novoten

Flynn throws himself into everything with the same indecisive and enthusiastic zeal, delving into the history of nocturnal creatures and being accompanied by the beautiful Stana Katic. Simply put, he is able to captivate and entertain even for the third time, and unlike his previous visit, he manages to avoid unnecessary clichés. I always enjoy these lighthearted adventurous trips enthusiastically.

Documentary preview spoiled by senseless perspectives "outside", bizarre exaggeration of side lines and glaring logical absurdities. Plus one solid action scene. This script simply hit a wall after ten minutes, as it unfolded into pig soldiers, insane scientists, and ritual-thinking Nigerians. Additionally, the only likable character is the backgrounded alien Christopher, who outshines the selfish Wikus in almost everything. Every battle clash must be accompanied by some bloody effect, prostitutes sleep with aliens (??), and Blomkamp clearly hits the taste of the audience and critical majority, who applaud him for the gritty atmosphere. But it does nothing for me, so for those few solid (although quickly drowned) ideas, just like this.

The last adventure of the boy from Neverland didn't end as he wished, but I thank Ortega for allowing me to peek behind the final curtain. It was during this period that an unexpected moment came when I transitioned from respect to almost worship for the King, and to this day I believe that anyone who has ever listened to any of his songs must melt while watching. And that a shiver runs down one's spine exceptionally when listening to "They Don't Care About Us" or "Smooth Criminal". Moreover, it is very difficult to resist the enthusiasm that Michael's persona evokes, especially in moments when tough-looking dancers, who just moments ago were dancing on stage with a rough expression, suddenly stand below him, rewarding each gesture of their god with loud cheers. This charisma literally grounds you. Only a happy ending is not expected in this fairy tale about a famous comeback. So I can only say goodbye one last time. Goodbye. God bless you and heal the world.

The best of the first two series is turned upside down by the perspective of the final series. Admiral Adama takes on one challenging task after another in both a directorial and command chair. It is thanks to this bravery, the unmistakable atmosphere, and the relentless Bear soundtrack that a beautiful final piece emerges, completing one of the last empty spaces in the monumental mosaic.

Sympathetic effort in a pre-determined lost battle. To make a functional, expressive or appropriately looking war story in Czech conditions can only succeed with a unique project like Dark Blue World. That's why I can't help but wonder that Marhoul took on such an ungrateful task with a script that is slightly unfriendly to the audience. Nevertheless, I remain satisfied. The war, friendship, and suffocatingly hopeless storyline work brilliantly, aimless wandering without a plot, which often undermines tension in domestic cinematography, is not a concern in this delicate environment, so where is the catch? It lies in the fact that credibility is sometimes presented through unnecessarily incomprehensible moments like a chase with a rooster or episodes with a prostitute. In the end, 70% enhanced by the impression of an unexpected surprise.

Lots of talk about satisfying basic needs, dependence on Earth, the wonderful sea, the wonderful creatures, and for a change, the wonderful Mother Earth. And all of this in ten "variations". As a whole, it is a catastrophic stereotype, the most annoying documentary voiceovers, and half-baked explanations that we must treat nature well in order to live as well as people who have lived in the rainforests for generations. I respect documentary filmmaking, I respect ecology, and maybe even diligent film propaganda. But as soon as the narrator starts making a fool of himself with a smile after a few minutes, it's hard for me to forgive him. 30% for the camera, music, and relative harmlessness.

Katherine shines and Gerard enjoys every juicy line, but the whole studio plot, stupid supporting characters, and actually even the spicy commentary on truth felt like a betrayal compared to what I expected from the trailers, and I had to do my best not to write off the movie at that time. The paradox is that when it slows down, innuendos disappear and romance reaches top speed, I completely melted and thanks to the actors' dramatic talent, I thoroughly enjoyed the last half hour. However, due to higher expectations and striking unevenness of individual scenes, disappointment prevails.

Tykwer definitively becomes a polymath who can inventively shoot any genre, but this time I can't fathom it from his hand. The guide to the world of frauds does it with ease, but at the same time, every time the viewer catches up with the screenwriter in twists and turns, it adds another twist and shows that this time it won't lend a helping hand to those lagging behind. Positive impressions are mainly gained by Clive Owen, once again in the role of an indefatigable hitchhiker. In his performance, the perfectly escalating shootout without exaggeration becomes a legendary scene.

The classic archetypal battle for the salvation of all is crossed with a perfect morally-responsible dilemma. Enterprise faces the most stylish enemy of the entire film series, and the entire Romulan plot is presented so darkly that I couldn't believe that it was this crew that started in the failed Generations. The Next Generation could hardly say goodbye better.

"When you're young, everything feels like the end of the world." When Zac Efron, Michelle and Leslie Mann are at the peak of their performance, and the genre mixes a few clichés with an nostalgia as strong as a wave of fandom, it is impossible to resist. "Different" teenage comedies still know how to warm your heart.