DaViD´82

Not bad manly genre movie, which is spoiled mainly by the length and incompleteness of the "cheap" concept. It's exactly the type of movie in which Michael Caine used to star and this movie really does seem to be old-fashioned in a nice way. So you will be even more disappointed how b-rate it is. Especially in terms of playing games with tension among the diverse dregs in an enclosed space during a borderline situation, it clearly calls for more work. In any case, at the end of the day it is a decent example of craftsmanship in which you exactly know from the very beginning what you can expect, what will happen and even who, when and how will die. Simply put, it is a pure routine. But even this kind of movie is nice to watch from time to time. And the time is now.

The only thing I know about the Starcraft video game is that it exists (and it is extremely popular in Korea), and I really enjoyed it despite this. Because it is not (only) targeted at fans like most similar projects. It is entirely independent, and so it works well as a more naturalistic "Spielberg family science fiction".

In the past, the second and third movies tried not to follow a safe path of the first movie, but although it was a nice try they failed terribly (in terms of both acceptance and, unfortunately, quality). The third sequel, on the other hand, follows the path of the first movie and it turns out to be the right decision (it is great both in terms of acceptance and, fortunately, quality). However, it is not only a dull follow-up, but a playful and self-conscious continuation. Although it may not impress you in such a way (or any) that the first movie did but even without this bonus it is a high-quality movie in the form of a fun and excellently graduating summer Hollywood craft in the best sense of this word whose biggest mistake is the simple fact is that we have already seen it (multiple times). What they did really well are the "gojira-like" ending and Pratt, who is labeled as a new Ford/Indy and even though it is already the most annoying universally acknowledge cliché, but we simply cannot deny the fact that this person is a new Ford, that is for sure.

Winter attempts to ascent 8,000 m mountains are equally fascinating and incomprehensible. In any case, this (mini) documentary about unique self-exploring through gambling with life will take you as close to it as nothing else because its fragmentary, raw form goes hand in hand with the technology used "up there" and thus amplifies the already considerable impact.

What Maclean messed up behind his typewriter, he tries to fix as best he can in the director's chair through a wannabe Coen style. And he almost pulls it off. Almost.

A community-funded super homage and (heart/balls) breaking confession of love to the degraded VHS 80s through the pure essence (the music, the music!) of all their nostalgic guilty pleasure originality. If you know the video game Blood Dragon, then Kung Fury is something similar. The great thing about it is that during the footage the creators from Laser Unicorns (and also outside the footage go over-the-top in many ways. But what they do know is what the appropriate length should be so you will not get bored. On the other hand, there are so many ideas, references, craftsmanship, absurdities and quotes in every scene that it is still impossible to absorb during one screening even if you do your best, so, in fact, at the end of the day it will be as long as a feature-film.

Despite more than three decades of development and unprecedented advances in science in this area, this show is still stimulating and informative. Thanks to this, many Czech (not only) boys failed to resist the "magic of space/science". And perhaps in three decades the same will be said about an unofficial special which does the same in a format adapted to the "modern time".

The French Connection made in a French way loosely based on real events of the Marseille camorra. This is done through a decent old-school crime movie that consistently builds the duality of the two main characters from the opposite sides of the barricade. It goes so far that they are also stylized in the same way, so in some scenes it is hard to tell them apart and throughout the whole footage the following rule applies "if one of them appears on the screen for one minute, then the other one will appear soon". And no matter how stylish it is, it makes it far too obvious to its own detriment, that the movie wants to be part of the same club as the classics of French Connection, Heat or American Gangster, without, however, having their qualities. But that doesn't at all mean that it is not a very good crime movie anyway.

As if the "Victorian Dickens spirit", complex, refined in terms of style and packed with different aspects, and through and through purely British (non) fantasy original was also reflected in the BBC's respectful approach to capturing this material. With this being said, it is rather an illustration of the original than its adaptation. However, it must be acknowledged that it is a beautiful and detailed illustration that accurately captures the original (in terms of atmosphere, cast, slow pace and processing), which is definitely not so common. Wait a minute… it is for BBC actually.

It seems that someone at Warner Bros must have gone mad because to approve budget in the amount of an expensive blockbuster for a 70-year-old director who has not made any feature film (let alone action or high-budget) for almost twenty years, that even includes bizarre scenes (breast milk, flamethrower guitar!) "from the world after the fall of values" filled with psychedelic metal opera/road movie madness about mad guys (on top of that hidden "remake" of the General), which is a continuation of his own amateurish “Grindhouse-like" cult post apocalypses trilogy, it requires a lot of courage. What is the most surprising is not the above-mentioned but rather fact that the new Mad Max is not a ridiculous dull follow-up or an indecent smooth derivative of the original trilogy, but it is an unusually confidently made straightforward (not to be confused with dull!) "dirty movie" (basically a mix of the ending of the second movie extended to full-length footage, Doomsday, Wages of Fear and Spaghetti Western in an unprecedented and a world that is depicted in detail where madness is the standard and not the eccentricity) with playfully inventive and imaginative non-stop action, which is not just an empty mandatory filler, as it is typical for most blockbusters today, but there is something special about it and moves the story forward; moreover, it way it is shot is captivating, independent and clear. Thanks to which the fourth Max movie becomes an instant genre classic. It will take you back to a time when this type of film did not mean over-the-top CGI adventures with no a stuntman (let alone an actor) at all. On the contrary, this movie has everything that a great movie of 80s show have in all respects. The only difference is the possibilities and budget corresponding to the 21st century and with the best action heroine "who is not just a guy with breasts" from the times of Ripley from the first Alien. It is sad that such a movie is only a kind of unrepeatable studio anomaly, but because of this we should admire (of even love) the fourth Max even more. PS: Refined Mad Max: Fury Road Black and Chrome Edition is a great watch, which is easy to believe that Miller wanted it like this from the beginning.