Stanislaus

100% Wolf doesn't really have much to surprise the (adult) viewer, as it is an incredibly predictable and technically quite weak film. The main character is a cliché to the core, which I wouldn't have minded so much, but I found Freddy terribly unlikeable. I also thought the villains lacked charisma and the annoyingly goofy ice cream man didn't help. Perhaps only the seasoned housekeeper Mrs. Mutton (I almost expected her to be a "weresheep") won me over. The film's message is clear, but too garishly and kitschily served up. A film aimed solely at a younger audience, with no attempt to appeal to older viewers.

Diary of a Modern Dad features a likeable cast, believable performances, and an all-around enjoyable execution that counteracts the pervasive predictability of the plot and character development. Tereza Ramba was great, Jiří Mádl on the other hand looked helpless way too frequently, and the parents and ex-boyfriend were fine. I was quite taken with the idea of stuffed animals and a tape recorder - a decent ad for a toy company. I believe parents will enjoy the film all the more because, unlike childless people (like myself), they have experienced or are currently experiencing this. Better three stars!

Watching The Green Knight, my mind often wandered to Robert Eggers's The Witch, which also tried to spice up typical genre expectations and was atmospherically close to David Lowery's film. The Green Knight is an artistic affair with all the pros and cons that come with it. It is an audiovisually captivating film, full of metaphors and symbolism, but one that is very challenging to watch, both in terms of narrative devices and the gradual build-up of the plot. Anyone who has ever read a heroic epic will recognise that Lowery's film is similarly constructed: a young (almost) knight embarks on a heroic quest to win honour (and, at the cost of his own life, even immortality), meeting various characters who, in a fashion, shape and test him along the way. I'm on the fence about rating between three and four stars. The film was very nice to watch, but it was also a challenge. Well, better three stars!

(Possible spoilers!) Armed with a generally likeable cast and a plethora of film references, Jaroslav Fuit tries - sometimes a little too hard – to serve up a Czech romantic comedy that wouldn't get lost in the genre clutter of similar films, but he doesn't always succeed. That said, Only for Tereza offers a nicely written and mostly well-acted story about the woes of love, the (dark) corners of misunderstandings and family reunions years later (it's a pity that the "I'm your Father" bit fizzled out). The central duo was charming, Emma Smetana was perfect for the role of the bitch, Lenka Vlasáková and David Matásek were rather irrelevant, and Matouš Ruml sometimes made too much noise, which, however, he balanced by short but humorous performances. More could have be mined from the promising premise, but I certainly don't regret my visit to the cinema. Plus point for the solid soundtrack. A better and more relaxed three stars!

The second adventure from the "mysterious life of (precocious) toddlers" seemed qualitatively comparable to the first one, which was in slightly above average waters. Old(er) acquaintances return to the Family Business, and alongside them there are plenty of more or less interesting characters – be it the villain, the new agent from Baby Corp or the creepy "cousin" from the Addams. Story-wise, it is basically a copy of the first part, the plot is predictable throughout, but at the same time it is funny thanks to the many gags, so I laughed more than once in the cinema. Plus point for the audiovisually appealing musical performance. Better three stars!

Coming In as a relationship romantic drama with humorous moments works more in the second half of its slightly excessive running time. Story-wise, it is a fairly predictable film, in which the relationship line is a little bit spiced up with uncertainty about sexual orientation. It's a shame that they stuck to genre clichés and didn't portray the characters and plot in a more brisk and/or humorous manner. Still, I smiled a few times and was even moved by the love story, which can sometimes be born really unexpectedly. Kostja Ullmann and Aylin Tezel were supremely likeable and I was glad to see Katja Riemann in a small role. Bonus points for the Berlin locations and the male version of “I Kissed a Girl”. A weaker three stars!

Shang-Chi mixes in a mostly artful way the audience-appealing elements typical of the MCU (spectacular battles, action laced with humour, the importance of team/family, etc.) and as an added value offers (in the context of Marvel movies) an unfamiliar Asian setting. The Hollywood-style action is interspersed with fight scenes that are more typical of Asian films, all wrapped up in almost "magical" clashes (like in Doctor Strange), which I really enjoyed. Visiting Ta Lo and seeing all those creatures made me feel like I was watching an Asian version of Fantastic Beasts and Where to Find Them. My only major criticism would be the sometimes weaker visual effects (compared to other MCU-movies), like, for instance, the forest maze or the water scenes in general. Of the new characters, Ying Nan, Xu Wenwu and partly Katy won me over the most; the main character was rather bland. It was also nice to see a smaller role for Ben Kingsley (a.k.a. the Mandarin). I didn't even mind that a good part of the plot was a kind of family drama, as in this case the motivations and actions of the characters were understandable and this line didn't interfere with the film’s fantasy-action level.

Like Julius Ševčík five years ago with Masaryk, David Ondříček managed to make a biopic that would stand up well to comparison with foreign films. From a technical point of view, it is audiovisually well executed and does not look cheap or kitsch. The performances are to be commended, from the seemingly over-the-top Václav Neužil, to the principled Martha Issova, to the thuggish Robert Miklus. There were a couple of scenes that were, ahem, odd, but they get lost (in the crowd) compared to the quality of the rest of the film. The scene with the exhausted marathoner probably got me the most. The poetic and seemingly mismatched vision with the native did have its merit and "charm".

The atmosphere of Ready Player One visibly radiates from Free Guy, and even though Spielberg's film was much more playful and polished, “Guy” still has its appeal and manages to entertain, thrill, and even move a little bit during its nearly two-hour running time. The film's premise is certainly engaging and despite a few minor quibbles, I was satisfied with its execution. Like RPO, there are more than a few pop culture references and humorous innuendos, especially provided by the main character, Guy. At times the plot was so bizarre that I wondered if Taika Waititi (Antwan) had a hand in the script, while at the same time it felt like a PG-13 version of Deadpool here and there. Ryan Reynolds is a likeable guy and the hitherto virtually unknown Jodie Comer provided a great second to him. Waititi was perhaps a little too theatrical, but whatever. The point about the (un)importance of the individual and the equal chances for each of us was a bit too on the nose, but nicely delivered.

The second adventure of Peter and his friends took the edge off the mischievous antics of the titular rabbit and brought to the fore more moral didacticism aimed at a younger audience. Nevertheless, it is still a nicely made family film with more than one humorous moment, a horde of digital (but believable) animals and a generally likeable "live" cast. The storyline with the bad guys is admittedly predictable, but it doesn't offend – the mouse with his eternal narrative recollection was amusing. Likewise with absent-minded deer with its fondness for lights. I was perhaps only a little distracted by the unnecessary effects on Thomas's "falls". A weaker three stars!