Isherwood

This is the perfect concentrate of all the positions of dryly black humor that perhaps only the British can boast of. That it will screw itself into absurdity will surprise no one at the first peek into the coffin; however, the fact that it manages to handle both the drugged participants and all the terrifying family secrets is an absolute mystery to me. 4 ½.

The puppet masters (3D) prove why it is such a success for all audience ranges. For the first time, however, I feel like they’re being overly confident. There’s no willingness to take risks or deviate in any way from the popular trend. Life’s truths caress, while the overly mentoring tone grates on the nerves. I wasn't bored, but I didn't enjoy it, and that's worse.

Was this an attempt to make the most complex horror film of all time? Those who have seen stuff like this before will enjoy it. I enjoyed all the genre positions, the sorority girl and the grumpy neighbor the most, but at times also despaired at being bored enough to have to deal with the logic issues. Regardless, the fact that Singer has sent a capable craftsman into the world is beyond question. 3 ½.

Rather than being a standalone film, I would describe Halloween II as a kind of a DLC to the first film. It works with the motifs from the previous film, with the difference being that the script has totally abandoned anything resembling a coherent plot. There’s also an absolute emphasis on Michael's rampage, which creates a sort of dreamy atmosphere of a psychedelic trip. I can see why my friend said afterwards: "That was bullshit!" I also didn't find it all that surprising that two-thirds of the audience was gone after the lights were turned on. All Rob has done is confirmed that he is unmatched in film brutality in contemporary Hollywood. The insane violence, with full-frame head stomping or throat slashing - which does not avoid women - goes far beyond what is permissible not only in terms of political correctness but also in terms of moral standards. Admitting that you liked something like this isn't really the best calling card for personal film taste, but we are who we are. Regardless, this is Rob's weakest film. From a more objective point of view, for the aforementioned lack of plot, and especially for Dr. Loomis, there’s been no bigger idiot yet that emerged from his screenwriting. PS: Now it really needs something more distinctive, although I wouldn't be opposed to a third film because the ending is damn funny.

If you are aware of what you are getting into before you buy your ticket, you won’t be disappointed. You have to know that it’s going to follow the old genre rules from the trailer and the only crucial question of the evening is whether the chemistry of the central couple will work. In this case, I give it both thumbs up because Butler is enjoying his macho character as much as Katherine Heigl is wonderfully natural and charming. The jokes were full of sexual remarks, and who cares about the shallow innuendos? I laughed with the whole movie theater and wished from the bottom of my heart for the two of them to succeed in the end. In a slight confusion of the senses, I give it a pure four "real" orgasms... ehm, stars. :)

The uncompromisingly gloomy atmosphere, which perfectly corresponds with the legendary story, is mainly the result of the irresistibly decadent sets, excellent music (Pavlíček's "Pied Piper guitar theme" is perfect), and last but not least the great puppets. Despite their very expressive form the puppets perfectly express emotions and the relevant characters (the Pied Piper himself is a very charismatic piece of wood). Regardless, I’m beginning to understand why, as a little kid, I preferred to avoid classic Czech puppet animation - there really isn't much in it for children.

Some level of dementia is to be expected in horror films about pissed-off fauna, but there’s also always something there to surprise us. In this case, it should have been "roaring sharks." But that's about the only thing worth seeing in this film because the rest is unfunny boredom that doesn't even include the shots from the shotgun, the deadly catchphrases (the protagonist’s friends get eaten and he announces with a stony face: "Bastards!"). It’s not interesting even if you’re a collector of bad films.

With the passage of time of about 5 years, Interstate 60 still seems to me to be one of the most original films of the beginning of the new millennium. However, I have to take away its full rating. The protagonist searches for himself in a "fairy tale" world where nothing is impossible, but he does not help himself do so by using his own reason. Yet thanks to a fortune-telling ball that has taken the form of a billiard eight, and a set of coincidences that have an obvious predetermination, there’s never a hint that any of it could go wrong. Then by the time he starts making decisions for himself, he’s got the hardest part out of the way, as if someone killed the prince’s dragon and all he had to do was climb the stairs and take the princess out of the tower, meaning the ending kind of fizzles out. But Euphoria, the city of lawyers, and Chris Cooper continue to be perfect. I can see what Bob Gale meant with this film (see the excitement after the first screening), but it doesn't seem as clever and witty as it pretends to be anymore. Maybe that's also because I’m the age of the main character and I see things a little differently. :)

If Mostow has been considered a solid craftsman up to now, he will now be considered a desperate routinist... and a thief to boot. As long as it still follows the popcorn rules à la I, Robot, we can enjoy the slightly B-movie atmosphere, which is carried by Willis's cynical smile and funny toupee. Then we get some mentoring according to Issac Asimov and Phillip K. Dick in the visual diction of Terminator 3 and everything goes to hell. It wouldn't have had to be this way if someone had bothered to add some extra runtime, given the characters some life, and if the film had at least one memorable scene. The result is the most ridiculous blockbuster of the year, which I predict will become a cult film in a few years and a must-have in the "guilty pleasure" collectors' kit.

A solid team-building psychotic film that benefits mainly from believable characters, although they’re not that likable. Accustomed to certain rules, those watching will surely argue for a long time about who could be the bogeyman. In the end, however, all it takes is an ordinary forest and a random corpse to shake up tense nerves. Villmark will surely convince you of this without much ado. The fact that it then says goodbye to logic and adds in the clichés of overseas genre films is all the sadder. Regardless, it deserves a standing ovation. Where’s the American remake with the busty blondes and the muscular metrosexuals?