Neue Kritiken - TOP Nutzer*innen

Dafür, dass die Prämisse der gesamten Serie über vertauschte Kinder wie aus einer unterdurchschnittlichen mexikanischen Telenovela wirkt, war ich ziemlich überrascht, wie intim und ab und an langweilige Romanze A Couple of Cuckoos ist. Der Humor hier schlitter scharf entlang der Grenze zur gewöhnlichen Dummheit, viele pseudo-dramatische Momente werden durch dumme Missverständnisse oder gewöhnliche Genreklischees aufgebaut. Ich konnte nicht einmal eine der drei Mädels in der Geschichte finden, die ich wirklich stark bejubeln konnte, und Umino selbst ist für mich ziemlich uninteressant, fade und unspektakulär. Seine Beziehung zu seiner Stiefschwester war schließlich am schlimmsten für mich. Die Serie versucht, sie als eine mögliche Lösung für das gesamte romantische Durcheinander darzustellen, aber ich glaube einfach nicht daran, und Sachi scheint mir eher wie ein nerviges Anhängsel als eine romantische Möglichkeit. Bei den anderen beiden Mädels sieht es schon etwas besser aus, man kann zumindest ein bisschen Chemie spüren, und ich verstehe, worauf die Autoren hier hinaus wollen, aber ich kann nicht sagen, dass es mich besonders begeistert oder dass ich es wirklich genossen hätte. Animationstechnisch gelungen und die Musik ist hörbar und versucht zumindest einen gewissen Eindruck zu erzeugen. Es gibt auch ein paar stärkere Momente, die jedoch nicht so bedeutsam sind, dass sie mich erschüttern oder großes Interesse wecken würden. Also insgesamt war das für mich ein typischer Durchlauf-Anime, den ich zwar bis zum Ende geschaut habe, aber nicht viel davon mitgenommen habe. In ein paar Tagen werde ich wahrscheinlich schon vergessen haben, dass ich ihn gesehen habe, und ob ich mir eine mögliche Fortsetzung anschauen würde, müsste ich länger darüber nachdenken. 4,5/10

This was for fun, it doesn't care about saving Marvel, it's more like the writers are making fun of it and reveling in the fact that it won't make sense. Isn't it? Ryan Reynolds and Hugh Jackman made an action flick where violence solves a lot of problems as long as it's done politically correct and with humor. It's reminiscent of their commercials together, which I love from the bottom of my heart. Aviation Gin Deadpool edition. Millions of references, great cameos that make sense, and many that will make any movie fan's kid heart flutter. The acting is just top notch, and Emma Corrin though she's in the role of the boilerplate baddie rocks. The subliminal line about us incompetent guys (guys and car salesmen?) who never make it to the Avengers pulls the whole movie through and almost moves you. Deadpool has always kicked second league (go Wrexham!) now he's kicking it for unreal money and I root for him. P.S: The running joke with Johnny is an absolute blast.

Did you really think the second season would be as good as the first? Initially, I did, and I was really excited for it. I didn't even mind the change in the main character's voice actor since their voices are quite similar. That was the least of my concerns. What really got to me wasn't the terrible CGI for the monsters, which was the worst I've seen since the Great Goddess Mitama. Even with the awful CGI dragons and human-faced trees that looked like something from a mediocre PS2 game, the biggest issue wasn't the animation. The real problem was the lack of humor, lightness, and charm that the first season had. While there were some cool moments with Anos that I enjoyed and which reminded me why I love the main character, there were no memorable or over-the-top scenes like when Anos spun a castle like a top or defeated an opponent with the beat of his heart. The closest it got was in the final episode when Anos stomped seven times, but even that didn't quite hit the mark. What made it worse was the excessive amount of talking. It felt like the creators knew they wouldn’t get a second season initially, so they focused on making the main character look cool without much story exposition. But since the show became so popular, they crammed all the lore and story into the second season, resulting in a lot of boring dialogue that slowed down the pace significantly. I have nothing against complex stories and lore (I'm a big RPG player and DnD fan), but the way it was presented here felt unnecessary and dull. The story, while trying to be grand and convoluted, could always be summarized as "Nothing is ever what it seems, and everything turns out the way Anos wants." It's just a shame the journey to that conclusion wasn't as epic as the destination. This attempt at deep and complex fantasy made the show lose its fun and lightheartedness. What was once a simple and amusing story about an OP main character turned into an ultimate conflict with false demon lords, gods, and dragons. But the creators failed to make it engaging or enjoyable. Even when Anos says his iconic line, "Did you really think that..." it no longer brings a smile or anticipation for what's next. Considering all the production issues and delays (which also dampened my enthusiasm), the result is disappointing. A show I was eagerly awaiting became an average experience that I finished without much excitement. The first half was a 6/10, the second half barely a 5/10, so overall, it's a 5.5/10.

