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I can't help but stare at how positively the whole cast remembers filming the original movie, because I can't explain otherwise why, after a full 14 years since its premiere, they all returned to the Camp Firewood set. Even greater respect is deserved by those who were unknown supporting actors during the filming of the original film and are now bona fide Hollywood stars. On top of that, this is not just an honorary cameo, but Elizabeth Banks and Bradley Cooper have full-fledged roles, and Paul Rudd even has one of the main parts. Chrisropher Meloni still steals scenes, and his character showcases the greatest strength of Wet Hot American Summer: First Day of Camp. It's the subtle reveals that have to push the plot through the most impossible situations until it reaches the familiar territory of the original film. Sometimes it verges on parody or questionable taste, but it's worth it for those nostalgic moments with a fantastic soundtrack from start to finish. The series was a bit stronger and tighter, and maybe Lake Bell and Jon Hamm don't really fit in here, but because of the boyish enthusiasm that radiates from every crazy exchange, the series definitely deserves an above-average rating.

Crazy parodies usually find fertile ground with Czech audiences, so I am sincerely sorry that the last day of summer camp in 1981 is mostly unknown in this country, and if not for Netflix's revival, it would have remained completely unknown. And it would be a damn shame, because from a modestly romantic beginning, it rushes through an avalanche of crazy supporting characters all the way to a finale that can only be called an unabashed half-hour rap from everyone involved. Christopher Meloni emerges as the king of the entire affair, with his psychotic chef Gene stealing every scene for himself.

More proof that Mel Gibson used to play the tough guy like no one else. It's just like I don't much care for the original Payback, so I'm not ecstatic about Payback: Straight Up either. Brian Helgeland's tended baby is pleasantly straightforward and visually much more appealing, but all the negatives that make the original an overly confident and narratively failing mess are still present here.

So many themes and subplots that I wouldn't be surprised if it was actually three movies edited into one. Nonetheless, even such a flood of information and plot twists doesn't hurt and makes Captain America: Civil War a dense 147 minutes. I am feeling a dizzyingly blissful feeling that it will be Anthony Russo and Joe Russo who will be orbiting around Avengers: Infinity War. Because here, so many characters are gathered that even Avengers: Age of Ultron seems almost intimate. But I love Steve Rogers' stories precisely because they are... well, simply, about Steve Rogers. Promoting Iron Man's participation to the second main character is a perfect idea, because Robert Downey, Jr. has never given such an amazing performance before, but the detour to Spider-Man, though perfectly functional and enticing, is too obvious a backdoor restart to not disrupt the pace. Something like that would fit wonderfully into an Avengers film, theoretically even into an Iron Man film, but here I felt a slight disappointment that this particular excursion takes away space from more important things. Fortunately, the rest of the newcomers (Baron Zemo, Black Panther, or at last larger roles for Sharon) and familiar faces, led by the perfect Ant-Man, fit into the stories wonderfully, and the incorporation of Wanda or Hawkeye into the plot brings me immense joy. Based on the reviews, I feel like writing that this is Cap's weakest solo film, but considering how much fun I had and the fact that even at its greatest ease, it simply isn't a solo film, it's not necessary to do so. It just seems that this time it enters the genre boundaries perhaps a bit too broadly.

A season pass for nostalgia for those of us who have remained – and probably will remain – sentimental fools. Here the circle closes and the balance is drawn over all kinds of life losses, but despite that, a spark of hope remains in the heart, that one miracle will truly come one day. Thanks to the touching storyline of Professor Ječmen, it is also obvious that Ladislav Pecháček himself is saying goodbye, and that only now, more than three decades after the creation of the first installment, the world is definitively losing poets.

In collective scenes sufficiently predatory and absorbing, in moments of terror it forces you to avert your gaze. As a whole, in its message of freedom of spirit, mind, and humanity, it does not fail; in the possibility that something like this is real even in modern history, it is fatally depressing. When looking at the flawless Emma Watson and the captivating Daniel Brühl, I am willing to forgive a few minor stumbles because the content outweighs the importance of the screenplay form this time.

