Kaka

A film for smart and aware people. Nick Nolte’s portrayal of life is exceptional. They managed to free psychology and philosophy from excessive pathos, excessive complexity, and incomprehensibility, and above all, nonsense and unbelievability. The wisdom this time has depth, meaning, effectiveness, and above all, it's all true. For those who see it as a film about sports and determination, replace your brain or wait a few more years before mentally maturing and gaining life experience before rating it.

I'll start right away with the most superficial thing, which unfortunately caught my attention the most. The Lord of the Rings trilogy is generally considered visually stunning, it has computer effects, sometimes obvious, but they are beautifully done. So I don't understand how it is possible that after ten years, the technology and the style of shooting digital scenes have not advanced even a bit. How is it possible that everything looks exactly the same as it did ten years ago? The same visual effects, the same digital Orcs, goblins, and similar creatures. Unfortunately, the same goes for other elements, although not always. The plot is similarly extravagant and conceptually conceived as The Fellowship of the Ring. The journey is the same (camera movements, monumental music – by the way, again taken from LotR), the battles are the same, the pilgrimage sites are the same. Not only in terms of location, visualization, but also in terms of emotions. Weathered rocks are again nothing more than fortresses of evil, while a tranquil glade is again a break during a long journey, where the heroes gain energy, strength, and wise advice to continue. There are just too many identical things. It is obvious that the books are similar to each other and similarly written. It is logical that The Hobbit as a film will not be dramatically different. But I didn't expect that it would be “just” as good as the original trilogy in key elements, and worse in all other aspects. Peter Jackson worked brilliantly with the main evil of Sauron, but here there is nothing like that. Iconic slow-motion shots sometimes become annoyingly prolonged. It is still excellent filmmaking, but it feels like it was primarily created for the sake of big money, rather than out of love for the work. The most beautiful scene is the last one with the Eagles.

An small and intimate film. There are a number of different ways to a biopic about this star, Simon Curtis chose a small small segment of her life, the shooting of one of the films where she played the lead role. The acting is excellent. Again, there are a number of ways to portray Marilyn Monroe, and they bet on her “innocence”, immediacy, and enveloped it in human idealism, and it’s a way you can look at it. I would call this film more a tribute and a positively tuned reminiscence rather than a captivating autobiographical drama about a torn personality. The pace, however, is excellent and overall it is toned down considerably, so that everyone can enjoy it. From costume lovers, dialog sequences, old-school design, acting, to gentle piano music.

Visually cold and narratively very straightforward with a remarkably short running time considering account how many main characters are introduced. Bryan Singer's direction is clever and skillful, and with this work, he kick-started one of the best comic book sagas. Each of the characters is interesting, attractive, and emotionally appealing, so every viewer should be able to find their favorites. Technically, it is of course fine, although compared to other installments, it is evident that there is a significant increase in resources (filters, enhanced effects). Not only for that reason, the first X-Men film has a pleasantly intimate and minimalist impression and goes in a completely different direction than big blockbusters like Avengers or Batman.

Classic Soderbergh, raw like in Traffic and very authentic within the genre, with fascinating sections without music, brilliant off the charts dialogues, and yellowish, depressive camera filters. It is essentially a romantic comedy with some harder scenes, but Soderbergh manages to wrap simplicity into a splendid package. Some sections could be shortened (too tedious and uninteresting for male audiences), but otherwise, it is a quality addition. Brilliant performances, especially by McConaughey and Tatum.

It's not completely bad and quite entertaining because it's short, lively, and musically properly dramatic. While the killer can be guessed after a few minutes and everything is basically predictable from beginning to end, it can be managed once thanks to those few camera tricks and fantastic sound and sound effects. There is a certain directorial inexperience and immaturity visible, but The Silence of the Lambs won't be repeated just like that.

Apart from the fateful ending, it's just a childish and terribly stretched borefest with a weak production design, bad effects and long dialogues. In addition, there is almost no editing (a similar flaw from the other old episodes), so we get several minutes-long sequences connected into a long and pseudo-fateful film. Thank God for the new episodes. This is almost laughable and cannot be compared artistically. If it wasn’t for the sentimentality, it would be rated significantly weaker, even considering how long ago it was filmed, because the effects are by far the least of the problems.

Similarly ethereal and with a conceptual reach as, for example, The Fountain or The Tree of Life, but far less superficial. While in those films the directors overly expose their own precision and shout to the world “look at how good I am”, the Wachowskis, in terms of both visual aesthetics and narrative concept, are much more restrained and purposeful – thus more for the viewer. The whole thing feels much more graspable, understandable, and ultimately clearer. Everything makes sense, everything fits beautifully. It’s a film about love that at first glance is complicated, intricate, distinctive, ultimately simple, showcasing the simplest prosaic idea. The scene from Neo Seoul is visually unbelievably visionary. One of the highlights of the year and, within the “neo-art-philosophical” subgenre, the most mature contribution ever.

It's pleasantly vulgar and controversial, but in terms of storyline, it's a boring and sterile affair. So, except for a few gags and several solid jokes, it's nothing but a blend of unusual situations and a few solid shots. Not really a comedy, nor a crime story. It's certainly unconventional, but it didn't really entertain me that much. The chemistry was slightly lacking.

Considerably worse compared to the new episodes. There is a lack of dynamics, location changes (the whole film is basically about three mini episodes), and structured plot. The visual effects and production design, on the other hand, are good, especially in the remastered versions. Fatefulness? Nothing. Episode 1 is criticized for its immaturity, and it's exactly the same here. Clearly less rich, less action-packed, and less watchable than the new episodes.