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A rare spectacle, where the template is a melancholic gloomy story from the olden days, where distress leads a man of simple values to a desperate act, after which everything begins to deteriorate – and the adaptation is a melancholic gloomy story from the olden days, when the exact same thing happens. Perhaps the fact that Stephen King's novella is relatively short is to blame for it, but all the unforgettable images that I couldn't get out of my head even after years are here with the same power as on paper. The act, the cow, the trumpet, the visions, the hand, the revelation, and the finale. In both media, this ballad about a Nebraska farm suffers only from the fact that it mainly thrives on atmosphere and, in terms of plot, never quite surprises.

Everything I have heard about Tunnel Rats is ultimately true. Uwe Boll directed a purely serious film, the war is portrayed in it exactly as we expect from an action spectacle from Vietnam, and the tunnel scenes really manage to rattle your nerves. Perhaps the only thing that is not true is that it is the director's best film, because for me, Far Cry, which is action-packed and uncontrollable, still takes the lead. However, what I was not prepared for is Boll's approach to the characters and actually the entire unit. The story progresses in such a way that at times it could be mistaken for a massacre horror film. I do get under the characters' skin, but what good does that do me when they start dying one after another at a rapid pace (sometimes in a darkly humorous way)? Therefore, while I consider the film to be an okay average, I would only be satisfied if that venomous irony disappeared.

Dawn of humanity captivates, HAL enchants, but the dialogues or dances of the spaceships instantly put me to sleep. The poetics of this sci-fi fantasy make me a terrible problem even with a proper distance, and as a whole, it is unfortunately somewhat indigestible.

I don't mind that the last graduating years are dominated by Twilight ultrafans. What bothers me is that in some categories, people who are not even meant for these categories are winning (Bieber power). However, everything always happened in a pleasant atmosphere, each year had its star (last year, Tom Cruise's divine entrances, the year before, the tireless Andy Samberg). But Sudeikis is struggling to host this year in a way that doesn't slow down the pace, and his side comedy acts no longer make us laugh like before. The atmosphere of the year 2011, including the musical numbers, was somewhat awkward. However, a few thank you speeches or theme songs for the hits of the year didn't disappoint, but next year, it will require aiming higher again.

The big step next to. The prizes for the Harry's gang or the success of the Hunger Games are pleasing, but the fatal mistake was hiring the host this year. Russell Brand's head already hurts after five minutes, and when at the end of the broadcast he kept trying to deliver his lines with his annoying voice, I almost turned off the broadcast a little earlier. His sense of humor simply does not sit well with me, and two stars are saving the bright moments like the special prizes for Emma Stone or the unexpected appearance of Johnny Depp or Christopher Nolan.

I didn't expect it, but Rebel Wilson dominates the entire evening with her constantly self-deprecating and ambiguous (or rather unambiguous) mood, leaving no room for dull moments, but the rest of the cast doesn't do as well. The usually reliable Seth Rogen and Will Ferrell are barely trying, and Brad Pitt's cameo ended before anyone could even ask why he was being mentioned all evening. Compared to the truly disappointing musical performances, I am delighted by the mass appreciation of The Avengers or the tribute to Emma Watson.

The unique TV format lives on for at least a little while longer, and despite my initial concerns, I'm glad for it. 24: Legacy fulfills everything its title promises and carries on the original 24's legacy, drawing inspiration from it. However, it sometimes shamelessly steals from it, and not just in a good way (the hierarchy of villains from the first season is more or less repeated, including several key twists), but also in a bad way, when at the most suspenseful moments we always return to characters who aren't that interesting. Those who used to complain about Kim Bauer's overused troubles will certainly enjoy Eric's close relatives' escapades. One small downside I see, though, is that the most interesting character is not the main hero himself. Corey Hawkins tries to make the most of every scene, but it's Miranda Otto as Rebecca who steals the season with her subtle charm and unwavering charisma, and Dan Bucatinsky as the initially unremarkable Andy is a believable and surprisingly determined geek next door. In the end, Eric himself occasionally seems like a sympathetic plot mover, but many things happen to him more by chance. The fourth star in the rating is not only due to the connection with one of the most beloved characters from the original, but mainly because of impressions from the last episode, which unnecessarily cheated on the final shootout but brought even stronger emotions in the aftermath for all involved. The sharp decline in viewership and subsequent cancellation is disappointing because there was only room for improvement here.

