Marigold

Jiří Adamíra is a dignified replacement for council member Vacátek, and instead of a good-natured old-school policeman, we suddenly have a sharp and at first glance inaccessible cracker with a kind soul. I am a little sorry that Bouše and Brůžek suddenly look like "municipal cops" with a lack of skills (one would expect an increase in experience rather than senility after all these years :o)), but overall it preserves the pleasant old-fashioned atmosphere of old Prague, which the color also does not hurt. Moskalyk managed to build on the sequence note and create a pleasant and watchable song about killers, robbers and loose ladies for sleepy Sunday afternoons. But The Sinful People of Prague only happened once...

It's not a bad attempt at a more psychological approach to war material. The creators offer one of the films of the Gulf War from several perspectives – each person has their own motivations, motives a different version, and the view of the events of one night in a downed American helicopter. Is his commander a fearless heroin or a panicked woman? Denzel Washington's job is to find out the truth while dealing with the inner trauma of the war. Unfortunately, the interesting idea of "analyzing war heroism" is not very interestingly realized. Basically, it's noble and fairly well-played boredom with empty ambitions to go into depth, which you only need to see once for the solution.

Well, this is definitely more watchable than The Philosopher's Stone... The atmosphere is a few shades darker, with the story thrown into a kind of Gothic gloomy and mysterious garb. For the first 40 minutes, I kind of yawned through the shower of digital effects and purely illustrative films that didn't do much for me as a non-reader of the books, but during the rest of the runtime it was a much fresher experience. It's just too bad that Columbus can't give the film more charm and poetry than the visual effects and artwork give it. And, of course, the actors, of whom I was most pleased by the eccentric egotist Kenneth Branagh... Unfortunately, the director is a routinist in every way, the author is every inch a conservative and a loner, which may benefit the film as a book illustration, but not the film as a film... Some scenes have a huge charge in them, which Columbus zeroes out with unruly and mechanical direction without a hint of invention (e.g., the spider scene in the Forbidden Forest) and sometimes it would benefit the film more to cling to the storyline and not overwhelm the viewer with details as much. In the end it's quite amusing, though quite stretched, and it's nice-looking, but it lacks more pronounced poetics... There is something good waiting in there, and when a handy director wakes it up... well, let's wait for the next films.

The end will make things right... It's not bad at all, but it doesn't have the energy of the first film anymore, although I sincerely admire Zucker for his talent to invent such crazy jokes like the original love scene or the “toboggan" ride to Detroit. Drebin is a really good-looking man, and as I mentioned in the introduction, in the end, he's going to perform such an escapade that my diaphragm showed obedience. Extraordinarily apt... It's just a successful and well-escalated parody, but the first film was a little bit better... Maybe I just liked the "noir" style of the first Naked Gun more.

Putting new things on old things doesn’t make them new. Guillermo Del Toro tried to add even more, but the result is still the same. Unfortunately, under the rather imaginative direction, interesting visual style and a very paranoid edit, we have a completely shabby and a story that has been told many times about a great insects (this time beetles) that threaten a city after a genetic mutation. The stupid story, in contrast to the apocalyptic stylization and pathos, even mythological seriousness (e.g., the sequences in the prayer room), looks about the same as a stripper in a thong in the middle of the St. Vitus Cathedral. Completely bland characters with tired acting (including performances by Mira Sorvino and F. Murray Abraham) are mixed into all this. The music, editing and directing are the only virtues of Mimic, but the script buries it so deep that only bugs and other vermin are going to feast on it...

Yes, this it what it’s supposed to be like! A brisk thriller whose fatal magnetism is based on a miscarriage of justice and all its energy from a well-directed rush. It's beautifully tangled, thrilling at every moment, and Harrison Ford is... well, just as likable as Harrison Ford can be. But the real stuff is the rough "hunter" performed by Tommy Lee Jones, a man with a tough face, harsh practices and a fair approach. This film has everything a first-class thriller should have. Top class.

Fantasy the way it should be. If you insist on historical authenticity, Excalibur can be described as a god-given fiction in which absolutely nothing is true to the times. However, Boorman made the legend into an atmospheric spectacle that doesn't worry about any of this. This fantasy flight will be hard to overcome, although it is quite ridiculous at times (intercourse in armor is part of the golden fund of film erotica :o))). Orff's musical undertones are powerful, the visual stylization impressive, the acting performances are very good, and the story... I don't think it will ever get old.

The tomb of the classical French school, culminating in the legendary Don't Look Now: We're Being Shot At. Bon voyage has to undergo a good bit more toiling to achieve the same trick that was successful for Gerard Oury many years ago – the combination of the humorous and adventurous plane is nevertheless done sensitively, and it is only an eternal pity that Rappeneau could get more out of the script. The first part of the film is too protracted and dull (although the atmosphere of France before surrender is very suggestive), whilst the second part, which is much more active, hardly makes up for the deficit. Even so, it is a cute and nostalgic spectacle with excellent acting and well-written characters. It's such a nice, warm film that we don’t see much in movie theatres anymore. I recommend it.

This is absolute cop class! Zucker's got it down, and Nielsen has a really heroically stupid face... It's hard to find a cliché that The Naked Gun didn't have – it's easy, it's light, it's crazy, and it's wonderfully funny even after watching it many times over. This parody won't age as long as brave detectives go out on nights as black as morning coffee at a diner into the field and make their contribution to the salvation of the world. An irresistible parody of a "gritty" American detective story and a really good film that has everything you want.

My beloved Roland "Americ" Emmerich is back, and I have to admit, I'm a little disappointed. Unfortunately, The Day After Tomorrow is not as beautifully stupid as Godzilla or Independence Day, nor does it have the true spirit of capitalist realism; it's just an average product from the disaster film factory. The brisk first half of the film is held together by great tricks and dynamic editing, but in the second half the director takes over control and proves once again that when he has to shoot with actors without the support of digital technology, there are some gaps in his work. The main faces are bland, the dialogues are half-assed (see the one about Nietzsche, which is supposed to indicate how much a more educated American viewer knows about the legend of world philosophy), this time pathos tries to avoid the national aspects – strangely quite successfully – but still has the gift of inadvertently entertaining (Who is it? – MY DAD :o))). Technically, it works well, it's nice to look at, but the impression is killed by the protracted and considerably dull second half of the film. All they had to do was add a little exaggeration and cut down the evident ecological moralizing... and The Day After Tomorrow might even have been a slightly above-average piece of eye candy. The way it is, it looks nice and amounts to average nothing with BIG effects.