D.Moore

A clever satirical parody of practically everything you can imagine under the term “music industry". Andy Samberg is excellent in the lead role, he's not too far off from Sacha Baron Cohen and I'm probably starting to get more interested now, but I also appreciate a lot of the other people in supporting to negligible roles who were often not afraid to make fun of themselves.

If Guy Ritchie wants to make another remake, this underworld story is made for him (and his fans). They just can't read the local content, which reveals not three, but almost four quarters of the entire film. It's a straightforward men's affair, slightly complicated by the classic "who with whom, against whom and why," whose protagonist you don't exactly sympathize with, even though he's played by Stanley Baker.

The amazing Richard Attenborough acts amazingly in the lead role of an oppressive psychological drama in the middle of the night the three floors of an ordinary house. The story does not wait for anything and gains momentum right after the opening credits. The individual subtenants, who get into a conflict with Mr. Wilson/Watson and later become onlookers and participants in police maneuvers, are also very well written and each of them has a bit of a different view of the situation. It gradually reveals what is happening and why, and I had a very good time. I'd almost say this movie is the ancestor of Falling Down.

I also liked the film of the same name from 2016, so unlike others, I wasn't waiting for salvation, but I was just looking forward to more madness from the head of my favorite James Gunn. In Gunn's world (Gunn's worlds), the rule is that anything can happen, and Suicide Squad follows this as well. Everything that happens is mainly a source of entertainment, constant entertainment consisting of machine gun dialogues and their (self-) murderous points, in action scenes that go off the leash, and unpredictably evolving small stories that support the central inconspicuous plot. As soon as something smells of clichés, Gunn deals with it by snapping his fingers. And of course he's not alone, because he has well-chosen actors and actresses at his disposal, thanks to whom (and thanks to his screenplay) we quickly like the characters we meet for the first time, and who looked more like more ardent cosplayers from the trailers. I'd love to see it (and really enjoy myself) again.

There probably has not been this much of a pleasant adventure since the third Pirates of the Caribbean. And it is with Pirates of the Caribbean that I think is the fairest to compare Jungle Cruise, because any other resemblance to The Mummy, Indiana Jones, The African Queen, etc., are more of a nod, while the Pirates of the Caribbean films are blood relatives. Those films also arose from an entertainment attraction, but unlike Jungle Cruise didn't resemble it that much, because this cruise is something else entirely. It is really mainly a fun ride on the river from one experience to another, during which there is something to watch and from which you do not expect any great drama. Dwayne Johnson pleased me by not putting much attention on himself, and he works well with Emily Blunt. I think everything is fine with the direction (Collet-Serra is no Verbinski, but no one is) and the script thinks of all age categories and tries not to beat the viewer over the head with jokes, action or surprises (for example, once, in the trailers artfully hidden sub-plot, which is, however, clearly taken from Pirates of the Caribbean). Everything is dosed nicely. James Newton Howard's great music deserves a separate sentence, which is really nice to listen to, and leaving the movie theatre again with a contagious melody playing in my head was a joy.

An extremely interesting documentary. I only knew a few things about John Delorean, and it was so little that it would be enough for maybe five minutes of an episode, but now I feel like I know enough about him, and maybe more than I would like. I went from one surprising piece of information to another, from keeping my fingers crossed for the innovator, to shaking my head at an unteachable cheater who had been making mistakes so long that eventually he hit the bottom. But nothing is black or white, and I like that the documentary comes off like that in the end.

Samuel L. Jackson kicks snake ass, but unfortunately it's not as much fun as I thought it would be, because there's a surprising lack of farce in a film based on such a far-fetched premise. Or there is, but we didn't meet on the way.

A forgotten film noir that is worth watching. You probably won't relate to the main characters, but watching them and guessing how everything will turn out is immense, thrilling and very well filmed fun. And the final scene is brilliant.

This is what a purposeful remake should be. From the original story, which I liked, Guy Ritchie took the most important thing, added a lot of new things, and made a film that I like even more. The uncompromising dark atmosphere draws you in with the first scene and continues to roll to the sound of flawless creeping music, mixing with the roar of trucks and gunshots. Yes, since the hero is played by Jason Statham, unlike the French original, what he can do is not that surprising, but many other things and characters, including the perfect Scott Eastwood, who obviously can act when given the chance, do surprise. I probably most enjoyed the chapter Scorched Earth, in which the boss and the team followed the footsteps and which was really dense. Great job!

If the first film seemed too long to me because of one useless action scene, this one seemed too long to me because of at least half of the film. The Hitman's Wife's Bodyguard pretends for a while that it will be a very light variation on Bond films, and after a while it turns into a parody of those films and at about the middle of the film, when the heroes get to Tuscany (and when I foolishly hoped it would end soon), it becomes a parody not of Bond films, but of itself. Ryan Reynolds’ character survives more than Deadpool, Samuel L. Jackson and Salma Hayek try to have a child, one villainous devilish plan alternates with another, apparently drugged Interpol agents hire killers and bodyguards like on a treadmill and Greece is facing an apocalypse because the European Union is an evil that came from hell itself. To make matters worse, perhaps every character speaks with a more or less terrible accent, which is also supposed to be funny. But it's not. More than once I thought of Casino Royale from 1967 or the two years older What's New, Pussycat?, which is actually very, very, very similar madness, but at least I had fun with them.