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Scrat, Donkey, Dory, ... and the Minions. These are the characters that make many animated films worth watching, because their presence alone is a guarantee of fun. But other scenes from the movie sequel about a villain who is actually good really amused me, for example the various suitors, or the "chicken". The story is basically simple, again there are some totally enlightening scenes, and there is the typical happy ending. But I had fun, which is the main thing in comedy. All in all, a solid sequel that is a nice respite for a free afternoon

When you have a trilogy, or rather one book split into three films, the middle section always has the thankless function of tying the beginning and the end together, so it's rare for this story to be as engaging, dynamic and attractive as the sections that hug it from both sides. Without a doubt, The Desolation of Smaug is a beautiful and epic audio-visual spectacle with an unforgettable score that is a joy to watch, because as far as the technical aspects are concerned, as well as the make-up and costumes, the filmmakers have done a decent job. However, as I said before, the second part lacks something compared to the first part that made me watch the screen all the time without distraction. The most impressive parts of the whole film for me were all the scenes with Smaug (Cumberbatch's voice is truly breathtaking), with Gandalf in Dol Guldur (especially the fight with Sauron) and from Thranduil's kingdom (Lee Pace gives the elves a whole new dimension). The fact that they added Tauriel the elf didn't bother me, as I hadn't read the book, and it was probably to balance the genre spectrum with some sort of romantic storyline, but I didn't find the character of Legolas likeable in the LOTR trilogy either, and that hasn't changed here. In short, a film that should absolutely be seen on the big screen, because only then can its qualities be fully appreciated, even if it was still lacking something to perfection.

A romantic comedy that is incredibly enjoyable, well acted, and not based on a script that is completely stupid, soulless, or tasteless. The joys and sorrows of love are a rewarding and inexhaustible subject that translates well to the screen. Moreover, Crazy, Stupid Love manages not to get bogged down in clichés and awkwardness, as is often the case with films of this genre. In addition, a film starring Julianne Moore and Emma Stone together would be worth watching just for their presence alone. In short, a nice and sweet film that makes you laugh and moves you, in both cases pretty honestly from the heart.

Having four Oscar-winning aces in one film doesn't necessarily mean that it will be a success, because even a perfectly cast film can always fail on a dull and uninteresting script, which is exactly the case with Last Vegas, which despite the presence of those renowned actors failed to engage and entertain me enough to give it a decent rating. And when the genre is supposed to be a comedy that doesn't even make you laugh enough, something must really be wrong, which is a shame for a film with such acting potential. A film that gambled on a sure thing, and in the end it pretty much blew it

Frozen is a wonderful adaptation of one of the most famous fairy tale classics that is incredibly funny, brisk, visually rich and with a nice soundtrack. The reindeer and Olaf the snowman serve a similar function to Donkey, Dory, Scrat and the Minions - to entertain, which they do to great effect. The most impressive scene for me was the sequence accompanied by the song Let It Go, both visually and musically. Oddly enough, I also got caught up in the peripeteia regarding the main villain, which gives the film another plus for me. In short, an animated film that's really nice to watch, and doesn't push the envelope so much with its lecturing, which is definitely not a bad thing.

A short film screened before Frozen that stands out especially for its visual concept, building on the combination of old and new animation and is really imaginative and well made. The story is simple but funny and brisk, so I had a good laugh for those few minutes

Blue Jasmine is the most depressing Woody Allen film I've seen so far. The absolute success of this film lies in Cate Blanchett's breathtaking performance and a screenplay that sent chills down my spine and stiffened my blood. Jasmine doesn't have it easy in life, in fact her sister could talk about the misery of her life. Just when there seems to be a light at the end of the tunnel, she is suddenly overwhelmed by a pile of rocks that suffocates all hope. In short, a very well acted and written film that will stick in your mind

I decided to watch this film as some kind of unpretentious respite and it worked as such. Girl Most Likely certainly doesn't impress, but it doesn't offend either. The script is dull, stuff we've been seen in similar variations before, so the film benefits especially from a fairly likeable cast. In short, a film that fades from the mind with the start of the closing credits, though that's to be expected

Pompeii is a film that was made primarily for its spectacular depiction of one of nature's most famous disasters, which was achieved with great audiovisual effects. The story itself is one big and predictable cliché, but I have to commend the very end, which indeed pleased me in terms of the script. The cast was mostly likeable, except that I had trouble understanding at times because I saw the film in the original and without subtitles. But I went to the cinema to get a proper dose of effects, which I got, so I was satisfied after the screening. In short, a "popcorn movie" that fits and needs to be seen on the big screen, otherwise its primary purpose is completely lost

