D.Moore

I didn't know anything about Colette's life, in fact I never thought she really existed until the ending credits, but still the film almost never caught me unawares. Which is a shame. This is partly due to the unfortunate trailer, which basically summed up its plot (I guess it doesn't matter to people who know Colette), and partly due to its standard biopic script – good, but standard. It made me think of Florence Foster Jenkins, which I also enjoyed, although it was the same sort of biographical routine. But regardless, Colette is more than a good film, superbly acted by both Keira Knightley and Dominic West, with a believably rendered and appealing atmosphere of turn-of-the-century Paris, and a gorgeous set in general. I must especially highlight the beauty of Thomas Adès's score – although this is his first soundtrack, Adès is an accomplished composer, pianist and conductor, in short one of the most distinctive figures on the contemporary – not just British – music scene. And you can tell.

Not at all, it's not nearly as bad as it might seem looking at the reviews here. The main problem is that the target audience for The Emoji Movie is more likely to be in elementary school than on Filmbooster. The film is fairly imaginative but mediocre, it tries to come up with something new but at the same time steals from Wreck-It Ralph, The Lego Movie, and Toy Story... And its message that the right emoticon will solve everything seemed pretty clueless and perhaps even dangerous for kids. But like I said, kids won't be worried about this and they'll have a good time.

Five hours of cold, creepy, chilling, bleakness, doom, fear, powerlessness, and hopelessness, and above all, recklessness and constant unbelievable lies. I don't know if I've ever seen anything like it that made me so sick, but at the same time I was unable to tear myself away from it. A true fascination with horror. If only we could learn.

Why is this documentary almost two and a half hours long? The answer is simple – less would be too little. Because the film needs some time to take the viewers into that strange atmosphere, to let them soak in the both relaxed yet tightly laced America of the seventies, to introduce them to the society of people who philosophize after their breakfast/lunch/dinner LSD and set off with Bob Dylan as performers or spectators on a tour that may never have existed (although it probably did) and may have been a success (although it probably wasn't). You watch it, you feel it was something unique, and you want to be there. That's the great magic of the Rolling Thunder Revue. There's a large cast of characters swirling around the charismatic Dylan in clown makeup, some of them are very quirky people experiencing very quirky stories, it's a blast at rehearsals and concerts, you feel from Dylan's work exactly the weight it had and still has, and well, in the end... in the end, it doesn't really matter if most of this is true, almost true, or pure fiction, because the point is that even what didn't happen could easily have happened in this Scorsese-Dylan world. I was expecting a slightly more traditional documentary, I got something more in the vein of Searching for Sugar Man. And I don't mind that in the slightest.

Very nice, the guidance of the experienced Jiří Bárta can be clearly seen and this student film by Matouš Valchář looks very professional. I like the final idea that everyone will be equal in the end, no matter what they draw, though it is hardly revolutionary.

Even Men in Black II is a slightly better film, because this is a misery in even more ways, above all lacking not only a clever story, clever humor, twists, or interesting characters, but any attempt at all to be anything more than a summer spectacle for fans of Chris Hemsworth in the uninteresting role of the sexy dork. I wasn't bored from the very beginning, as Tessa Thompson's character looked promising, only to gradually become less and less interested in the whole thing until I suddenly noticed that I didn't care at all. I don't need another installment... And I didn't really need this one either. It's as if they’ve forgotten that it's more than just suits, aliens, and Danny Elfman's music that make Men in Black. Too bad they didn't continue the retro story with a young Agent K played by Josh Brolin, who definitely had the chops for it.

The X-Men are back where they started, and Dark Phoenix is a great film mainly because, like Singer's first two films, it cares so much about the characters. Once again, dialogue and emotion play a primary role, and the action scenes serve mainly as a spectacular journey leading to the very thing that once set the mutant saga apart from other comic book movies and made it a grown-up spectacle with room for reflection. If the Dark Phoenix script had been written and filmed in 2006 instead of Last Stand, it would have been an amazing conclusion to the trilogy. As it is, it's an amazing conclusion to a somewhat disjointed and confused saga that, while it has somewhat lost itself over time, has always managed to find itself again. In terms of the acting, I have nothing to fault, of course from the story I'd like to acknowledge the errant Professor X, as well as Jean herself, and director Simon Kinberg pleased me as much as the screenwriter – now I'm not just talking about the divine train finale, but especially the pervasive tension and justifiable sense of doom that he manages to evoke (thanks in part to Zimmer's music).

Amazing series. A little bit Blackadder, a little bit Monty Python, a little bit Office... A war meeting can suddenly look like a classic Monday meeting with the week's plans; the condemned to die can wonder about the logic of sacrifice, talk it out with the executioner, and then get executed feeling good that they at least spoke up; the newly arrived slaves can complain about the meager pay. In addition to being wickedly funny, however, Norsemen is also quite sly – that's when the viewer discovers that incidents like the Ättestupa or the Holmgang, for example, which have already made him or her laugh to tears once, were actually not merelyisolated episodes, but the creators are happy to use them again to provide a second, even better punchline. I was entertained every half hour, and I was also interested in the characters and their (often quite unpredictable) fates.

The plot didn't surprise me so much as a single time, but I was pleasantly surprisedby Eugenio Derbez, a Mexican comedian with a perfect sense of wit, who handles the role of the self-important goofy gigolo as well as the estranged brother and uncle, and at times plays them much like Pierre Richard. In general, the entire comedy is pleasantly French in style and easy to watch, though not subversive in the least.

This film doesn't take itself as seriously as I feared it would, but at the same time it's also not as much fun as it would have been if Roland Emmerich had made the film. It's an above-average film, and of course it's basically pretty silly, it's just that I didn't mind it at all. However, I have to fault what is almost the most important thing – the plan of the main villain that causes everything doesn't make a drop of sense, which is something that shouldn't happen to films like this.