D.Moore

The ambitious 12 Years a Slave didn't appeal to me too much, but Widows is a different matter altogether. I haven't seen so many characters in one (new) film in a while that are so well written and acted and that aren't wasted, and it's a downright joy to watch them. And when their story is interesting, thrilling, well shot and has something to surprise you with (and it does), there's nothing to worry about.

For a very long time, no actress has impressed me as much as Rebecca Hall’s performance managed to. She's just fantastic, amazing, great and I feel like I've been through everything her Christine lived through. The film is a very sad probe into the soul of a person whom circumstances drive to a hugely extreme act, and it is certainly worth seeing, for the viewer to reflect in silence during the closing credits. About yourself, about others... Just to reflect.

Interesting in places and makes you think about halfway through (the election), but in the end it is still a predictable routine with a sniffing finale, in which you will learn everything in a few dozen minutes. I would expect something bolder than such a simple critique of all those internets. Tom Hanks was great, Emma Watson less so... And John Boyega's character? Deus ex machina, nothing else.

It's stupid, but I didn't really expect anything else. I'd have preferred to have more fun, which didn't happen either. The Mad Max introduction was rather awkwardly in the B-movie style, and although it flashed slightly more horror-like at times with the arrival to the Hive (to which the closed environment of Resident Evil testifies), in the finale it was again only trash with an awfully cluttered edit of the action scenes. There's no point in thinking about the errors in logic (if I was the bad guy, I'd just leave that fan on and see what happens...), it's just a crappy video game that you can't even play, anyway. The final chapter? I wish.

I'm sorry, but I couldn't get on the right wave to enjoy The Favourite practically until the end. Although all three actresses act great (Emma Stone’s grimaces versus Rachel Weisz's stone face), but what it's all for when I was raising my eyebrows in astonishment regarding the bizarre things that were unfolding on screen, and I was wondering what's wrong with me, that the surprisingly cringey humor doesn't make me laugh like everyone else (or some other people) in the movie theatre. The impressively strange camera reminded me of Juraj Herz's films (mainly the fisheye is like the one from The Cremator); however, it didn't improve the experience much. The film seemed too long to me after about an hour and although I was wondering what would happen next, nothing actually happened that I didn't expect. That’s too bad.

A very solid film, but it certainly wasn't meant to be, and it's not an action film, although there are action scenes in it - but they are not there to impress with choreography or rawness, but solely to move the characters forward. Notice that after each shootout/battle/skirmish, the main characters change a bit. Gradually, they converge so much that they grow on viewer, and it does not matter at all that the protagonist's “secret" is not surprising and that the plot is not overflowing with originality, because Noomi Rapace acts at one hundred percent and you believe her all the rage and every tear. And that, I think, was the point.

Badass. It does not deny its comic book origins, the stylization is pleasant but not overblown and it didn't get old by the end of the film. I also wasn’t bothered by all the constant killing because it never became routine and there was still something interesting and imaginative going on... For example, the disposal of the main villain. Black humor is mixed with a more serious probe into the soul of an almost pensioned cleaner, but it blends naturally and it's not awkward for even a moment - mainly thanks to the fantastic Mads Mikkelsen. Polar probably won't avoid a comparison to John Wick, but I was much more reminded of classic action films with contradictory main characters, in which Charles Bronson played, and which also definitely weren't just boring shooters.___P.S. I didn't recognize Vanessa Hudgens until the end credits.

The idea itself isn't bad, but its execution is, as with Split, mostly inadvertently ridiculous. I liked that the film wanted to work with comic stereotypes as much as the (great) Unbreakable, that unlike the previous picture it wasn't just a solo by the overacting James McAvoy and that I saw Bruce Willis in the movie theatre again. But there was still something grinding about it. Primarily in the prison... And then in front of it. Well, the introduction did look quite promising.

Unfortunately, it just made me more and more bored... I once tried to read “Scott Pilgrim," but the book seemed pretty useless to me and intended for people about a hundred years younger than me, and I must say that the adaptation is very much faithful in this regard. There are plenty of ideas here, though, because Edgar Wright is a toyer, but the plot didn't interest me at all from about halfway and I felt like the avalanches of all sorts of cool things primarily numbed and suffocated me.

I saw the shorter version, I was enthralled by the opening long take and my enthusiasm lasted until the tense finale. Everything seemed right in this film (even the masked Charlton Heston), and I liked how it kept forcing my full attention and gradually rewarding me for it.