D.Moore

A film with a lot of great ideas, a really great performance by Robin Williams and great music by Brian Tyler. It is spoiled only by minor blemishes, but there are quite a few of them (for example, that nobody checks the cutters if they (don't) have an implant), and that’s why four stars are just right. I couldn't give less for that extremely emotional look into my own past.

A rough, dirty, sweaty movie. Some might think that the half-hour introduction of the characters and the following half-hour, after which the first truck finally hits the road, will hold up the plot. But not at all - it is just part of The Wages of Fear. This is all the more so later in the frantic and nerve-wracking trek through the jungle and mountains, where daredevils become cowards, nerves are at play, every tremor can be fatal, and fear equals caution, which sometimes really pays off. Yves Montand's character is definitely not one of the greatest characters on the screen, but you root for him anyway. That's the kind of movie it is. Of all the memorable scenes, I would highlight especially the lake of crude oil.

A comedy with the devil in a body. I liked it very much. František Smolík, in an unusual position, delighted me, and the purely lemonade-like and therefore unpretentious but amusing theme of double infidelity, multiple lies and the egg, which in the finale is on the faces of perhaps all the participants, also came in handy. Lída Baarová coming back from her accident was especially charming and Ljuba Hermanová was such an element that I simply couldn't resist singing the title song long after the closing credits.___P.S. Světla Svozilová also managed to shine in a small role, and she was really good in the men's role.

Red Dwarf is back in all its glory (I know, I know, there was no other way to do it with the Cat) and the tenth series is just a joy. The fourth episode, Entangled, is a bit too involved for my taste, but I'm not afraid to rank at least three episodes (with Jesus, Lister and Rimmer's father) among the best with which Red Dwarf has ever assaulted the audience's diaphragms.

"Mach schnell! Mach schnell!" An unprecedented spectacle and a one hundred percent serious parody of itself. The best parts of the film were the period shots from the end of the Second World War, where at least, unlike the other 90 minutes, the camera didn't shake so much. And poor Hitler kept looking as if his nose itched terribly, but he couldn't scratch it (which he really couldn't in that glass, could he?).

I liked the comic book (by the same authors as the script) better mainly because the world in which the story takes place is much more interesting - it's actually a classic post-apocalyptic landscape with remnants of various cities, factories, machine wrecks and so on. The film was left with only hints, not even Tower of Babel made it into the film, and I wonder what led Aronofsky and Handel to deviate so far from their own original work in the adaptation. Otherwise, though, Noah isn't downright bad, although for me Darren Aronofsky remains the director of a single outstanding film (yes, The Fountain). Russell Crowe's fanatical position was very convenient.

By the end of the film, the script didn't seem to know which way to go, so all of a sudden something happened that could have happened at any time, and it was so rushed and just weird that it kind of ruined Phone Booth for me. However, the previous hour was good and I certainly wouldn't want my bad conscience to have the voice of a giggling Kiefer Sutherland.

I did not expect much and I was pleasantly surprised. Again, slightly different zombies run amok in the action story, which is not among the most sophisticated, but thanks to a number of really great and especially suspenseful scenes (the pathologist, the car wash...) I had no problem setting that aside. Timothy Olyphant was very likeable this time, Radha Mitchell in the role of his wife as well.

It's a silly monster movie, but entertaining in its own way, with delightful tricks and the intoxicating smell of rubbish that means well on the viewer. The serious atmosphere of the original film is gone, with Godzilla wallowing as he does a victory dance on Planet X, a stunned Radon kicking his legs like an angry child as he hits his back, the defeated aliens retreating to the future, and a chunk of Japan once again having to recover from an unsolicited visit from a rowdy demolition crew. For how stupid it was, it was really well shot. The fourth star is for Ifukube's amazing music again.

Another tongue sticking out to all those who so adamantly claim that Lída Baarová couldn't act. On the contrary, I think that here (again) she gives a very sovereign performance and trumps even Zdeněk Štěpánek in terms of believability. The Incendiary's Daughter is simply an honest drama, professionally shot, but it could have been a little less rushed at the end. Then it wouldn't be lacking anything at all.