DaViD´82

The underdeveloped Cumberbatch overplays the main character as if he were playing a tragedy of all the tragedies from Shakespeare somewhere in the middle of nowhere. He has a silly smile on his face all the time which, combined with the normal performances of the rest of the cast, moves his performance to the "edge" of guilty pleasure so you simply fall in love with it. In something light-hearted in the style of The Princess Bride, it might work, but this wants to be an adult fantasy fairy tale. And in terms of excellent set (exteriors and studio setting) and Horner's music it really is. It's exactly the kind of movie that would benefit from nostalgia, because if I had watched this movie as a boy, I would have not complained about its drawbacks (namely: the movie is too long, duo of Ergo/boy who do absolutely nothing during the whole movie is needless, passive hero, who just delivers a spinner, more time is devoted to the exhibition than to the story itself, the mutual inconsistency of the individual otherwise great passages, where if together it works really well, charming second rate villain, the expedition to the lair of Odul, I mean, Lyssy, where fantastic design, the tragedy of one relationship and tension are all present, etc.). But sadly, I complained.

A stylish spaghetti heist film, hampered perhaps only by its unjustified running time, its revolutionary ending and the unbalanced ratio of humour in an otherwise serious film.

Nolan cannot be denied that he did not just shoot another war film according to a proven scheme. In many ways, it is in line with old-school war films, which are no longer made today, just in the form in which they were never made. Following the example of Greengrass's United 93, in view of The Dunkirk evacuation, he got rid of all political background, expressed no opinion, did not mirror anything. He was not interested in other parties of the conflict, sidelined characters, dialogs and story, and focused on a single aspect; the feelings of those thousands people who were evacuated, those soldiers who where cut off from their homeland. The movie strictly follows (except for the elaborate structure of the narrative and the form, which can be fully enjoyed only during the subsequent screening) the concept of "beach/week-water/day-air/hour" with an unseen enemy and thus fully mediates the feelings of pilots enclosed in a cramped, deafening cockpit, while German fighters circling around, panicked drowning boys in the billowing night waves and soldiers on land who don't know if they'll get their turn during the evacuation or will be left at the mercy of the advancing German army. This is by far the greatest strength of the film. The cast couldn't have been better, because even if Branagh doesn't move from the pier, Hardy from the cockpit or Rylance from the helm, they are so convincing and charismatic that simply could not be any better. At the same time, they play everything purely with their eyes or imperceptible gestures (and in the case of Caine, using purely intonation). Thanks to the symbiosis of Nolan/Zimmer/Smith, the result is undeniably captivating, chilling, nerve-wracking as well as intense and earthy production (the difference from the best CGI is simply tangible, that´s for sure) and a technically refined masterpiece like no other far and wide. But… But at the same time, Zimmer's phenomenal addition of sound (not really a music background) is overused so that the whole footage rumbles and ticks. It´s non-stop. I repeat, non-stop. Do you get that? Non-stop! Neither a second of silence, nor a second without the highest possible intensity of pumping creaking, while the "calm" sequences on the ship would obviously call for quiet moments. However, it is still a "Dunkirk miracle", because everyone in the seventy-millimeter Imax took the bait and myself breathed exclusively in the rhythm given by Nolan.

"I didn't count on being happy." Fairy tales about one of the best Batman feature films ever are not so exaggerated or influenced by nostalgia, as it might seem at first glance, when you say something like this about a seventy-five-minute animated movie "for children". But what can you do when such animated movie for "kids" is more advanced in terms of themes, emotionally more engaged, better-sounding (not only in terms of music), more embedded in his fictional world and with a more distinctive face than the vast majority of current blockbuster animated movies. There is nothing you can do.

It follows strictly the tried and tested plot of a typical Sundance midcult feel-good flick; i.e. it’s not serious about serious things, with social overtones, not overdone and with likeable characters. Of course, it doesn't matter at all if it makes you laugh, moves you, and also teaches you something about cricket in Pakistan.

An apocalypse (in terms of structure and "the negative character" and even annoyingly frequent visual references) incorporated into the ending of the trilogy, which in turn is incorporated into all the story lines, characters and themes based on the original Monkey Planet through a torn inner struggle for Caesar's soul. Yes, it's overcomplicated, and despite it´s not the Conrad´s Heart of Darkness in apes version, the resulting "Ape-pocalypse Now / ape Logan" is a surprisingly faded, free from any action (there's no war, and even taking about talking about fight or dispute would be an exaggeration. This is the Bridge on the River Kw... Planet of the Apes), whose many obvious drawbacks "but" (all humans are stupid, unreasonably long footage, unbalanced pace, deus ex machine ending) don´t really matter thanks to emotions, captivating Serkis, enchanting first half and "invisible" CGI effects, which are not here to impress.