Marvel's salvation doesn't quite happen, in fact, neither does a proper sequel the kind the two previous great films deserve. The threequel, in my opinion, is largely a cynical marketing ploy (yes, I know movies are made to get people to go see them, but they don't have to stick out like that), the plot of which is summed up by its title; it is, after all, nothing more than an opportunity to see Deadpool and Wolverine go on a rampage. Don't expect a surprising plot, and unfortunately, don't expect the well-written story that the first Deadpool had, and oddly enough, don't expect such imaginative action sequences or naturally occurring humour either. There's either too much or not enough of everything in Deadpool & Wolverine. Ryan Reynolds and Hugh Jackman certainly had a good time and gave it their all, or what did work worked mainly because of them, as Shawn Levy didn't help much and the other actors and actresses are negligible and entertain mainly with their return to their roles and not by doing anything entertaining. Otherwise, though, I'll long be haunted by things like the agonizingly long monologues of the TVA boss, the soon-to-be-ridiculed slow-motion posing before the action, the whole mess that someone decided to call a story... If the film is a success, I'll be happy for the people behind it, but I certainly can't call it that.

I like the first episode a lot and have seen it three times. It's a very funny spy family action comedy with a perfect Dave Bautista and a good Chloe Coleman. But the charm of the first one is gone and the second one is actually completely pointless, with humour that has gone very much to the side, very mediocre action, and very little of it, and the plot couldn’t be any more generic. The only things I liked are the nice setting of Italy and Chloe Coleman, who is growing into a great actress (here she even handles the action herself, so I wonder if she will be an action heroine in the future). Shame, I was looking forward to it. 5/10.

Nice setting, a decent Guy Pearce and the nice bloody carnage (blood spurts surprisingly in a big way) at the end are the upsides. The downsides are the rather slow pace and the not very engaging story, but for one viewing it's fine. 55%

If it ain't broke, don't fix it. And Deadpool, unlike the rest of the MCU, isn't broken, so he's doing what he did last time and audiences enjoy it. The combination of gleeful violence, juvenile slapstick and solid directorial craftsmanship is spiced-up with the return of Wolverine, the great chemistry between Ryan Reynolds and Hugh Jackman and a throwback to the days of Fox comics. But anyone expecting the third Deadpool to bring any major changes to the MCU will be disappointed. A proper Deadpool comic book movie with Logan as a bonus. Nothing more, nothing less.

In terms of dramaturgy, it’s terrible, with uninteresting passages stretched to death to make the interesting stuff hurriedly catch up at the end. There are two flashbacks for good measure, the first one pointless and boring, the second one interesting and action-packed. In terms of acting, it's a disaster, full of unlikeable characters who behave illogically and move from place to place at the creators' convenience. The visual effects and action scenes, however, are top-notch. The light sabre swinging and head-butting action works. The narrative framework isn't bad, but the subplots, twists and dialogue are on the wrong level. The Jedi Knights act like a bunch of amateurs who are nervous because of an audit? The ending is unfortunately open and basically the beginning of something, but I have no idea what. Why are the twin girls so important and they are the chosen ones for what? I don't know. Unfortunately, I guess the creators don't know either and they put together a lot of filler to build a second season around one sentence. Hopefully it'll be better.

These heartwarming stories about rescuing helpless animals never get old, especially when they're based on true events. This beautiful tale, filled with humanity, proves that when it comes to doing good, even an American and a Russian can join forces.

This could have been a perfect spaghetti western if only Terence Hill had been in the lead instead of that Dutch guy, Glenn Saxson, who clearly didn't get the memo on how to act. Imagine Bud Spencer standing by his side, booming with advice. Saxson's performance was a double dose of cringe. Despite that, the rest of the movie was pure fun and stayed true to the era's vibe.

I'm glad the creators got the timing right by releasing the new season of the Wrexham football miracle before the new football season starts. I've been following their journey all year, and this series solidified everything happening at the club and in the town. Now, I can't wait for the new season to kick off in League One in just a few weeks. The shortened eight-episode format is perfect — they covered everything they needed to. There's a bit less of Rob and Ryan, but there are still plenty of stories in Wrexham to keep us hooked.

This show takes a well-worn theme and gives it a fresh twist, which is fantastic. Benedict Cumberbatch delivers another stellar performance, and he has plenty to work with here. His character, a father, loses his son in the gritty streets of 1980s New York. As you progress through the series, you realize that nothing is as straightforward as it seems. Cumberbatch's character undergoes a brutal transformation over the six episodes, and the atmosphere of the city is palpable. These two elements are the standout features of the series. While it might feel a bit stretched at times, making me consider dropping my rating to three stars, I ultimately decided that Cumberbatch's performance and the immersive atmosphere deserve higher praise.

“Slay the Spire”, but they wanted to be a bit like Free Solo, but with a heist and a fatal love/hate relationship like in The Deepest Breath.