A fragmented two-hander, in which a third laughs, in this case Maria Kraakman as Francisca. While Schneider is an nondescript antagonist and Bax a charismatic one, I entirely believe that for the daughter of the latter growing up in this family must have been a nightmare. The genre ambiguity, however, complicates the path to the characters anyway, because just when I start getting tense, there's an incomprehensible darkly humorous vignette, and just when I start feeling comfortable with the lighthearted part, monologues about lifelong mental problems come to the fore. It's a pity, because you can never get enough uniqueness, but here, with an honorable exception, it becomes unnecessarily self-serving with the exception of the final scene (and therefore the salvation of the entire film). 50%

SPOILER ALERT!! – This anticipated disaster is a blockbuster full of surprises. Zack Snyder skillfully twists what seemed like a nightmare during promotion, namely Jesse Eisenberg as Luthor and Doomsday as the final monster. The former, as a disturbing element of a jumping gnome in the trailers, is a captivating portrayal of a young man with great power consumed by his own ambitions. The latter, despite its visual similarity, functions as a multiple catharsis with an amazing soundtrack in the background of a suitably titanic (and sufficiently impactful) fight. However, what precedes this catharsis is a mishmash where confidence alternates with noticeable hesitation. The most notable aspect is referencing comic events that we have never seen in movies and will not see in the foreseeable future, regardless of how the whole building of the grand universe ended. Why mention the Joker and his deeds when we have never encountered him in this world? On the other hand, the criticized enticement to the Justice League led by Wonder Woman does not end up being an eyesore, even though this is where DC significantly stumbled over its own feet. Now, all it takes is for Gal Gadot to blink a few times, put on an all-knowing smile, and not only Bruce Wayne will be left speechless. Unfortunately, it is precisely The Dark Knight who remains in the background throughout the entire duration, which is the biggest failure given the space he is given. It's not that Ben Affleck is utterly hopeless, as melancholic pondering suits him. It's just that in direct confrontation with Henry Cavill, especially in emotional moments, he is outdone by his counterpart in almost every sentence, and it's a bit sad to see how he unexpectedly fails to deliver such intense scenes. On the other hand, Cavill dominates with every gesture in the role of a descending Messiah, and his bond with Lois Lane is the most magical thread of the entire film. After two and a half hours of proper chaos, I haven't absorbed everything. There is too much noise, insensitive throwing away of potentially gracious storylines, and I dislike how overdone Batman's behavior is considering the fragility of his motivation and its resolution. Nevertheless, this power struggle made sense, it could have paved the way for interesting creative efforts, but everything was overshadowed by the desire to step towards the Justice League. It was more than thoroughly enticing – and still, it didn't arouse any desire, let alone hunger, in me.

While the emphasis on technical gadgets in the plot has grown, there is also a deviation from the original source material. In this case, however, it is a good thing. Veronica Roth had a great idea with the whole Divergent series, but in the last installment, she took on too much. The whole plot went in all possible directions, new characters were introduced at such a rapid pace that there was no time for their thorough development, and in the end, we were left with a bearable book, but definitely the weakest part of the saga. To this day, it saddens me because I used to recommend it everywhere I went. Therefore, I had considerable concerns about the film adaptation, especially since it was divided into two parts. However, I was astonished by the result in the cinema. It took enough time to explain the motivations while still delivering great action sequences (such as the Four in the hovercraft) and allowing all the usual stars to shine (Miles Teller, for the third time, stealing scenes). From a tangled mess, it quickly turned into a fantastic blockbuster, which I must nonetheless remember with almost burning pain. Knowing the future twists from which this team would clearly have created a phenomenal finale, their cancellation and all subsequent manipulations with a TV movie or series that have led nowhere even three years later, are tying me up in knots.

