novoten

One story more interesting than the next, Osiris and Detective Story are the best, but the overall presentation of these stories doesn't hold together and smells strongly of commercialism, just like the second and third installments of the original Matrix series. However, because I want to objectively evaluate only the quality of the final work, a fourth star must land.

British delicacy in a charming romance, where even Alan Rickman is a sentimental dreamer and it's a joy to watch the cheerful Kate Winslet and the sensible Emma Thompson. Ang Lee is a wizard who has managed to adapt to the British storytelling spirit and in so doing selected the ideal passages from Jane Austen's language. Thanks to the absolute happy ending, we may not get any bigger surprises, but that's not the point. Sit down, enjoy, experience, and cry with emotion.

I saw it shortly after finishing Before Sunrise, and at first I was a little scared that they wouldn't be able to recreate the atmosphere. Fortunately, every sentence spoken gains meaning over time, every casual conversation takes on a different dimension, and suddenly Celine is saying, "I was fine until I read your fucking book!" and I break down into molecules just like Jesse. The second viewing elevates Richard Linklater's work to the unforgettable, and with its more mature but no less magical storytelling spirit, it manages to grab the viewer and fill them to the brim with emotions and experiences.

A beauty that is hard to describe, where is no place for cynics. Just a little bit of empathy with both characters is enough, and let the wonderful feeling resonate within. I can't say that I have ever experienced anything exactly like this, maybe just something remotely resembling it. Nevertheless, it elevated my experience to the limits of perfection. There are only three actors – Ethan Hawke, Julie Delpy, and Vienna. And it is one of the most natural trios ever on the screen. I have always wanted to see a movie like this.

After more than ten years since the film was made, I am surprised how much the audience is fixated on The Ring as some devastating horror movie. And yet it works much better in the dimension of a suspenseful thriller. Gore Verbinski's move by endlessly delaying all the scary moments evidently succeeded. It then leads the viewer towards death through suspenseful scenes (watching the tape, discovering its images in the real world, the horse, old Morgan) right to the literal edge of the well. "-You don't want to hurt anyone. -But I do, and it won't stop."

A totally screwed up adaptation of a great series into a movie. I'd prefer several more lengthy episodes over this patchwork "previously on".

From a predictable intro scene to a skillfully calculated drama with perfect actors and an unrelenting atmosphere. The dark past must be shown in a way that keeps me interested in what comes next, but the script keeps throwing one twist after another at me. The plot revolves around a fearful son and, unfortunately, key twists that don't come until the last half hour. I had already known where Tom was meant to end up for a while, but it couldn't have been more obvious.

The purest of stories, one that touches your heart. Audrey Hepburn's angelic grace and Gregory Peck's charisma worked together wonderfully in their day in an amazingly witty comedy with truly believable romance. And just when I started thinking that William Wyler was overdoing it a bit, the ending came with the press conference and the climax full of deep gazes, the sweetest smile, and a stylish farewell...

The concept is potentially great, especially considering the actors, but after a few jokes about their former jobs, there are boring segues about relatives and acquaintances. When the whole story turns into just "let's blame Focker for everything," I realized how much this attempt at comedy misses the mark. Unfortunately, a few lines about vacuum cleaners won't save it.

A lot of references and parodies, an adventurous mood, modern music, and a good dose of energy. But as soon as there is too much hugging, crying, and reassurances that William can do absolutely everything, the fun takes a big hit, and the princess' manners annoy me the same way every time I watch it. Nevertheless, with some distance, I would say that Thatcher was ahead of his time. Today, a confident and occasionally self-deprecating adventure like this would generate even greater interest in the cinema than twenty years ago.