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Probably the highest quality film of Hitchcock's late directorial career, which somewhat deviates from his most famous classic films. This thriller about the search for a ruthless killer of women not only has the classic Hitchcockian element of a man unjustly accused of a crime but is also complemented by elements of black humor, has a decent pace, and a quality cast. Overall impression: 80%.

An extraordinary film, in many ways deviating from established templates. At the same time, it is the life project of the actress Salma Hayek, who has been striving to capture the life destiny of Frida Kahlo for many years and has sacrificed a lot for the creation of this film (not only from a financial perspective). Frida Kahlo was an extraordinary personality of Mexican culture and social life of her time. Frida is not just a film about the successes and disappointments, loves, and inner demons of a painter, but also about the mindset of cultural elites of the first half of the 20th century, and feminism and the position of women in society. Sensitive direction, and excellent performances by Alfred Molina and Hayek (the memorable appearance by Norton as a financial magnate). The depiction of Spanish colonial architecture and colorful period costumes is also interesting. A problem for the acceptance of this film by a wider audience may be the certain exclusiveness of the subject - after all, Kahlo was not a sports star or Princess Diana... Overall impression 80%.

Friends was and remains the flagship of all sitcoms and from the beginning, the series had exceptional commercial success practically wherever it was shown. Top screenwriters were involved in it and that amounted to the teamwork of ten to twelve screenwriters and the series also had strong advertising support. Its success was based on the model of six well-defined contrasting characters, and it relied on humor derived from the attitudes and thinking of teenagers, which the characters still maintained in adulthood. The immutability of the behavior of the famous six is typical even in later seasons. They still fall in love, break up, argue, and reconcile, as if they were sixteen years old, even though they are in their thirties. A child or marriage is merely a backdrop. The laid-back atmosphere that radiated from the series, along with plenty of wordplay and the performances of the main characters led to success. I would give the first season 95%, but over time, the series somewhat became repetitive with the same patterns. Overall impression: 65%.

A sympathetic B-movie that doesn't take itself seriously, and thanks to its sense of humor, its flaws are digestible. Overall impression with regard to nostalgia: 70%.

For a sequel, it is weaker, but both the script and the style try to follow in the footsteps of its predecessor, so those who were captivated by the first installment of the horror comedy will most likely be satisfied with this one. I missed seeing Amanda Bearse in the role of the protagonist's girlfriend. Unlike the first film, this one does not work so much as a horror but rather as a comedy with a lot of gags. It is exactly in the style of successful sequels, with more of everything, including vampires. Overall impression: 55%.

When this film appeared on the screens in the early 90s, I would have given it 3 stars because this kind of garbage horror production was something new for us and it seemed interesting in its bizarre way. Fortunately, I have seen many other things already, so I can establish a benchmark and I can send From Beyond exactly where it belongs. If anyone claims that scripts don't matter in B-movies, for me the quality of the script represents the basis for evaluating films, and that is precisely the problem here. B-movie means a lower budget, but it should not mean crystal-clear stupidity in character behavior, dumb dialogues, and motivations. I give it one star for the wonderfully decadent erotic scene when the lady doctor turns into a stripper. Overall impression: 25%.

From Dusk Till Dawn is a very controversial film where it is possible to understand a wide range of ratings from movie fans. On one hand, there is the traditional tarantinovský style combining elements of extreme violence, eroticism, and classic horror with a strongly comedic exaggeration and necessary catchphrases, additionally supported by the participation of well-known and top actors. On the other hand, the screenplay is openly not among the best that ever happened in this genre. Moreover, the pace of the story is quite uneven. Overall impression: 60%. In some moments, Rodriguez explicitly wastes traditional horror props and begins to bore.

Unfortunately, I am disappointed, although thanks to the generous budget and the resulting set design, there is still something to see here. Given the choice of exteriors, lighting, and music motifs, there can still be talk of a mysterious atmosphere, but anyone who knows the comic book source material must necessarily be disappointed. Due to shortcomings in the script, problematic portrayal of some characters, and mediocre direction, only an average film was created, which originally had greater ambitions. Although Johnny Depp is an excellent actor, this time he had a weaker moment, and even his presence could not mask the failure of the overall concept of the film. There is no need to elaborate further, as my arguments would only repeat the criticisms of others. Overall impression 50%.

A documentary that, by means of its resources, speaks about today's Iran in the same way as A Separation. By the way, it also dares to be very open and even audacious, considering the strict Iranian censorship. Overall impression: 90%.

Recently, I visited a museum where I could admire ladies' dresses from leading tailor salons of the First Republic, which were intended for women from higher society. I say "could admire," but I didn't, because it was clear that the ravages of time had worked relentlessly not only on the faded colors but also on the once bold patterns and cuts. What used to dazzle is now just an item in the museum's inventory. I have a similar feeling about the early Bond films. The series about the unbeatable agent of Her Majesty has always been considered by me as a purely marginal part of cinema, and above all, the films from the 60s and 70s are fixed in my mind as museum exhibits. Bond films from the 90s started to become interesting with their sets, special effects, and action, but I only fully embraced their universe with the arrival of Daniel Craig - he became the first Bond whom I believed in as this invincible action hero. The trashy nature of From Russia with Love is evident, but not significant enough to make the film entertaining in and of itself. Some detachment is noticeable in the film, but it is not sufficient. It takes itself too seriously considering how naive the whole plot appears today and how clumsily it works in terms of the action. While I can choose from four genres in the film's header, the only one that would hold up today, namely comedy, is missing and unfortunately was not intended this way. I almost dozed off during the most dynamic action scene, the attack on the gypsy camp. I give the claim that Sean Connery is the only authentic Bond the same weight as the claim that little green men from Mars control us. Overall impression: 45%.