Season 1 – 60% – When someone can make a really good joke out of themselves, it's a show that I could watch for hours. And Anne Hathaway, Anna Kendrick, or Julianne Hough are absolutely brilliant. Unfortunately, as the episodes progress, the participation of celebrities we know well here dwindles, or those who forget what the show is about (Mike Tyson), or those who are so out of touch with humor that I just shake my head (Justin Bieber, Iggy Azalea). So, in the end, I rate the first season lower because LL Cool J as the host doesn't help the weaker episodes at all, and although Chrissy Teigen looks great, she is quite off-putting as a co-host. Season 2 – 70% – Much more balanced, but sometimes noticeably less exceptional. It still holds true that whoever lets go and gives a performance demolishes the stage (Channing Tatum, Joel McHale, Zoe Saldana), while the boring participants put me to sleep even in a weak twenty-minute episode (Jason Derulo, Todd Chrisley, or Russell Peters). Fortunately, there are no completely mediocre performances, so you can easily binge-watch almost the entire season at once. However, on such occasions, it becomes even more apparent that the focus has shifted from the intricacy of lip syncing to unnecessary bombast that actually confuses the performers. Additionally, LL Cool J is becoming uncomfortably rigid with his same greeting and rehearsed surprised grimace. He seems like a likable person, but his hosting skills are lacking. Season 3 – 70% – It is necessary to revitalize the concept; otherwise, the whole Battle falls apart sadly, but this year it just barely managed. This is mainly due to surprisingly entertaining guests whom I wouldn't expect (Don Cheadle, Ricky Martin), as well as those who are exactly as entertaining as I hoped (Tom Holland, Sean Astin, Matt McGorry). In two instances, however, I had the feeling that the performers were fulfilling my unrevealed fantasies. Kate Upton sings "…Baby One More Time" dressed as a schoolgirl, and a few episodes later, Ashley Graham stops by in a leopard bra to perform a Shania Twain number? Either someone is intensely spying on me or I have been particularly lucky this year. It's a pity that the impressions of the entire season are lowered due to the last episodes, inexplicably broadcasted during the summer break, which are also the worst of the entire show. Season 4 – 60% – I don't consider the new opening a change in the concept, but revolutions have to start slow. Over the years, I have become so accustomed to the show that I don't mind that it remains mostly in a somewhat accelerated (and therefore "averaged") format. In those weak twenty-one minutes, there is hardly anything more that can be done, and I forget about many pairs as soon as the specific episode ends. I consider the matchup between Ben Higgins and Rachel Lindsay an absolute low point, where I drifted into half-sleep due to the unfunniness of both participants. The battle of beauties, loved by the '90s generation, Mena Suvari vs. Alicia Silverstone, was definitely the best smackdown, and a similar nostalgic string was struck by the Shania Twain Tribute. However, the last episode with a duet from the TV series Heathers was a standout. Both performers reminded us of the phenomenal performances that once launched this show, and they managed to escalate each other's performances so high that it is certainly the best episode in the past three seasons. Season 5 – 60% – I like how they occasionally surprise me with a special episode that I wouldn't expect, and it turns out to be the best moment of the season (Jason Schwartzman vs. the Sesame Street guest). I dislike, however, that the main attractions end up being embarrassing (the Mariah Carey special, despite Darren Criss' presence). It is simply another disappointingly unbalanced mix of pairs, where LL favors guests from the same TV series (Empire, Power), and I can only hope that someone more pleasant will seize the opportunity and give a great performance (Brooklyn Decker, Lauren Ash), rather than just chatting emptily and being ultimately boring (the complete line-up from Queer Eye for the Straight Guy). It seems that the show is taking a temporary break, so I have to express my immense joy for Chrissy Teigen. From occasionally unbearable girl, she now regularly steals the whole show. From a giggly girl, she has become the mother of two who has mastered situational comedy, and for five years, she has been outshining the monotonous Cool within just five minutes in each episode.