DaViD´82

Rain does not always wash away the dirt. Sometimes it’s the other way round... A South Korean loose variation on The Name of the Rose (the film, not the marvelous book). The action takes place in the 19th century in an isolated place with a very closed community where certain rules reign. Here we have an unusually intelligent and thoughtful investigator; the division of the plot into individual consecutive days; the dense atmosphere of something dark; and, last but not least, violent murders of all different types. Technically, there is nothing to reproach; the setting, the music, and camera work are magnificent, as are the actors. Despite all the indisputable positives, I see a small minus in the fact that this time it is actually "purely a Western film" and, apart from one scene toward the end, it lacks the famous Asian otherness. I admit that it's not really a negative, but there's actually not much to reproach here - even with the characters, in my opinion, it is possible to orient yourself from the beginning without any problems.

Pretty minimalist and very impressive. If you are expecting a regular crime story, you’d better avoid this film, because here the murder investigation is sidelined and the main storyline focuses primarily on the personal life of the investigating detective. Despite the presence of a great scene in a trunk and the magnificent combination of the visual components with classical music, this movie will forever remain overshadowed by the suicide of the charming Eun-ju Lee (and the erotic scenes, which were supposedly the reason she did it, are not daring - quite the opposite).

The first part of an intended trilogy about a kid from a poor neighborhood and his great talent for soccer, sponsored by FIFA. And despite the fact that at FIFA’s request this is a modern “fairytale" with a moral at the end, this picture is at last a respectable soccer movie for the silver screen, where it has been sorely missing in recent years. The great plus for this movie is that the real soccer environment is depicted here, along with appearances from contemporary soccer stars. The only serious problem I see here is the incomprehensible choice of clubs (I simply don’t like Newcastle United), which is counter-balanced by the Baroš/Šmicer double act...

A solid family sitcom where the final moral lessons had to be "breathed out". The first few seasons were great, but after Cody's departure the series went downhill quickly and even his later comeback didn't help to return to the original level.

Certainly worse than A Bittersweet Life, but I wouldn’t take that as a flaw. The only thing that bothered me about the film (and this is just my problem) was Detective Jang's "fits", which drove me crazy as a viewer in an unbelievable way. Unfortunately, that ruined the film for me.

An episode that combines a brilliantly simple idea with perfect execution. In the limited space of one piano, Tom and Jerry have one of their best "chases".

Episodes of Family Guy never relied on a story (unlike for instance The Simpsons, Futurama and South Park), but on immediate comedy primarily involving visual gags and a murderous frequency of pop-culture references. So here we have a story vacuum stretched out to a feature-length movie. This means that in places we see forced attempts at humor from the creators, and they don’t always work. Not that there aren’t great gags here - there are, but they are mostly variations on scenes already seen in the TV series, and that just isn’t good enough. To add to things, the Griffin family is rather sidelined and the whole story revolves around Stewie which, surprisingly, isn’t a positive, because he doesn’t have very much at all in common with the “mother killer" from the series (which is in fact due to the “story" here). In essence, this is a completely pointless affair that does nothing to enrich the Family Guy world.

A picture that contains perhaps all the clichés you could possibly imagine. However, thanks to the excellent directing, the wonderful music and the great actors, this is an outstanding viewing experience. What makes this different from other movies of a similar type is that this has the type of “soul" that possibly only the South Koreans know how to imprint into a movie. In a word, this is simply beautiful.

A nod to the legacy of the noir crime films of 1970s French cinema in a twenty-first century guise.

Simply put, Clerks is so much better, more real and funnier than other wannabe art films about life that one can't help but love it immensely; even with the hindsight of a few years and Smith's later work.