Ninja Kamui immediately piqued my interest with Song-hu Park at the helm, the same director behind the gripping first season of JJK. Known for his knack for choreographing exhilarating fight scenes, Park and his team deliver solid work here, seamlessly blending traditional animation with CGI. The fight sequences pack a punch, brimming with power, impact, and energy that kept me glued to the screen. The main character, brought to life by the stellar voice acting of Kenjirou Tsuda, drew me in with his compelling backstory and a motivation reminiscent of John Wick's. He exudes just the right amount of coolness to keep the entertainment flowing. However, my enthusiasm waned when it came to the story. While the beginning showed promise with its well-executed revenge narrative and intriguing ninja lore, it took a detour into the realm of mechanical suits and corporate villains, with the corporate world and a younger version of Steve Jobs as the primary antagonists. What began as a strong and straightforward plot gradually became convoluted, delving into themes that failed to hold my interest. It's disappointing to learn that the creators had to extend the episode count to 13 to accommodate their entire story, as I believe a tighter narrative with perhaps just 12 or even 8 episodes would have served the series better. Maintaining the pace and quality of the initial episodes without the unnecessary layers would have made for a more engaging experience. In the end, Ninja Kamui offers decent action and entertainment value, but its tendency to overstretch, overexplain, and rehash certain themes relegates it to a one-time watch for me. Unfortunately, it falls short of leaving a lasting impression. 5.5/10

I approached this movie with a hint of skepticism but those worries quickly dissipated. The storyline didn't exactly break new ground, but it wasn't half bad. If you're familiar with your fair share of mafia movies, whether they're from the West or the East, you pretty much know what to expect here. I braced myself for potential over-the-top performances and exaggerated emotions, but thankfully, that wasn't the case. Instead, I found myself diving into the gritty world of Japanese organized crime, where the police pretended not to be in the yakuza's grip, and the yakuza pretended not to be secret agents. Trust me, it all came together on the screen. What really impressed me, though, were the performances. Most of the cast delivered solid portrayals, with the dynamic duo stealing the show. While the film wasn't exactly fast-paced, it still managed to maintain a steady momentum, keeping me engaged with well-executed action sequences and just the right amount of tension. The atmosphere was on point too, adding an extra layer of immersion to the experience. / Lesson learned: A Japanese party with people singing The Internationale was a first for me.

Another wild ride from Kevin Smith, who, let's be honest, has a knack for serving up absolute lunacy. From dark humor to downright idiocy, he covers the spectrum in this one. The film's theme is twisted, to say the least. And while that wouldn't be a problem in itself, I found myself desperately waiting for something to jolt me awake for the most part. As for the rest of the movie, just forget about logic. Even a layman like me can tell you that some of the stuff just wouldn't fly. And then came Johnny Depp as Guy Lapointe, and it all went downhill from there. I initially thought I'd toss it a generous three stars, but two will more than suffice. / Lesson learned: Justin Long might've just found his life's role.

Japan is a land of contrasts, a place where ancient traditions coexist with the bustling energy of modern life. On one hand, there's the Japan of old, with its samurais, the Bushido code, and a shadowy underworld of the mafia. On the other, there's the vibrant, neon-lit Japan of today, brimming with anime and absorbing Western influences like a sponge. It's a cultural collision that can leave even the most seasoned traveler feeling like they've stumbled upon a sushi roll with a bit of everything thrown in. In this film, it feels like the director and screenwriter were among those foreigners, trying to cram every Japanese trope they'd ever heard of into one movie – and it didn't quite hit the mark. With borrowed elements from various action flicks such as Nikita, it struggled to find its own identity, leaving me skeptical from the get-go. Despite its shortcomings, I found myself oddly drawn to the film's often creative approach to violence. For maximum enjoyment, I recommend turning off your logic switch and embracing the chaos. / Lesson learned: Avoid touching anyone or anything affected by radiation! 3*-

So, I went into this expecting a Korean take on Mad Max. However, I was pleasantly surprised by the different direction the Korean creators decided to take. Rather than a cheesy parody of a killer road movie, they transformed Seoul's ruins into a North Korean re-education camp, which wasn't half bad, to be honest. I won't deny that I had some fun moments here and there. Sometimes, I found myself genuinely enjoying the ride, while other times, it left me wanting more. I think the film could have benefited from ditching the attempts at humor, which often felt forced and fell flat. Instead, it could have focused on further developing the mutants, who showed real potential. It was a pretty undemanding but decently enjoyable watch. / Lesson learned: No need to knock when you're packing a loaded shotgun. 3*+

