Goldbeater

If my heart has a space that says "West Side Story," it is already occupied by the 1961 movie. Everything is beautifully filmed in this one, and the choreography is perfect. It was carefully rehearsed and beautifully acted. However, we got the same thing with the sixty-year-old version, and apart from the superb craftsmanship, I cannot see much justification for making this reimagining.

They could have done a few things differently with this movie and It could have been boring. However, I think everything works as it should. They have created a truly immersive experience for the audience. It is remarkable how Sharlto Copley can carry the whole movie for two hours and manages to keep audiences captivated with his committed and compelling performance in a psychologically difficult role. [Ji.hlava 2021]

This movie is fascinating. I mean in the way that although you might feel you knew the story from the news, this documentary convinces you how all the context, the weight of individual responsibility, and the logistical complexity of the operation really could not be fully understood from piecemeal reporting. Plus, this documentary explains it very well and makes it all come alive. [Ji.hlava 2021]

I don't know about you, but I did not find this tired movie a good documentary. We practically only find out things about the psychological make-up of the protagonist solely via people who explain things in an instructional way, as if they have just been artificially guided by director to summarize Kamil's current thought processes because all he does is shrug his shoulders and say, "I don't know". Everybody has problems, and almost everybody is a hypocrite, so I am not quite sure why it is necessary to make a documentary about this particular person, even if the project's original intention was different at first. [Ji.hlava 2021]

Wrapping empty boxes in the shiny paper of '80s nostalgia... Stop it, Hollywood.

It is a bite-sized documentary essay and nothing more, I know, I know. However, casting the excellent Nicolas Cage as the vulgarly poetic host is a priceless gimmick!

I was one of the few left completely cold by The Big Short. I thought Vice was okay, and I quite like Anchorman: The Legend of Ron Burgundy as an unpretentious comedy. However, it was not until today that Adam McKay clicked with me as a filmmaker because of his movie Don't Look Up! It is not easy to produce a good satirical movie, as a few pretentious people find out every year, although it worked out great with this particular one. It is balanced both in terms of simple gags (some of which did not quite sit right with me, while others provoked me to burst out laughing) and clever satirical humor (I had a smirk on my face for the duration of the whole movie). There were also thought-provoking serious scenes (Leonardo DiCaprio steals a few and gets away with it). At the end of last year, Netflix delighted me with Mank, and this year they did it a little before New Year's Eve with this one - it is becoming a tradition. P.S. The fact that this refreshing work currently has a critics' rating of 55% on an unnamed website is evidence, once again, that that hypocritical cesspool can by no means be a source of relevant opinions and I should stop considering them, even marginally.

This movie wants to have a Roma aroma, even though it is not Roma, so then, what is it? It is Belfast. I can see why Kenneth Branagh wanted to make this into a movie, and I sincerely hope he is as happy as possible with the result because I cannot imagine anyone else will be. I have seen four movies today, and this one, while by far the shortest, felt the lengthiest. I did not find Branagh's nostalgic reminiscing about the backdrop, which is a Belfast cul-de-sac, captivating at all. As I continued watching, I gradually became more and more limited to simply look for one particular trailer scene. However, when Jamie Dornan finally starts singing "Everlasting Love", it was not even really worth it.

This movie is all so kind of sweet, charming, and irresistible. However, suppose you take away the particular backgrounds of the characters, it also has a totally banal plot you have seen countless times before, and that could not surprise anyone who watches this.

This movie is pretentious nonsense. The original Candyman worked great on its own as a horror film, but this reboot does not work at all. You could only dream of some atmosphere and feeling of apprehension for the characters. The only scenes worth mentioning are that much-vaunted distant and retreating footage of a murder in progress and similar visual ideas. However, the whole thing falls apart in its attempt to follow the mythology of the original movie (including a completely random and confusing cameo by Tony Todd) and in its insanely literal attempts at some sort of critical social commentary.