novoten

Singer back to being a genius. I don't even know why I was afraid of a lack of humanity or a cold approach. The tension comes from just a glance at the army or a fleeting shot of Hitler's back of the head. It is precisely the authenticity and documentary veracity that give the final catharsis the stamp of the purest emotions.

With regard to the genre, it is impossible to talk about the story, animation gets boring after a few minutes, and characters interrupt all their efforts with sex after a few sentences. Moreover, what the script builds up in five episodes is concluded in a few seconds and completely blocked by the ending. So, as a one-time excitement for someone who enjoys tied-up whining animated teenage characters, it may be appropriate. However, since I foolishly searched for anything else in it, I have to give it the lowest rating.

I longed to experience again the magic of a few shared moments, which would remind me of the experiences spent with Lost in Translation or Before Sunrise. Unfortunately, I encountered negative aspects of other melancholic works. The main character consciously tramples upon happiness, eagerly drives away opportunities, and cannot embrace even the less desirable pleasures (see Last Kiss), and in Cer's portrayal, he is additionally hesitating in a way that is unpleasant for the audience (see Juno). In this situation, I caught myself admitting that I would rather be deceived again by a former monster than to experience questionable adventures with someone who may not even be worth it. Perhaps this is the first sign of cynicism, but I will hope that it is only the first hint of life's pragmatism.

Woody's period stories have become my great certainty. I will have a smile on my face while reading them, sometimes broad, sometimes slightly curved by that ubiquitous melancholic mood. And I will definitely avoid making any statements about how "this time the director really showed off" because I have always seen his love for art, irony towards actresses, and the indispensability of romance, luckily. It's just a coincidence that everything came together here on Broadway at such an unbelievably slow pace. As a whole, the shots are traditionally excellent and Allen's language speaks clearly and distinctly.

A few good ideas and an appropriately chilling premise, both carefully walled in by self-indulgence. Unexpected winks at the viewer are not a bad idea, but they destroy the built-up atmosphere of unpredictability and absolute fear. And is it satire? So why does Haneke present disturbing scenes and make the heroes suffer physically and mentally in several-minute shots? This unbearably artificial "depth" is just a self-absorbed means to attract attention. Attention from a decent portion of viewers who will enthusiastically talk about the psychologically tense thriller, which it is not at all. I don't question anyone's taste, but a film that can literally destroy its story with a bizarre trick involving a remote control and a desperately mundane ending is not worth closer attention from me.

Julian Jarrold appeared to me in 2007 as a saving star and I will never stop being disappointed that he later retreated to less shining television projects. Although from the first moment I see that Anne Hathaway is somewhat forcibly fitted into Keira Knightley's position and the whole concept leans heavily on Pride and Prejudice several times, it doesn't matter. Becoming Jane is an intimate, self-contained and beautifully done biographical adaptation. When I look at other reviews, it warms me even more that its magic came only to me.

The main storyline revolves around Jigsaw and he can't let go of it (given Bell's unwavering charisma, it's hardly surprising), but the investigative side roads and the surprisingly effective "long" trap somehow work better than the entire previous installment put together. It may have been a swan song, but that slight satisfaction was worth it (unfortunately, for the last time).

A smoking man sets out to bring order to the field, close encounters meet skeptics as well, people die and the Truth itself is so terrifyingly close this time. A stunning mythological story that has forever changed the series.

A bomb that animated competition can hardly catch its breath and possibly the last chance in which Dreamworks at least once successfully tried to equalize more successful rivals. It relies on its certainty, but it has heart, an incredible dose of martial arts fandom, and above all, so much exaggeration, humor, and sentiment that it elevates the legacy of adventurous Disney movies to a new level. And comparing it to Shrek is completely out of place here - perhaps no one wants to convince me that Po, as an individual with a desire to become a hero since forever, can be compared to a grumpy troublemaker who only embarks on adventures against his will. The unknown twins of screenwriters and directors have boldly stepped into the world of success. It's been almost ten years since I watched it, so I don't understand why only the former is often mentioned, but at least I'm glad for that.

After Démantech noci, it is the second and almost definitive proof for me that Němcová's allegories are not for me. I will never like music that doesn't fit the atmosphere, trivial plots elevated to art by erasing dialogues, and characters that I almost hate due to their patched actions. These kinds of wedges into the viewers' heads, who love classical film, will always be there.