Let me tell you, it was quite the ride. Now, I wouldn't exactly recommend this film to the average young viewer of today. It's the kind of story that might leave those who get anxious about an untied shoelace with lasting trauma. And don't even get me started on trying to explain to them about a time when the closest thing we had to a touchscreen was a TV screen when we were dusting it. Back then, people actually talked to each other face-to-face. I can almost hear the collective gasp of horror from the touchscreen generation, so I'll spare them the agony and move right along. It's rare for me to stumble upon a film like this, one that leaves me struggling to find fault. Sure, there might be nitpicks here and there, but honestly, I couldn't be bothered to look for them. This is a genuine, human story about ordinary folks that steers clear of clichéd melodrama, and that's a rarity these days. Oh, and let's not forget to give props to Paul Giamatti – the man's a legend, as always. / Lesson learned: Librium will chase all the blues away. Even the Christmas ones.

There's something about violent teenage girls that intrigues me in a twisted sort of way. Call it a bizarre fascination or perhaps my next guilty pleasure. If I'm to be punished for it, consider it done. I sat through this Japanese film, enduring the onslaught of action scenes that seemed to drown out any semblance of a coherent storyline. Hits, kicks, hacks, cuts, stabs, shots – you name it, they threw it in there. It was action for the sake of action, a mindless barrage that left me desperately craving substance. Yet, I soldiered on, determined to see it through to the end credits if only to prove my own resilience. The movie was a train wreck in every sense of the word (well, okay, the visuals and sound were passable). The Japanese cast seemed to be veering between exaggerated performances and attempts at humor that fell flat. It was nonsense of the highest order. / Lesson learned: When in danger, don't forget to move around a lot.

An excellent movie, the only flaw of which is that it is not a typical Tim Burton film full of nihilism and attractions. And none of his notorious actors are cast here - Johnny Depp, Helena Bonham Carter, or Eva Green. In the eyes of some, Burton filmed a heretical civilian film against his trademark (although he at least kept Danny Elfman). The masses did not forgive him for this - we can see it in the weak response. But bold viewers who do not like boxes get to see an interesting biography of Margaret Keane (1927-2022) and Walter Keane (1915-2000) and the acting performances of Amy Adams and Christoph Waltz. It is a story of awakened emancipation in art from the late 50s and 60s, making it an incredible spectacle into the world of men, (un)fulfilled ambitions, kitsch, and hypocrisy in modern art. Neither of the spouses won over my heart because both had their flaws, but that also made it more audience-friendly.

A very satisfying continuation. The second series focuses on the relationship between Anne Lister and Ann Walker and, of course, Mariana Lawton reaches her peak, as promised by the posters. Yes, certainly, the realities of the 1830s may not be to everyone's taste, but they are presented very understandably here. After all, even today's viewer understands very well the efforts of relatives to enrich themselves at the expense of the seemingly weakest link. In this case, the planned victim is Ann Walker and when the rumors based on her relationship with Anne Lister fail, her brother-in-law will try to impoverish her on the basis of feeble-mindedness. But there is a beautiful message in the final episode that you can read in its title. You can't sue what's not illegal. No matter what greedy and slanderous people think. Another series would be nice, but even this way it's a good and functional whole.

Rewatching this on the day when the president of the Czech Republic signed the partnership agreement has a deep importance for me. While back then in 1996, the lesbian wedding was still partially the culmination of running jokes, in the following decades, we could see how the real world around us was changing. And maybe also thanks to such gentle polishing of edges as in this series. In the Czech Republic, it will take some time, but the first steps have already been taken. In the field of American sitcoms, a few weeks earlier there was also a gay wedding in Roseanne - December Bride.

One of the many documentaries on the topic of the premature death of Brittany Murphy (1977-2009). It is a drama in the style of true-crime stories, so every banal piece of information is underscored by dramatic music, important and relevant people from her surroundings provide testimony, even the pathologist who performed her autopsy, but there is also room for influencers and testimonies of people who once held a door open for someone. It's a colorful mix. There's a tabloid journalist, and comprehensive testimonies are given by Alex Merkin and Kathy Najimy. The most exciting part of the whole case is the personality of husband Simon Monjack, a manipulator and pathological liar. One of his former partners, Elizabeth Ragsdale, even speaks here, and there were even two undisclosed families. This story of a wasted life is a decent mixture of the toxicity of show business, unhealthy beauty standards, and the classic turning a blind eye to someone else's misfortune.