novoten

Untraceable. Vaughn tries, and I have no problem believing him about Bates, but when the desperate Anne Heche was finally replaced by the snobby Julianne Moore with a walkman, I started seeing red and gave up. I don't worship Master Alfred blindly, but Psycho is unforgettable, and that's why this simply couldn't work out.

Although both parts are mainly different in terms of expression like day and night, Kill Bill is still a unique and cohesive film work that functions in every aspect. Combining neowestern with samurai swords is such an eccentric idea that it could only result in a disaster or an unforgettable experience. It is to Tarantino's credit that he accomplished the latter, and his creation matures at an unexpectedly fast pace.

Very sympathetic adrenaline ride, in which it is impossible not to hold the main trio's thumbs. A lot of cameo roles will please (most likely Wilson+Wilson as Wright+Wright). It's just a shame that the ending is too childish and doesn't fit the action-adventure comedy at all.

An almost thriller-like storyline developing in possibly the smallest possible space, with excellent actors and in the unmistakable relationship-conversational style of Richard Linklater.

Unconventional war and anti-war film, not unlike Platoon, but unfortunately quite difficult for the average viewer, and I admit, even for me. Total boredom in the desert is not completely boring on the screen, but I couldn't fully immerse myself in the rising traumas of the soldiers. And a war film without gunfire simply isn't suspenseful.

Beautiful and moving anime, with all of Miyazaki's distinctive features. Beautiful girl, fearless boy, gorgeous music, and plenty of ideas.

Much more enjoyable and especially funnier than the British series from the eighties. Marvin is effortlessly divine, Zooey or Rockwell a bit surprisingly annoying, and as a whole, it is a cautiously maturing and reliably absurd comedy that, unfortunately, was mostly unappreciated by viewers (including myself) at the time of its creation.

Surprisingly sterile imitation of all of Danny's partners and other heists with the only clear shock in the form of zero actors. They do not act, they just cheaply parade in front of the camera. This applies to both Rachel Weisz (for whom it doesn't bother at all for the first time and secondly, her role directly calls for it) and the most proclaimed duo of Hoffman-Garcia. Technically, there is not much to criticize, but the final editing specifically infuriated me, where it is shown how everything is and who is involved with whom, which is so desperately predictable that it erases all the potential charge of previous adventures in an instant.

I really like the original Night Watch and even after watching it multiple times, I consider it to be a quality combination of sci-fi and fantasy. However, when the Day Watch started, I became more and more disappointed and my great expectations gradually turned into disgust. After the initial third, I felt like Bekmambetov had gone crazy and made a total nonsense and mess out of the sequel, in which even the readers of the source material cannot make sense. Maybe it was only after the body swap that I gave him a chance and in this stage, I endured until the end. I simply don't know what advice to give here. More magnificent, more epic, but noticeably more confusing, on the other hand with a brilliant ending. If both parts were combined into one, unnecessary side storylines (Kostya) were skipped, and the screenplay focused on the main storyline with the Great, it could have been a true Russian triumph.

If the script added some tempo and atmosphere earlier than in the final quarter of an hour, instead of repeatedly playing with children and playful conversations between Hoffman and Travolta, it could have been great. Like this, the actors can only play very decently, but the monotonous script, incapable of moving the plot to a different level, undermines all effort.