novoten

The number one in the title signifies the position of the creators' greatest motor sport in their personal hobbies. They want to tell us everything about it – or at least something about everything. As a result, it necessarily ends up somewhat fragmented in terms of the overall history of the Formula One race, but some powerful moments make up for everything else, especially for those of us who did not experience that deadly time. Paul Crowder and Mark Monroe build a monumental monument to everyone who paid the highest price for their love of stepping on the pedal, and it is precisely in the divided and emotional memories of past rivals, friends, or lovers that the documentary is painfully powerful.

Another opportunity for an entertaining-adventurous film wasted. Emmerich's straightforward childishness and honesty with which he tells his stories fascinated me at times. However, as a result, the film is just a tired fable in which cavemen speak English with a Middle Eastern accent, mammoths build pyramids, and the last remnants of adventure are saved by a five-minute scene with a saber-toothed tiger.

With the Cloverfield brand comes a damn heavy burden. The original Cloverfield was able to combine the drama of the main characters with something big and terrifying that was located vaguely far away and at the same time all around. The identically named street has, as always, the believable Mary, in the form of the roaring John Goodman, as well as the question mark about what is hiding outside this time. However, with the main asset also comes the main obstacle, because we all suspect that something unexpected must happen in the final act, which doesn't fit too well with the previous course of events. The formula was only partially repeated, mainly thanks to the actors and a healthy dose of tension arising from the most ordinary situations. And yet the whole thing looks like two films stitched together.

At first, after a special mixture of melancholy, nostalgia, and optimism just a few hours after my own prom, Ten Things I Hate About You was my little treasure that I didn't want to see any flaws in. I enjoyed the captivating romance, fresh screenplay and direction, Ledger's charisma, and the beautiful sister duo. But upon second viewing, everything seems like a parody of itself. Scenes that used to evoke positive memories are now just sterile and unfunny paraphrases of Shakespeare. Although the stadium song still works and the guitar scene is still an amazing emotional peak for me, I feel a bit sad that I can no longer be swept away by high school naivety. Some movies should only be seen once.

Desire for adventure, desire for solitude, desire to live. Danny Boyle translates a relatively trivial story into a highly personal level, where no hallucination is purposeless and no flashback empty. With the breathtaking James Franco and a visual that never rests, 127 Hours becomes a magnificent spiritual cleansing and also the most intimate story. It is simply a difficult task that passed with flying colours and made me, despite the inconspicuous warning, desire to rush somewhere headlong, making it perhaps the biggest surprise of the season.

A breathtaking spectacle with truly amazing actors who perfectly convincingly portray characters with precisely defined personalities but with changing opinions and unpredictable psyches. Lumet simply directed a brilliantly gripping drama, where even a scene of imitating an elderly person's walk stretches the viewer to the breaking point. And the best thing about it is that the point is not whether the defendant is guilty or innocent, but whether it is possible to question his guilt.

This was supposed to be a magnum opus with everything, but instead there came false grandiosity, where the plot only describes larger or smaller circles. I'm somewhat regretful given Steve McQueen's obvious engagement, but neither the raw scenes nor Michael Fassbender's dominating performance help him on his way to the audience this time. This is partly due to the fact that Hans Zimmer' music is overly sentimental and therefore incongruous, partly it is the feeling of futility that the casting gave forth excellent performances that go nowhere (Paul Giamatti, Benedict Cumberbatch). But worst of all – thematically, there is absolutely nothing extra. The sorrowful looking (and it must be said, significantly underplayed) Chiwetel Ejiofor is dragged by destiny, encounters slimy, treacherous, or weak white men, and sympathizes with suffering black people. And that, more or less, is where it ends. In fragments of the plot or dialogue, it occasionally functions, but as a whole, it is remarkably transparent.

Black Hawk down for good. After watching the murderous footage and a more than thorough introduction, it is clear that this is a dream project, whose author was unrestrained and thus able to fulfil his greatest wishes. And although the motivational speeches or threats about dead Americans bring to mind Pearl Harbor with their quantity, it only slightly diminishes the experience. When it comes down to it, Grade AAA Action comes to the forefront, proving that Michael Bay simply never gets old, but matures in his own way. Every salvo or explosion surpasses everything you could possibly see in the genre with its dynamism, and the increasing fear for the main characters drives towards an overheated and even more exhaustively satisfying finale for the audience.

