D.Moore

An excellent ending to a good series, especially the opening of the first episode with the hydraulic press was fresh, and the spy atmosphere of everything that followed was lightened by quite decent humor - this time there was no spasmodic goofiness, on the contrary. For example, the perpetual ringing of the telephones and telegraph in Mycroft's office was very funny and also nicely illustrated how much the world of the main characters had changed.

A very likeable and stylish spectacle every second with the classic Clint Eastwood as a cocky modern cowboy who solves things in contemporary New York in a pretty old-fashioned way. A clear warm-up for (plot-wise much more interesting) Dirty Harry with reliable direction by Siegel and excellent music by Schifrin.

An intimate melancholic western with a very human message that can surprise, strain and move the viewer. It's one of those films that makes you think about yourself while watching it, and you don't stop thinking about it even when it's over and the credits are long gone. Tommy Lee Jones is once again excellent behind and in front of the camera, and Hillary Swank is great, too... All the other roles are also perfectly cast. One wonders if it's not a "waste of acting material" to engage John Lithgow, James Spader, William Fichtner, Meryl Streep and others for just a few minutes. It's not.

A very enjoyable film in which pathos, true family values and other proper things are thankfully kept at bay by a relaxed mood and very good performances by all involved. It may seem that a family drama about a boy from a mining town who wants to be a rocket designer is not exactly typical substance for Joe Johnston. But it only seems so - he won with the atmosphere of the period, a bunch of boys and their adventurous zeal as always, although towards the end, true, it dragged on a little.

A beautiful film that expresses everything I ever thought of van Gogh. It is the tragic fate of a man who clung tooth and nail to everything beautiful, so that at least for a moment he would not have to see the rest of it and so that he could forget his own difficulties. The great Kirk Douglas and the work of the director and the camera - the film images are wonderfully saturated and warm, exactly as they should be.

Sod feminism and all that, but why isn’t it funny? It’s a shame. I'll probably only remember the somewhat uncharacteristic Pierre Richard answering the phone wearing boxing gloves.

I like this movie a lot and I never get tired of it even after the first time. Actually, it reminds me of Woody Allen's films - not only in that it presents the classic scheme of similar romantic comedies a little differently (but in a good and fresh way), but also in the generous portion of verbal humor. Moreover, Oldřich Nový is once again sensational and his performance here only confirms the fact that he did not deserve the label of a hundred percent lover (as many people unfortunately still perceive him today), because he was above all a hundred percent comedian with, let's say, amorous tendencies. And when he is accompanied by Lída Baarová, Bedřich Veverka, Zita Kabátová, Ladislav Pešek and the always great Václav Trégl, I have nothing to complain about.

Even a robot has only one nerve, so when Yull Brynner gets shot by a laughing vacationer for the umpteenth time, it just can't end well :) I once loved Westworld immensely, and I still vividly remember the horror that gripped me especially at the end, when everything is at stake. Well, after years the film has dried out a bit and it must be admitted that it drags on almost unbearably in places, but fortunately its idea remained the same.

Starring the captivating music of Eric Serra and the beauty of the underwater world. The result is a meditative spectacle, during which one asks what the hell is the point of it all, that we can, for example, shoot rockets into space, when nature can do all THAT and doesn't need us to do it at all. On the contrary - we are more likely to hinder it.

The first two stories are quite good, Smrt na Jehle even very good, but the connecting material between them, and especially the third story, is absolutely hellish. Mainly due to the fact that the hitherto light-hearted atmosphere is turned completely upside down and the viewer is entangled in a crazy investigation that should have been funny, but is not. If Jiří Menzel wanted to film the Czechoslovak relative of the Pink Panther (as evidenced by the constant rumors of Commissioner Borůvka), he burned like paper.