D.Moore

Scrat's scenes from Ice Age 5 edited into one short, with a different ending that makes fun of, for instance, Close Encounters of the Third Kind. Unlike the fifth Ice Age, it was good fun.

More annoying than funny... It is very strange to see on the one hand wacky characters doing wacky things, squirming, jumping and screaming strangely, and on the other hand a traditional story about family values. I didn't really care about either, the asteroid plot didn't even seem to matter, and especially when I thought of the recent Croods, who presented almost the same theme in a much more entertaining way, I felt sad. I give points only for Scrat, for maniacal Buck and for few nice jokes.___P.S. If you have a DVD and you're only interested in Scrat's shenanigans, play the 15-minute short: Scrat: Spaced Out, which is basically all of Scrat's scenes edited together and given a different ending.

It starts sympathetically, but it doesn't last long. Jaromír Hanzlík probably won't put this villain in a frame, but his fans might not curse him, because they most likely won't even recognize him, and also the main young heroes (although likable) are kind of bland. Only Lukáš Vaculík, Jitka Ježková and Táňa Pauhofová act somewhat interestingly. The idea of weapons vs. knowledge was good, but it probably needed to add more humor.

Nothing to write home about. It's not just the lack of Terence Hill next to Bud Spencer, because he could do without him when he had the opportunity (e.g. the great Buddy Goes West or Charleston). It's just a lousy comedy. But the opening scene with the selling of the vacuum cleaner was good.

Half and half, because some not so well played songs (“The Godfather", “The Simpsons") or sung songs (“The Nightmare Before Christmas" - musically great, the singing too affected) spoil the good ones (all Williams', especially “Somewhere In My Memory" and “Harry Potter", Goldsmith's “Gremlins" and Silvestri's “Polar Express"). Not to mention the completely unnecessary cotton candy in the form of popular Christmas songs that are definitely not cinematic in the true sense of the word (“Let It Snow" from Die Hard 2). And thirdly, I have to take a dig at most of the orchestra members who seemed to be not really enjoying it and wanted extra money for smiling, which they didn't get.

Really good Holmes - Jeremy Brett may look like a typical ascetic bore, but he behaves in a completely different way - he is agile, loud, full of energy and the contrast between his appearance and character gives him a lot of pizzazz. Watson (whose representative reminds me of Luděk Munzar) is more of an observer in this case, but even so, it can be guessed that both of them will do well.

I feel that (although there are many to choose from) McB is Clint Eastwood's best role. A dramatic role, definitely. He gave a tremendous performance, thanks to which the viewer does not know what to think of his character from the beginning to the end. Is he a lying manipulator? Or a charming wounded soldier giving out grateful smiles and plagued by a kind of war trauma? Or are things completely different? Thanks to all the similarly unpredictable women, the atmosphere in that cut-off house gets thicker and thicker and anything can happen. Don't seek to know more about the plot than necessary and let yourself be surprised. There is a lot to come.

"Who is Dirty Harry?" A straightforward classic action film, nothing more, nothing less. In the original version with subtitles, but much more likable and without the atmosphere of a cheap B-movie, which our dubbing attributes to it and with which I (unfortunately) remembered. There are many memorable scenes in the film (the Moscow opening!) and Arnold Schwarzenegger and James Belushi complement each other perfectly. The bloody dynamic action performed by Walter Hill cannot be faulted at all.

I don't have a single problem with it. The film differs from the others by its dark atmosphere, which is enchanted by sometimes breathtaking shots and original settings, but it is still Star Wars with everything that it encompasses. It's adventurous, with interesting characters, a clear plot (the fact that uninitiated viewers might find it harder to navigate it doesn't really make me wince), rewarding humor, but not too much of it, and an absolutely amazing villain, Orson Krennic. The special effects are perhaps not even worth praising, but I would point out how sympathetically they helped the digital returns of some of the characters, which pleased me (and actually not only the digital ones, I'm thinking of the pair from the bar in Mos Eisley, who this time wander through the city of Jedha), the direction is all excellent (the western intro!) and especially the final battle, plus everything that comes after it, is one of the best ever seen in Star Wars. Music by Michael Giacchino... It's admirable what he was able to put together in a month (also thanks to about six or eight orchestrators) and it's really good to listen to, although I have to say that Desplat's soundtrack would have interested me just as much, if not a bit more.

Definitely a well made sci-fi, finally one again that doesn't need to revel in pointless effects, and that gets to the point quickly while still managing to be mysterious and suspenseful. The opening minutes, the introduction to the main characters and the first exploration of the ship even reminded me of Close Encounters of the Third Kind, which made me very happy, as did the use of Dvořák's music. But what did it matter in the end, when the story gave it all a beating, which disappointed me as much as Nolan's Interstellar did last time. I don't want to give anything away, but especially the two time paradoxes with the book and the phone were too much for me. They deprived Arrival of most of the magic it had previously had. That’s too bad.