Kaka

The first episode of the third season cannot be described as anything other than pure shock. The whole thing feels like a kind of "throwaway club" with weird individuals, thrown out of the reality of the contemporary world. Gone are the showcase dialogues, the clash of different philosophies, ideologies and interesting insights into the workings of 20th century society. This episode eviscerates the boring prattle, the absolute loss of elegance, innocent fragility, inner strength and heart of the original Elizabeth, played by Claire Foy. I want to believe that this season will catch its second wind, otherwise it will be a steep downhill slide.

The second season confirms the fact that the success of the first was not an accident. It masterfully continues the polished combination of historical accuracy, period flamboyance and a little healthy improvisation here and there. This unique concoction for success is complemented once again by fabulous actors in practically all leading and supporting roles. At the same time, the creators managed not to miss the mark in their attempt to make the second season bigger, grander, or perhaps more mainstream. The recipe from the first episode works with very similar ingredients, it operates with what tastes good and tries to eliminate as much as possible what doesn't taste good and it succeeds almost completely.

Reconciliation, understanding, saving the marriage. A crushing KO punch from Queen at the best possible moment. And to make matters worse, the resignation of the prime minister. The last episode of the second season doesn't have the conversational dynamics and fast-paced scenes of some of the previous episodes, but the emotional impact is considerable.

A memorable episode with Phillip, Charles and their fragile father-son bond. Flashbacks from Phillip's adolescence as a parallel to current events in Charles's world. Positive recollection of hardships during studies vs actual terror and bullying. The unique atmosphere of a secluded school in the Scottish Highlands as the best way to find yourself. It's strikingly reminiscent of the first half of Batman Begins in its bleak atmosphere and style of dramaturgy. Perhaps the only thing missing is a thoroughbred Hans Zimmer scroe and spectacular action scenes of the modern world of fiction. Charles Begins.

Masterful political tension, a tug of war and a clash of two different ideologies and cultures of the top leaders of one of the oldest countries in the world versus the most powerful. Great portrayal of the influence of women and their ability to pull a crowd and individuals together. I do have some reservations about the style in which JFK was portrayed and especially acted, but that's secondary.

Crucial events surrounding Margaret. The anabasis of her complex relationships, unfulfilled love and the limits of the aristocratic world to which she is unwillingly chained. With all the advantages that she abundantly and happily enjoys using and the disadvantages that she despises and tries to run away from. Once again, the riveting Vanessa Kirby and the equally intriguing Matthew Goode, who si great at those mysterious gentlemen and mesmerizingly interesting personalities, just think of Watchmen. A piece that gathers more emotion and tension in its hour-long running time than any average second-rate feature film. Still first-class entertainment, this time with a complete absence of pure politics.

A modern Czech fairytale classic. Troška kept himself on a leash, an excellent Blanarovičová, unrecognizably under the make-up, and traditional storytelling of Czech fairytales. Unlike many other "classics", The Watermill Princess can be watched with a pinch of self-loathing even after several years, but only in a sentimental mood during the Christmas holidays.

In terms of the political reconstruction of a significant event, it’s brilliantly shot; moderate, with an emphasis on factual accuracy. Filmmaking-wise, it loses a bit of the dynamism and entertainment effect, but it still manages to combine both of these key elements more than capably. Another top quality episode.

A blatant attempt to wring out the last vestiges of a graspable comic book universe of famous heroes. Doctor Strange is not a bad character and has a lot to offer, but once the creators embark on yet another scripted whirlwind full of parallel universes, magical books and runes, time jumping, etc., it's more than likely to be just another generic comic book action flick full of colours and digital effects. Sam Raimi's arrival will be appreciated by horror fans, as the second Strange has a lot to offer in this aspect and some moments are quite solidly dark. As a whole, however, the second film does not surpass the compactness and interestingness of the first.

A somewhat sterile love drama in places, where at times it seems that the world has more weirdos than normal, rational-minded individuals. Some situations are quite adequately depicted, others not so much. The sometimes deaf moments and the relatively slow and uninteresting pace are topped off by a strong conclusion, which is both brilliantly scripted and appropriately chilling. Still, I didn't find Little Children as compact and entertaining as other, thematically related films.