D.Moore

It's still good, don't worry and don't look at the ratings here. Just be prepared for the fact that Nicholas on Holiday pays more attention to Nicholas's parents, but that's not a bad thing at all, because whether we're watching children or adults, it's still a great, well-acted, sunny comedy with extremely beautiful colorful sets and good humor from start to finish. If the writers had wanted to at least close the mini-story with the beautiful German tourist and if they hadn't stuffed everything (the police phalanx, the hunters, the castle full of ammunition) into the finale, or if at least some of it had made sense and hadn't just appeared, I would have given it a fifth star.

I consider The Assassination from Jiří Sequens to be one of the best domestic films ever, and perhaps that is why I was slightly afraid of Anthropoid. Fortunately, there was nothing to worry about. Despite the accents (you can get used to them, but I hope that the best possible dubbing will be created), the film has everything it should have: A comprehensible and more or less untwisted story seen exclusively through the eyes of Gabčík and Kubiš, the great period atmosphere that Renč's Lída Baarová, for example, can only dream of, and, fortunately, also a huge narrative value for the familiar Czech and for the unsuspecting foreign viewer. I can't imagine how crushing the second half must be for someone who knows nothing about Anthropoid. The strain is palpable in the end, the shootout in the church absolutely riveting and the flooding of the crypt so hopeless... It brings tears to your eyes, and thanks to Sean Ellis, nothing that happens feels the slightest bit ridiculous. It's also more than pleasant that the Czech actors are definitely not lost next to the British aces, even Anna Geislerová was a good fit for Prague 1941/1942, and I have to say that she looked very good in the period, and I recommend Robin Foster's interestingly modern soundtrack for independent listening.

I quite liked the first story (spoiled only by the unnecessarily graphic writing on the mirror), the second one not so much, although the idea was fine, and I wasn't really in the mood for the third story, although I endured that one too. They're psychological rather than horror films, and I certainly don't feel like I understand them the way the filmmakers would like me to.

Say what you will, but this is the Woody Allen I love so much (though his pure-blooded comedies are even better for me). The most amazing thing to me about Café Society is that it's the first film in which Jesse Eisenberg plays a likable person, and he really is likable. His Bobby is not poor, whiny or desperate, and instead he has courage, he's quite a bold young man and that's fine. Kristen Stewart stuck out a bit at first because of the beautiful period atmosphere, but after a few minutes she fell into it, Steve Carell is a great actor, period, and Blake Lively charms just about everyone. It's also great that Allen's script knows moderation - there are so many things that could have been developed and talked about further, it's just that there's no need, everything important is said and anything extra would just slow Café Society down. This is also true of the ending, which comes at a beautiful moment. As for the criticisms, I have to disagree loudly, especially with those that despise Ben's story and say it is unnecessary. On the contrary, I see an ingenious parallel in it - giving up Judaism and accepting Christianity "for the sake of advantage" is the same as leaving one person you love for another you prefer.

Black and bloody fun with amazing make-up of the undead Jack, which even trumps the impressive transformation of a man into a monster. Perhaps only the ending was too, um, bland for my taste. What happened happened, and that’s it.

The best new film since... Well, since Bridge of Spies. And it probably isn't a coincidence that Tom Hanks is also in it, because Sully is so very great in the first place, though not only because of him. I especially liked the ubiquitous tension and believable dramatic atmosphere. Whether the viewer knows in advance what happened on the Hudson or not (although after a few minutes everything is clear even to him), Eastwood's precise direction leaves him almost permanently shivering and waiting breathlessly for what will come in the next scene. We see the landing several times, but each time in a different way, and we never get the feeling that something is repeating itself, because the plot resembles a building kit made of many pieces that gradually fit together. Everything is carefully balanced - tension, pathos and humor - the main character is not a superman, but just an ordinary man who has done the incredibly right thing, but suddenly faces such pressure that he starts to doubt himself. What is admirable and commendable is that the film does not slip into any depressing drama full of regrets and question marks, but keeps its head above water and keeps winking at us: Don't worry, it will turn out well. It would be a shame to miss such an excellent film, as modest as its main character.

We already know what Mr. Bean is capable of doing during a wedding ceremony. One question remains: Who the hell would invite him to a wedding?

"In the Czech Republic, everyone is right. That's the custom here." The demonstration of the magnificent acting performed by all the participants makes Smrt císaře a krále Karla IV. more than just a television production. How much its plot is or is not true to history can be debated at length, of course, but I think that in this case it is mainly about the idea, or rather the ideas that the script presents - and there are many of them. Rather, we should be concerned with those ideas.

An achingly quiet drama with the exquisite and beautiful Lída Baarová and, as always, more than skillful direction by Otakar Vávra, who was one of the few directors of his time who could shoot in a truly worldly style. I especially liked his thoughtful long shots - the opening one and the one from the roof. And even Hitchcock wouldn't be ashamed of the fish scene.

It ignores anything remotely resembling meaningful story that would hinder the continuous grotesque escapades of varying levels. For some it's enough to relax, for some it's enough to be completely enthusiastic, for some it's enough to keep them awake.