Stanislaus

Frankecreepy is a bit of a different Scooby Doo in its conception, as all of the main characters find themselves in a life situation not at all like their own (Fred and his grief over the loss of his car, Velma and her overly crazy ambition, Daphne and her surprisingly sagging self-esteem, plus Shaggy and Scooby who aren't afraid). The funniest part was probably the repeated references to the unfortunate fate of the Mystery Machine, which ended up in flames. Otherwise, this is a completely average affair with a typically mysterious and slightly creepy feel. In short, a likeable pice that doesn't impress but doesn't offend either.

Sweet Cocoon is rather less entertaining and in terms of animation below average film, which does not impress with its story, characters or point, which is a bit predictable. All in all, a short film that is only suitable for one viewing and there is no need to return to it.

I love werewolves in movies, and since Scooby Doo is such an unpretentious pice, Big Top Scooby-Doo! was an obvious choice for a free evening. This episode was acceptably humorous (i.e. not as infantile as other Scooby Doo movies), dynamic, and a little scary as far as furry monsters go. I really liked the opening imaginative intro, the setting in the circus, and the story had something going for it too. All in all, average and harmless entertainment that's great for padding out your free time.

This time, Scooby-Doo is borrowing from (or rather, ripping-off) Alien, which is obvious at first glance ( a monster, a robot, a spaceship with no escape, etc.), and the visuals are also a bit different. In terms of humour, this episode was a bit drier, but again, it was all the more skillfully animated, so the pros and cons were balanced out in the end. In short, another of the many adventures of a bunch of kids who just happen to stumble upon a mystery and solve it.

Spy is the first comedy in a long time that had me rolling on the floor laughing and clutching my stomach - I have to say that right from the start. Unlike the previous film, Bridesmaids, which also starred Melissa McCarthy and Rose Byrne under the direction of Paul Feig, the emphasis with Spy was more on less unsavoury scenes and the focus was mainly on parodying spy movies, and no expense was spared on the comedic use of violence, the clumsiness of the main character and the sharp vocabulary (which was already spicy in Bridesmaids). Personally, it was Susan Cooper's unmistakable clumsiness and sharp demeanour that amused me the most, it made me laugh out loud more than once (the scenes with the blond Anton). Plus Jason Statham, who is basically parodying himself, and in a very good way, was superb. All in all, a sharp comedy that doesn't pull any punches, is brisk, tough, funny – fun guaranteed.

Youth is an audiovisually opulent and superbly acted reflection on old age and youth that is both comic and tragic, with both opposites always used appropriately and effectively. The story is set in a seemingly ordinary spa, but inhabited by a variety of characters who can both make you laugh and move you with their behaviour and speeches. I really liked the beautifully colourful shots of nature and the overall camera work, which flirted with the people and objects around it. In addition to the captivating imagery, I was carried away on the film's enchanting musical score, which was impossible to ignore and perfectly completed the atmosphere of each scene. Each of the characters had something of their own story to tell, so I could hardly say which one captivated me the most. An artfully made film that could be considered a metaphor for life, as there are moments that make you smile as well as sad.

The Brand New Testament is definitely one of the most original films of recent years, no doubt about it. A crude, mean and bored God! A naively clever Ea, eager to give her father a good beating! A jaded Goddess with a penchant for colourful patterns and a love of the number 18! A truly hilarious family that also features “Jay-Cee”. On the other side of the shore are the "ordinary" people, who one day are told their date of death, which everyone deals with in their own way. The film is a plethora of bizarre characters, intricately (blackly) humorous situations and unexpected twists and turns that lead to the inevitable end. An imaginative piece of filmmaking that must surely be a thorn in the side of strongly religious people, but I had a literally GODLY time with it.

The Forest hooks you at first glance with its intriguing theme, which is particularly original thanks to the setting of the story in the cursed Aokigahara forest. The film features other horror elements we have seen before (sisters, ghosts, suicide, paranoia, etc.) and therefore leaves an average impression, although the ending was unpredictable (at least for me) – I have to admit that. In short, a film that will probably get lost in the crowd within its genre, but it's still worth watching and let yourself get a little scared.

I read the book years ago, I've never been a die-hard fan of Saint-Exupéry's classic work and I would never blurt out a morsel of wisdom in the book at the drop of a hat, but I still decided to go see the film adaptation in the cinema and I have to say it was worth it. I liked the intertwining of the two stories, which were animated differently, with each having its own charm. More than once I pondered the meaning of life, the contrast of youth vs old age, and let myself ride the wave of an imagination that has no limits unless we set them for ourselves. In short, a nice and colourful caress on the soul, which I would like to return to sometime in the future.

When I went to the cinema to see the most anticipated Czech film of the year, I had both options in mind - that it would either be a hit or a dud, and Lída Baarová hovers precariously between both extremes. The life of one of the most beautiful Czech actresses of the 1930s offers some very dense material for a film, so there was, is and will be some potential here. I have to say that more could have been made of it, but I also have to admit that the film has some captivating and imaginative scenes. The desire for worldliness is often a stumbling block in Czech productions, even though success can be achieved in a nice Czech way, and that is why some sequences look too artificial and mechanical. A big plus for me was the intertwining of two timelines, which complemented each other well – I was also impressed by the voice-over of old Baarová, which was one of those moments when ripping off foreign films paid off. Personally, I was more taken with the second half, as the first, though nicely shot, was more protracted, while the second had more momentum and the tragic nature did its part as well. I won't comment on the use of German in the film, as it would be a long story, perhaps I can only add that in many American films foreigners mostly speak English, so why make such a big fuss over a Czech-speaking Hitler. Lída Baarová will probably not go down in the history of Czech cinema as a spectacular big film, but I don't want to unfairly cast aspersions, because there effort was there.