terms of plot and I give my whole 50% for that sweet face and perfectly fitting songs that weaken my pop knees. And the fact that this spectacle must provoke anger in American small towns still brings an unprecedented smile to my face. Three stars partly out of spite. Nothing annoys me more than the automatic negative disdain towards all teenage girls who are supposedly "typically American".

Nancy Botwin, the queen of the suburbs. You can trip her up a hundred times, but she won't give up and will jump right back into everything. In this illegal kingdom, thanks to Doug and Andy, I don't stop laughing and, surprisingly, satirical social dramas show me naturally that even though life is sometimes worth nothing, it's still worth picking yourself up and moving on.

Another proof that what is admired (and discovered) today has its roots in the past. The Leopard Woman is a perfect romantic comedy in which one crazy yet unexpectedly thoughtful and clever dialogue is followed by another. And most of today's comedies, in which the main hero spends most of the film arguing with a beautiful lady only to fall into her arms at the most perfectly timed moment, can only envy Cary Grant and Katherine Hepburn silently.

One-sided appeal to the mainstream audience, transparent idea of the overall intention, and disappointment at how predictably academically desired a promising-looking film can be. I just can't get rid of the feeling that The Queen mainly works because she is portrayed as a human. But so clumsily and cheaply that I can't take her seriously. Regarding Diana's funeral, she stubbornly stands by her decision, ignores advice, and when she encounters a deer, she softens and starts thinking in a completely different direction? I can't believe that. I am equally saddened that everything is turned into a semi-documentary form and yet the viewer is manipulated into being a Blair supporter from the very beginning, without a deeper understanding of the political context, it is impossible to form a more accurate picture. I understand the worldwide success, but I attribute it to the intriguingly controversial plot and the fact that Helen Mirren looks like Elizabeth and Michael Sheen looks like Tony Blair (which, however, does not deny that most of the positives are due to them). And I wonder when was the last time I felt so conflicted, like when I observed the Queen Mother in the position of a funny supporting character.