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One of my first animes is going back to the beginning in new clothing, and comparing it to the older version is unavoidable. Whereas back then the creators immediately deviated from the manga and took the path of mystery and hints, Hellsing Ultimate promises much more blood, action, and given the ecstatic ratings of each episode, also more quality. It succeeds in the first two points, but not in the last one. Paradoxically, the loss of the mysterious veil and the gradual revelation of those who stand highest on all sides brings a slight disappointment. The biggest disappointment comes from the identity and actions of the central villain. Maj. Heinkel brilliantly suits the role of an episodic antagonist, yet his motivation was completely irrelevant to me, which is a major disappointment considering the amount of space he got. Fortunately, the perfect quartet consisting of Alucard, Victoria, Walter, and (especially) Integra Fairbrook Wingates Hellsing stands on the side of the titular organization. The screenplays may take space away from the descendant of the famous family, and yet with every command or dialogue she steals for herself with her unique elegance. As is evident from my final rating, satisfaction ultimately prevails. This despite the complicated or even incomprehensible motivations of some characters and despite the unnecessary stretching of seemingly passing plots and the shameful shortening of the attractive mythological background. Despite all objections, the whole series can boast an atmosphere where every shot, slash, or bite freezes, impresses, or frightens. As I see it, in order for each shorter segment to deserve the flood of absolute ratings, Alucard and his past, Victoria's second side, and the military sympathizer Pip would have to get more space. My impressions remain positive, but there was still plenty of potential.

Bowing before a falling curtain is atmospheric to the last wagon, but still leaves a feeling of unnecessary disappointment. The cast is even more star-studded, the plot twists more intensified, and some characters more twisted, but the storyline feels like a dispute between five screenwriters. The main theme is neither the contrast between human monsters and loathsome people, nor Jimmy's conflict with Dandy, nor even Elsa's desire for fame. American Horror Story – Freak Show is more of an exhibition of great guests with sometimes incomprehensible psychology of the main characters and strange relationships and emotions between them. Above all, this wandering addition to the American Horror Story library is poorly tied together. This is a circus where Ryan Murphy didn't really put his heart into it.

A minimum of male characters, sarcasm dripping from every line, a fashion extravaganzas, an incomparable style – and Stevie Nicks. If there is one thing clear about the third story from this horror collection, it is that Ryan Murphy thoroughly enjoyed it. The girl power oozing from the witches is intoxicating and brings plenty of moments that fulfill the audience's dreams. However, the supernatural plot itself has one drawback. It occasionally involves resurrecting the dead, which often greatly damages the dramatic effect. As a result, the screenplay starts to appear somewhat superficial halfway through, but slows down in similar whirlwinds to build up towards a grand and appropriately fateful finale. And because this stay in New Orleans was mainly a showcase of the most amazing, complicated, or outrageous characters, I admit that I rolled my eyes at Marie Laveau and her hairdressing party, while eagerly devouring every second with Cordelia, Zoe, and Misty.

This creative team never stops surprising me. I boldly thought I knew what to expect from the continuation of the most unpleasant TV experience, but all the horrifying twists or suggestive scenes took my breath away right from the start. And there were still plenty of terrifying moments, resistance, and viewer enthusiasm to come. If this story is capable of anything, it is of forcing the viewer to watch more attentively as the main characters are tormented by fate or the whims of the villains. And the new crazy group, with only a partial change in the cast, is perfect for fans to cheer on. Eventually, both the likeable Kit and the unpredictable "sister Jude" and even doctor Arden got under my skin. Therefore, it's a shame that the story, which seemingly has everything a horror movie could have, lacks tempo and occasional intensity in the last quarter. This is offset by a satisfying all-encompassing finale, where, thanks to the pleasant mystery, I am willing to overlook the absence of some answers. Thanks to this, the tour of the asylum confirms that the FX network has a perfectly specific and truly unique production after two seasons.

This is ultimately a daring endeavor by Olivier Nakache and Eric Toledano. Once again, they reach the viewer through unobtrusive music by Ludovico Einaudi, score points with their topicality, and most importantly, rely on the overwhelming charisma and disarming smile of Omar Sy. And miraculously, they emerge victorious again. Their intangible weapons, thoroughly tested by now, have lost none of their firepower. Although the entire situation is once again appropriately lightened and in its essence a bit tough to swallow for those working in the social sphere, I am speechless. This is an attempt to tell a story about an issue that the overwhelming majority of people will laugh at, be moved by, and shake their heads at, but ultimately forget once they leave the cinema. And one cannot help but root for such an attempt.

A creative and pleasantly elevated journey to the intersection of all fairy tales that forgot to end. With a slight irony, the ageless Meryl Streep, the unwavering Anna Kendrick, or that discovery Lilla Crawford sing and perform a lot better from the seeming ending to the full ending. However, this original idea ends up an ultimate failure because it desperately misses the effect. A more serious note is only achieved at very suspicious points, supporting characters disappear from the plot, and the plot itself as declared in the prologue never reappears. When the princes were so agitatedly singing "Agony!!", I hoped that the rest would alternate with functioning emotionally like Enchanted. That makes it all the more puzzling to only get halfway there. And no one likes to be only halfway there. Especially not in the forest.

The nicest thing is that after the previous airplane games and intercity jumps, the seventh installment appears more believable most of the time. Not that cars with parachutes or crossing from one skyscraper to another are particularly realistic, but there is a certain spark of greater liveliness in them. Perhaps it's thanks to the 4D experience, which allowed me to personally experience all the falls and twists. Perhaps it is the merit of saying goodbye to Paul Walker, which works excellently in an emotional way. However, the most positive impressions are left by the domestic finale, which surpasses the already breathtaking passages from the Caucasus and the Emirates with its diverse involvement of all participants. The method of crossing, the Rock's idea for healing fractures, and above all, the showdown between Vin Diesel and Jason Statham are attractions pumped with adrenaline, brought to the level of a perfect experience. For the kind of movies whose mistakes you can only spot a few hours after your heart rate subsides, this group still has no competition.

Continuing from last year's impressive adaptation of excellent source material is not exactly an easy task, especially if this time you have something slightly less gripping to work with. Given the completely new creative team, I understand the completely different feeling and surprisingly nod approvingly at the omission of drawn-out book passages (the stay with the Factionless) and the fact that the main trademarks of the series still feel divergent enough. However, the biggest triumph remains the phenomenal casting. That year, during which the actors of the main group of youths (Tris, Four, Caleb, Peter) gained experience elsewhere, is reflected in their performances in a tremendous way, and it is their talent that completely makes us forget the unstable narrative foundation on which the whole saga ultimately stands.

If you're not a fan of indie, the odyssey of Manglehorn will not be for you. A gloomy Al Pacino simply walks and stumbles through the whole movie, with the exception of occasional fits of anger, he goes on in his slow-paced minimalist style. And the longer he wallows in it, the more the film suits me, but it is not enough for more than a pleasant and unusual spectacle. It trivializes some problems too much and inflates a few little things disproportionately. Which is a shame in sensitive topic of loneliness in old age, when partners are gone, children are too grown up, and grandchildren are too far away.

Considering how many of his own memories Terrence Malick inserted into the miracle, it is a blatant betrayal on his part how he chucks them at the viewer. Not to mention that Olga Kurylenko and Ben Affleck frequently fail in their improvised alternating of basic acting expressions. I am not being unfair to the original creative intention, because I believe that each of us has the impression that his emotional journey through relationship life is the most interesting. Yet that doesn't change the fact that I need to know at least something about the characters, that I need them to come alive. Letting them stand and sadly gaze into the distance is not enough to spark greater interest.