lamps

An unparalleled experience, a delight. Those who love dark crime thrillers about serial killers will adore Se7en, and so will do those who hate this kind of "entertainment" and laugh at monotonous scripts and shallow endings, because Se7en will shock them, suck them in, make them pant like a dog at the end, and inevitably teach them to love the genre... Impeccable direction that doesn't let up, teeming with creative ideas, and through the all-encompassing thick rain gives us a unique glimpse into the most chilling visual and narrative darkness ever seen on film. A perfect script, believable in its psychology and portrayal of the central characters' relationship, highly clever and subtle in its dialogue and non-violent reflection on the horrors of a society full of violence and murder, and finally shocking and surprising not only in its course, in the agonizing nature of the murders and the flawlessly sketched progress of the investigation, but above all in its twist, so unexpected and, thanks to Fincher's direction and shot after shot, so gripping that I wanted to stand up and scream loudly at the screen during the first two screenings. Perfect cinematography that always finds the right angle (I'm absolutely fascinated by the overhead shot of Pitt climbing a hanging ladder), an amazingly chilling soundtrack and a perfect bet on the eternally malfunctioning switches and the good old flashlights that accentuate all the blackness. A perfect film that cannot and will never be surpassed. 100% is not enough :)

The first half was excellent, the second half was a bit boring and overall an above average and interesting animated film for every age group, but I missed the humour and the songs were too much for my taste.

A western classic with no significant weaknesses and an interesting plot complemented by hilarious catchphrases that is guaranteed to captivate and not bore. On the other hand, the film relies heavily on the fantastic performances of Robert Redford and Paul Newman, who, alongside Terrence Hill and Bud Spencer, made probably the most likeable film duo, and if other actors had been in their place, the result might not have been so memorable. But that’s just speculation. 90%

The stupid story full of stale clichés has some interesting moments and doesn't put the viewer directly to sleep, but the script is terribly chaotic and illogical, as if the director himself didn't know how to end the film. Also, the suspense is pretty weak, the film tries to scare you with the same thing all the time (cliff, torture of a girl, sheep) and I didn't even get the expected jump-scares. So the only plus I see are the actors Maria Bell and Sean Bean, whom I really believed in the fear. On the other hand, the experience would certainly be greater if the film didn't try so desperately to copy The Ring and dozens of other horror films that are generally more suspenseful and original than this one.

I don’t know what it was, but I did have a good time. It's goofy and, unlike the first two episodes, it's dedicated exclusively to younger viewers, but the film moves at a relatively fast pace, the filmmakers spare no ideas and the likable actors do their best. I also like to see parodies of sports in every comedy, and that's included here from top to bottom and in the silliest of ways. The humour is not as good as in previous episodes and there are a few embarrassing moments, but the treacherous Brutus (excellently dubbed by Josef Carda) trying to assassinate Caesar, Michael Schumacher as a horse-drawn carriage racer and the fastest man in the Roman Empire were worth it and together with other hilarious jokes kept the quality at an acceptable level.

It's nice to look at, and visually it's a good take on the comics, but it's still a patchwork of basic motifs from several separate stories, which is bad for the quality of the narrative. The story often more or less stumbles in place, spouting jokes that rely on the fact that fans of the Asterix comics and animated films simply want to hear them. And since I'm definitely one of them, I'll defend my mediocre three stars and go from there. If only for the actors, who sold their roles quite admirably.

This is only my second encounter with Clint Eastwood's directorial work after Million Dollar Baby, and I have to admit that this guy really knows his stuff. An incredibly powerful film about a friendship between two completely different people that probably couldn't have been made better, and even though it doesn’t offer any action, suspense or generous doses of humour, you'll go through the entire hundred and forty minutes with your mouth open. The quality of the film is due, firstly, to the excellent direction, where the individual scenes are smoothly and thoughtfully connected, secondly, to the high level of emotions, and thirdly, to the great performances. I would probably single out Kevin Costner the most, he plays a dangerous criminal, but he wins your sympathy almost immediately and you'll be rooting for him the whole time. But why did it have to end so badly? I guess it was a foregone conclusion and I could have expected it, but it still hit me like a ton of bricks and I had to run to the kitchen to blow my nose. And when a film can move and reach me like this, the full rating is an obligation.

Fun for the whole family, excellently cast and scored, traditionally lively and atmospheric. Banderas is likable in every way and the semi-comedic role suits him perfectly, Hopkins is the certainty of all certainties and on top of that the gorgeous Catherine Zeta-Jones, who should wear a gun belt for her beauty. In addition, the script delights with the use of an original setting, although as the minutes ticked by and with each successive stunt, I found myself wandering more and more when Old Shatterhand would appear on set and dust Zorro with his unerring aim.... Well, fortunately (or unfortunately?) it didn't happen ;) 80%

Carpenter's The Thing is, without question, the scariest sci-fi horror film of all time. An orgiastic atmospheric experience that cuts deep into your nervous system from the very opening moments, in an oppressive and bleak setting, with a cold and unbearably depressing directorial rhythm and accompanied by a chilling soundtrack or physically disgusting (or cinematically beautiful) gore effects, only to place a devastating charge at the end and scatter even the last vestige of hope and light. A brilliant, incredibly compact film that never wavers, even with a single shot or spoken line, from its predetermined, most beautiful and purest imaginable genre path... One of those very few films I really never get tired of. 100%

Some passages are brilliant and it can be said that they even exceeded my expectations. Johnston moves exquisitely in a foggy setting where even Reed would get lost, and when he wants to, he can stretch the audience's nerve strings in a very intense way. Unfortunately, all that stands between a successful and properly bloody horror filler is utterly uninteresting screenwriting and dramaturgy, mired in an unconvincing family drama that doesn't even seem to exploit the huge potential of its stellar cast. Ditching the family soap opera and focusing more on Detective Hugo Weaving, by far the film's most likeable character, could have made The Wolfman a big hit. This is just very professional craftsmanship.