Olmo Omerzu's Czech film is neither distinctly Czech nor global. It's an attempt to capture a fragment of a certain part of Europe, but unfortunately, it ends up being not very appealing to the Czech audience. Specifically, the theme of "Atlas of Birds" is a seemingly clever metaphor about the bitter downfall of a family business, whose head remains an arrogant alpha male until his last breath. However, the reasons for this downfall are as banal as classic infidelity can be. Additionally, the script focuses too much on a naive fraud involving a scorned ex-lover and neglects the broader context of the deception. Olmo Omerzu and Petr Pýcha do not seem to be mature enough creators to analyze the disintegration of a personality and instead prefer to hide behind dialogues among the treetops.

Ute Lemper has a similarly well-sculpted face as Katja Flint, which is why both of these German actresses became icons, lending themselves to portray the most interesting women of the past in films. One such woman was, of course, an Austrian. In Pierre Granier-Deferre's film, the end of Marie Antoinette's life is depicted without unnecessary pathos, sensationalism, or other distractions that usually overshadow the life of this queen. Here, an excellent intimate drama focusing on her inner life before execution was achieved.

Die ursprüngliche italienische Version des Phänomens, das auf der ganzen Welt Anklang gefunden hat. Die Produktionsqualität ist durchschnittlich, die Schauspielleistungen vergisst man, dennoch hat sich gezeigt, dass die Grundidee Gold wert ist.

Ballerine stellt für Machatý zwar nur einen Zwischenschritt zwischen Österreich und Amerika dar und es handelt sich „nur“ um eine Adaption des damals brandneuen Romans von Giuseppe Adami "Fanny ballerina della Scala" (1935), aber können Sie sich ein besseres Thema für ihn vorstellen? Das Theatermilieu, die endlose Schönheit der Tanzkostüme und der anmutigen Körper der Balletttänzerinnen... Natürlich ist die Hälfte der ästhetischen Schönheit jeder Aufnahme das Werk des Kameramanns Vích. In der Hauptrolle können wir die Reize von Silvana Jachino genießen und in der Nebenrolle treffen wir wieder Maria Ray, die Heldin von Machatýs früherem Film ...und alle dürsten nach Liebe (und seine damalige Frau). Ein luxuriöses, bildlich faszinierendes Erlebnis. ___ Und zu den interessanten Dingen – die Hauptrolle sollte eigentlich die echte Ballerina Irina Lucacevich spielen, aber sie starb bei einem Verkehrsunfall. Ihr Ersatz Jachino ist nicht nur einmal eingesprungen, sondern hatte eine sehr lange Karriere vor sich, es gelang ihr, sich auch nach dem Krieg zu behaupten, was nach dem Regimewechsel in Italien überhaupt nicht einfach war. Machatý hatte keine Kontrolle über den finalen Schnitt des Films und distanzierte sich öffentlich von ihm (wahrscheinlich auch deshalb, weil der erste Schnitt durchgefallen ist, dennoch folgten weitere Eingriffe in den Film). Die offiziellen Bewertungen sind oft streng, aber hauptsächlich deshalb, weil sie nicht den Film selbst berücksichtigen, sondern die Bedingungen seiner Entstehung, die Frage der Finanzierung (staatlicher Auftrag), den Einfluss auf Machatýs Karriere, der als bester Regisseur seiner Zeit bezeichnet wird, obwohl seine künstlerisch ambitionierten Projekte oft nicht auf kommerziellen Erfolg stießen (und er selbst am besten im deutsch-tschechischen Sprachraum funktionierte, obwohl er Europa- und sogar Hollywood-Ambitionen hatte) usw.

I went to see the new release of the week in theaters yesterday which is kind of being seen as a sequel to the 90's film Twister and it's not bad, but it didn't completely blow me away unfortunately. It was nice to see Glen Powell and Daisy Edgar Jones, who plays the sort of intelligent woman who figures everything out. Visually it's decent, I liked that it keeps things down to earth and there are no overblown CGI attractions or destruction, it's quite realistic, but there's not a lot of action and it could have been presented more impressively (there aren’t many buildings flying off, the body-count isn't high, either, and I expected the atmosphere to be a bit more unpleasant and intense). For me there were a few deaf spots, it doesn't have a very adrenaline pace and I wouldn't watch the film again, or I wouldn't mind at all if I kept the film until I got home, it wouldn't change the experience. Passable average and a plus for the fact that disaster movies don't come around much anymore, but maybe it's not my cup of tea. 6/10.

Powerful not in concept, but in content and confrontation with Western lifestyles and values. It showcases a society rooted in traditions and a rigid caste system, which does not hesitate to harshly suppress liberal tendencies within relationships and family dynamics. Some passages offer a truly chilling account of the murder and torture of those who express a desire for personal happiness and freedom from religious and cultural rules. Overall impression: 90%.

One star is for the inclusion of the music video Smooth Criminal. Otherwise, it is the ultimate essence of pathos and kitsch in a dosage rarely seen. A pop culture phenomenon that, due to the creators' lack of judgment, became annoying. Musical films usually have a problem with a script that can meaningfully connect the musical numbers. Here, it seems to me that the script is completely absent, or rather, it was created during one alcohol-soaked evening. Overall impression: 25%.