D.Moore

A better than good animated feature that really paces from start to finish, but at the same time doesn't drag the viewer down. The title character is likable, but the real fun is provided by the Danny DeVito-voiced satyr, James Woods as Hades, and Susan Egan as Meg(ara) – cartoonish but 200 percent sexy. Last but not least, Alan Menken has taken a gospel leaning this time and the songs of the muses that tell the whole story are a particular treat for the ear.

Five stars without hesitation, this series is great just like its older movie namesake, which it even surpasses in some ways. Because of what? The energetic vampire Colin, that's for sure!

Perfect performances by the cast, led by Eva Očenášová, Vladimír Ráž (who is so believable here he could use a few slaps) and Martin Růžek, all in Ashkenazy's elaborate script, which was just a little lacking in the romance with the pilot, and in the skillful direction of Ján Kadár and Elmar Klos. The music by Zdeněk Liška, making his feature film debut, is already simply amazing here, and when he crashes the organ in the church scene, for example, the drama is more than 100 percent.

Even worse than last time. The humor is still one-note "characters versus players", the action is dull and unimaginative, and when something a bit more serious starts happening, it's a downright travesty. It's a waste of any more words.

It wasn't entirely bad, but I feel like Alexandre Aja can't make a suspenseful scene and is all about the blood. It's a shame, because if I'd worried about the main characters just slightly more than their dog, it would have been better for sure.

Rue and Jules are some of the best series characters I've ever seen. Brilliantly written, brilliantly acted, so authentic and likable that their story just glued me to the screen, made me happy and worried for them... Despite the fact that it all took place in a completely different world than the one I inhabit. But the cunning of the whole series is that on the one hand it seems to overwhelm the viewer with trauma, nudity, and grittiness, but on the other hand it shows that none of it is just for effect, it's not some mandatorychecked box of the teen genre, because everything has a purpose and above all also some reason, often one hidden in the past. One of Euphoria's biggest strengths is how it treats a transgender character, that it actually pays absolutely no attention to and just lets the character live, laugh, love.... I found that downright beautiful. I'd hate not to mention what the show looks like though, because it's full of beautiful shots and has great music. Of all the episodes, the fourth one stands out qualitatively:it is extremely playfully filmed and set during a pilgrimage where a lot of important things happen, 100% suspenseful and cynically funny. Episode 6, at a Halloween party, has a similar momentum. I'm looking forward to season two!

You know how in The Catacombs with Vlasta Burian, that great comedy is thankfully only interrupted now and then by an uninteresting "Who will marry whom" romantic subplot? In The Comedian’s Princess, it's just the opposite. It's a pretty uninteresting romantic film, to an order of magnitude, and only here and there a more or less hilarious joke cuts the lemonade. I take it mainly as another piece in the beautiful puzzle that was Lída Baarová, who nonetheless didn't get much chance to show anything here either.

"Maybe we’d better talk about women instead." – "What, death isn't a woman?" I still haven't seen Jaroslav Papoušek's debut, and I have to say that it's just as great as the (first two) Homolka films, although unlike them it's not a classic story, but rather a "montage about age". It's a wise reflection as much as it is a hilariously dry comedy – a parade of surreal arcs in which perhaps every character needs to make a point, but few do. The script, and with it the viewer, takes a moment to mock the pensioners who compete like little boys over who gets to be the model, and in a moment are hilariously – embarrassingly – embarrassed when the coal miners begin to knowingly critique the statues that they "need to work out". In the end, it's always best over a beer.

The opening had me quite hooked – a Lovecraft quote as a motto, then an exorcism scene almost straight out of The Exorcist, then the Necronomicon and Cthulhu... But then it went wrong. It went horribly wrong. First into an unintentional parody and then, in the end, just plain and simple stupid crap. Shame.

Purely objectively, this may be one of Karel Zeman's weaker films. Plot-wise, it may be a bit lacking. Maybe not as interesting. The laudable anti-war idea may be mired in confused bouncing back and forth. And Emil Horváth, Jr. may owe his charisma mainly to the dubbing of Jan Tříska, because otherwise he is quite wooden. Perhaps, perhaps. But what does it all matter when On the Comet is still such a beautiful film and a completely dreamy, almost touching fantasy.