1st season - 85% - It is quite surprising how raw the atmosphere is right from the beginning. Unlike the following years, which are more action-thriller oriented, the start focuses more on basic psychology and political twists, with action taking a backseat. The main problem is how the viewer can accept occasional clichés. Fortunately, they are all presented in such an attractive package that I have no problem swallowing them. The last two episodes are filled with tension until the last second. 2nd season - 90% - The action has intensified, Jack's personal tragedy adds to his toughness and determination, Kim continues to function in the realms of "sexy" and "hysterical" at the same time, and the best character with a change of sides is Nina. The action-packed ending adds a touch of timelessness. 3rd season - 85% - The first half of the third day brings a charismatic new partner, a highly unpredictable plot, and an amazing villainous duo, reaching its peak. However, the second half is filled with schematic situations that have no place at CTU and, in their predictability, can sometimes even be boring. Fortunately, the finale brings an almost breathless catharsis, adding significant points to the overall impression. The feeling of the story's completion is perfect, yet the golden period is yet to come. 4th season - 90% - The notion that everything should have ended at the end of the third day was fortunately just an illusion. This time, CTU gets a formidable opponent, which gives the term "main antagonist" a completely new dimension. The only criticism this time are the characters. Whether the unnecessarily prolonged storyline of the Araz family or Jack's new partner. Her repeated transformations of the overall perception of things due to her ex-husband somewhat spoil the feeling of a realistic-looking relationship plot. However, the story gains its greatest strength in moments when old acquaintances return and with the growing night atmosphere. Who would have guessed after an incredible finish that it could be even better next time? 5th season - 100% - An unstoppable ride from a shocking start to an emotionally charged final episode. The best antagonist (a duel between student and teacher), the best atmosphere (you never know which of your favorite characters will be affected next) and unequivocally the best season. And a very dark ending. 6th season - 65% - To some extent a return to its roots in terms of emphasizing family relationships. Noticeably better effects and this time even slightly surprising brutality, which fans of the first seasons might be astonished by. But the most important thing is that it is the worst season. After an effective start, in the middle of the third day, I got the impression that not everything went as it should have, and the series needlessly stretches its juicy but repetitive taste of what has already been seen in previous seasons. However, the last episodes take off into unprecedented twists and the final ten minutes are unrepeatable with their unique atmosphere. Therefore, two sharp contradictions are conflicting inside me. On one hand, the creators showed me that they can still come up with sufficiently nerve-racking plots, but on the other hand, I wouldn't like to feel that I hardly want to watch the next episodes. Redemption - 70% - We all know that Jack suffered the most from the strike of the A-list TV series. Therefore, with his first appearance, there comes the expected excitement that he has finally licked his wounds from this low blow. He can still toughen up the music for the right cause, take anything to neutralize the enemy, and when he has someone close to him with whom fate did not spare, he swiftly moves. However, since I am a supporter of the classic look of Los Angeles, I must also add in the same breath that relocating to this location was probably not the luckiest idea. We

Talks of a reboot or a functioning standalone miniseries were more misleading than I could ever have guessed. Characters who were absent for years reappear in the plot, subplots bring back the darkest ghosts from the past, and the whole structure of the opening episodes recalls the classic days of the original 24 as much as possible. A terrorist group can threaten the world with various weapons or explosions, and even when he is just a legend for most people, rather than a real person, Jack Bauer must intervene. And although I hesitated slightly, I couldn't help but be consumed by the excitement of the action scenes and nostalgic references. I occasionally shook my head at the technical abbreviations or devices, but in the end, I let myself be captivated. The final three episodes offer the essence of everything that captivated me about those hours  ticking away years ago. Perfect audiovisual presentation, tension that lasts until the last second, and an emotional experience that sometimes makes me feel almost miserable. Those moments when the necessity and zeal for saving others surpasses one's own need for happiness or even life itself work perfectly even for the ninth time. Surprisingly, William Devane earns the fifth star, effortlessly grounding the entire staff of the White House at almost seventy-five years old.

We all know that the strike from TV series hurt Jack the most. That's why his first appearance brings the expected enthusiasm that he finally shook off this below-the-belt blow. He can still toughen up the music for the right cause, take anything in his hands to neutralize the enemy, and when he gets close to someone whom fate has not been kind to, he quickly bends dangerously. However, as a supporter of the classic look of Los Angeles, I have to add in the same breath that relocating to this location was probably not the happiest idea. We have already seen everything in Blood Diamond, Hotel Rwanda, or City of God, and even the highly political storyline this time offers nothing surprising. It's hard to get used to the fact that even Jack Bauer can come up with (only) a pleasant average. Nevertheless, Redemption should not be condemned because it is essentially just an appetizer for fans, a full-length prequel. And in terms of those standards, the quality is actually high.