It doesn't work by itself (yet), but purely as a garrulous follow-up prologue before the first regular chapter, it is pretty good. It does not embarrass the brand, the visual stylization fits like a glove (it's a pity that it didn't take the musical themes from the games) and lays the foundations well enough to build big things on them in the future. I hope it works out and I trust Warren Ellis. | S1: 3/5 |

The Pilot (10x01) 2/5: He's good. She's good. There is no plot. I am not saying it´s not good, it is simply missing. I understand that they wanted to devote enough space to the new companion and approach it from her point of view, but to write "a puddle that is not a puddle" and to end it like this, it is simply not enough. Smile (10x02) 3/5: It's very... Lovable. An idea and a start comparable to Silence in the Library, emoji noJamie Vardis sent shivers down your spine, the Valencian design of the colony is magnificent, but the creators were not successful in terms of making a functional whole out of these elements. In addition, the plot, story line, point and the way everything ended up is an unworthy copy of The Empty Child / The Doctor Dances. Thin Ice (10x03) 3/5: "Delayed anger fades away, it melts like brittle ice." One of those potentially not only mediocre episodes that would use a striking half-hour, but in terms of the whole footage and does´t go smoothly and there are sometimes blind spots. The only thing that keeps it afloat, I mean, above the ice are the one liners when Doctor and Bill are becoming closer. If it weren't for one really impressive speech, it would be an episode you will hardly remember, at least until the start of credentials. Knock Knock (10x04) 4/5: "Freaky Scooby Doo house." In terms of structure, this episode explicitly calls for being the first episode where Bill meets Doctor. It would definitely be more stylish than only above a malicious puddle. In any case, a really good use of genre clichés, especially in the first part. On top of that, magnificent silent competing Suchet and Capaldi. The only drawback is a mediocre, doctoral style impression and an unused "returned knock on wood". Oxygen (10x05) 4/5: The invisible hand of the market is capitalistically driven by the vacuum through autonomous robotic space suits with corpses in them. Well, just go for it. Each season must have its episode on a space station with the rest of the crew in life-threatening situation. Most of these "profile" episodes are successful. However, few of them are great, if you strip away politically motivated content of course. Extremis (10x06) 4/5: An excellent premise, a magnificent balance of chillingly disturbing moments (and it's not just about those zombie monks) and funny moments (pope in the bedroom!). From Nardole, it is improving episode by episode and it´s becoming much more than just "second-rate comedy sidekick", high stakes, tangible tension and perfect gradation. And then comes the final contradictory twist, which makes me confused, whether it's a cheap shot or an infinitely sophisticated play with a narrative cliché. The Pyramid at the End of the World (10x07) 3/5: Love is consent. The start and finish of the episode were successful, but what is in between is only mediocre. Sadly.

As expected, Sheridan presents himself as a significantly better screenwriter than a director. Even so, he is not ridiculous in his new role, he certainly does not spoil anything (he even delivers good performance), but surprisingly he cannot take full advantage of the possibilities that his own topic provides him with. And where it is more than obvious it´s the work with the environment. Where Villeneuve/Mackenzie (and I'd bet Sollima too) work with the sketched environment of arid depopulated plains as an integral part and reflection of the soul, almost the main character, so all the whining of the freezing wind, the crunching of snow under snowshoes and endless freezing distances do not fulfill this role to the extent that would be appropriate. In the beginning, they do (and in a captivating way), but it then it seems that he said to himself as if he has already given too much space to it, and in the second half he takes the ruthless landscape and its role for granted. And this is an unjustifiable mistake for a this kind of movie. Otherwise there is nothing to complain about. It's exactly the dense minimalist taciturn "McCarthy" supra-genre rough old-school contribution with an overlap building on the magnificently profiled characters that one would expect from Sheridan.

Excessive in terms of stylization, deliberate affectation, which more successfully than unsuccessfully tries to be funny using sophisticated socially biting absurd situational humor with sharp one-liner dialogs (and no, it's not as much a contradiction as it seems). By all accounts, it shouldn't work, but thanks to Tina Fey, the dialogs and the cast (led by the charming Ellie "Chica Hamburges" Kemper) it works despite all expectations. Perhaps sometimes even better Studio 30 Rock, which is more then just similar. The biggest difference between them is that the "boyish" character (and therefore the style of humor) à la Jack is missing. In any case, it is completely undeniable that this is a true "love it or hate it" movie. This is really not for everyone. | S1: 4/5 | S2: 3/5 |