Season 1 – 75% – As much as I was looking forward to this series, I ended up struggling with it to the same extent. Not that I didn't enjoy it, I've seen high school environments in a hundred different ways. But maybe because I've seen a lot in the teen genre, I was surprised by how rarely it delved intensely and precisely into the topics in the first half. Combined with Clay's incredible restraint or almost retardation, constantly falling or breaking something, I sometimes hid my head in my hands out of anger or embarrassment. But the second half is more dramatic and in many ways uncompromising, and even a week after watching the last episode, I can't get some scenes out of my head. That applies to both the finale and the penultimate episodes, where one feels really uncomfortable, but even more so to a specific one that has the greatest chance of showing the power of the whole story. Just the thought of what could have been, the vision of a happy ending for the main couple that will never come true. Something broke inside me and I realized that even though I have a huge problem with 13 Reasons Why, Hannah and Clay will never disappear from my mind. Unfortunately, the problem is the concept of the tapes, the carefully crafted narrative, and the subtle accusation of everyone present with one logically explained exception. Some assholes definitely deserve the feeling of lifelong guilt, but it's difficult for me to come to terms with the fact that some of the participants acted more or less like ordinary, self-absorbed teenagers. They will have to overcome the accusation on the tapes that if they had made a different decision just once, everything could have been fine. Maybe it could have, but no one, not even the main character, deserves to pass such judgments on them. Even those seemingly insignificant situations are acted out perfectly (and no, no situation is insignificant when one unpleasant cut after another keeps coming at you so painfully that you unconsciously perceive every stolen glance from a classmate as a personal attack), and Katherine Langford deserves all awards imaginable for how she can bring the smallest hint of emotion to perfection. But when Hannah walks away from school at the end, and the tape plays the reproach that no one wants to stop her, I shudder to think what a scene like that might do to male and female viewers who are at a critical age and in some very unfortunate episode in their lives. Technically, there's little to fault this collection, but value-wise, I'm still shaking my head over it to this day. Season 2 – 90% – The People v. Bryce Walker. Sometimes I feel like a certain group of viewers don't even deserve contemporary quality work. And after reading another volley of statements along the lines of "Hannah didn't do anything wrong" or "Bryce is a likable guy who should be forgiven", I think even more so. I don't even agree that 13 Reasons Why is just a superficial fail for over-sensitive whiners. No, whatever the show's qualities, it always presents ideas in its second season that are primarily human, emotional, and even understandable to any empathetic individual. Moreover, Dylan Minnette, Langford, and especially Alisha Boe have matured so much as actors that identification with the characters is much deeper this time around. The major leap up for me, however, is the plot, which I was dreading after the announcement of the new story, but which thankfully doesn't repeat the controversial claim that Hannah had no other choice, and instead takes a more logically thorough look at the questions of how to move on and how to even manage to progress to where we are at least a little bit better off. Indeed, the problems, not just of teenage society, that the team around Brian Yorkey point out are so numerous that there isn't an episode that doesn't grab you by the heart, freeze you up, or just point a sufficiently cautionary (but thankfully not wildly moralistic) finger at the problem. Not every such thing is then enjoyable to watch, see the feminist group of students who mean well at the core of their actions, but the consequences of their behavior are almost catastrophic. But isn't every teenage endeavor just like that? Determined, often black and white, and burning every conceivable bridge for even a single value? Even more controversial, then, are the events surrounding Bryce himself. Throughout the first two seasons, there wasn't a viewer who hated the slimy snake Walker more than I did – and yet I'm also the one who champions his character in a cathartic third year. Perhaps because I'm (hopefully) no longer a mental teen and can leave some dry thread on the perpetrator of various evils. Because no one is saying (and through the mouth of the mature Justin Prentice, not even Bryce himself) that he didn't do the heinous things the show talks about, even as he finally accepts responsibility for them and wants to make amends. And here is the biggest crossroads at which everyone in 13 Reasons Why rightfully stops. The place where Bryce wants to come clean and make amends, and quite objectively succeeds on a few of them, and quite plausibly fails on others, because when something unfair matures in a person long enough, you can never quite get rid of it. But the effort is there, and it's not just about promises, it's also about actions, and while some of the characters accept such a change (at least temporarily), others quite logically don't believe it, and I'm sorry how a large percentage of the audience refuses to listen to such a (nowadays quite fundamental) dilemma at least for a while. For me, it's this incrementally debated issue that is perhaps the biggest nut the series has given me to crack so far, and I've fully bought it from the creators, not least because of the perfectly delivered lines (Devin Druid as Tyler is breathtaking and I want to believe that he can break out of the current box) or, given the genre, the adequately attractive couples, who I can't help but root for (I haven't adored anyone as much as Justin and Jessica in a long time). But to not just praise and illuminate the relatively moderate ratings, I have to mention the newcomers I didn't find to my liking. The ubiquitous genius Ani is simply insufferable as an instant best friend and part of the gang, and as much as the episode that focuses on the Bryce-Ani-Clay triangle is quite possibly one of the highlights of the series, I find the sheer targeting of both characters to be a mistake. I simply can't believe how easily she's integrated into the whole plot, and how strong the feelings both of the aforementioned suddenly began to feel for her, which may be a minor scripting rush of events around her, or then the impression that Grace Saif plays all of Ani's positions exactly the same. The questions over the final season are pretty big either way. Because unlike the previous series, there's no outright cliffhanger or trauma, and the journey remains almost completely clean. Season 4 – 55% – A sharp landing. It's as if the last season was written by a different crew, as if someone had fundamentally changed the main characters and made the conscious ones smug (Jessica), the appealing ones empty boxes (Zach), and even the narrator Clay a disturbed individual who is forgiven every time, even though his behavior operates on a system of random outbursts and he comments on the whole event with tone-deaf monologues on "Fuck Love" or "You can't survive high school". I regret this all the more because I've always championed the series, whether it was investigating or instructing, and I continue to find it a thrilling warning for all fragile souls. That's why I don't understand that at the very end it encourages crazy and reckless acts without discouraging them. What all the main characters get away with, what crazy missteps without a shred of thought or logic, is what the mind is left wondering. Most of the time, such moves lead them to a thrilling cliffhanger, but the subsequent episode doesn't refer to it and just deflects it in two sentences. Then, when the entire series functions as a string of specials (the gala, the trip, the riot, the prom, the graduation), in competition with the three previous seasons, each inextricably linked by a central theme (the tapes, the trial, the murder), it's nothing short of sad. I wasn't expecting such a messy send-off, and I'm only relatively resigned to it because of the last episode. It's the only one that speaks to me in the same language as the old days. And I try not to think too much about the fact that, with a few cosmetic tweaks, it could have stuck around for a third season without watching the creative travails of the nine episodes before it.

A naive story that provides laughter with the exceptional acting performances in tense moments, but thanks to its short duration and perfectly intense action, it is so electrifying that it would knock you out as well. Without a pause and without any weak spots.