novoten

A story that will be familiar to anyone who has tried to play it on multiple sides at least once in their life. A positive spectacle that gives precise instructions on how to best enjoy summer, with the main character being a guy who can't choose between a sincere likeable girl, a spoiled brat, and a hysterical pseudo-girlfriend. But we all occasionally make similar illogicalities. Furthermore, I thank the creators for an unexpectedly realistic and yet pleasant ending, the screenwriter simply had to experience this.

"Amy, where is Arnie?" Bittersweet drama with the main theme of strengthening the family spirit and exactly to my liking. Additionally, with a phenomenal cast, led by the introverted Depp and the absolutely perfect DiCaprio, who never stops believing in his Arnie for a second. By coincidence, in Hallström's first major film, three masters of smaller roles came together - the then relatively well-known Mary Steenburgen, the ordinary yet fateful girl Juliette Lewis, and the famous Hollywood sidekick John C. Reilly. They also contributed to the unique atmosphere of a total small-town backwater, where everything is far away and the most discussed event is an attempt to conquer the water tower. Hallström's ideal start to a first-rate Hollywood career.

A love story that, thanks to its universality and stereotype, is unforgettable for its taste for love and adoration. Every glance carries the most inner feeling and screaming emotion. Moreover, despite its slight perversity, the story is fundamentally human and credible.

A masterfully played and surprisingly gripping piece with a fantastic atmosphere, thanks to the successful dramatic music and above all, the almost brilliantly bizarre set design. My only complaint is directed towards the fragmented resolution, which unfortunately spoils the final impression.

Only a fool can turn a fairy tale into a crazy parody madness for older children - but who cares when it works so wonderfully and entertains both children and adults - everyone.

It is absolutely necessary to engage in the game of the creators - War of the Cops is a very tough crime story from the old school, set in a modern visual style. Those who do not accept this will be bored. Although I also experienced it in the beginning and was surprised by the high average here, over time it becomes increasingly easier to believe in Depardieu's cold eyes that ominous desire for power, and on the contrary, to deduce from Auteil's that despite all the unacceptable transgressions, his core is about doing good. This makes the twists in the final third have an even greater impact on the viewer, where I admired the uncompromising nature of the screenwriters several times. 75%

Among all the Bond movies of the era of the first three actors, this one is my favorite. Connery was in his best form and dealt with the most devilish villain, who even stole the title of the movie for himself, following the example of Dr. No. The best thing about it is, of course, that even sixty years after its creation, it would easily stand up to today's competition, even though the passage of time has started to leave its mark on the more extravagant scenes as well.

A truly impressive matter, where the combination of music and imagery often equals a brilliant connection. This is especially true for the ancient Greek mythical performance full of Pegasus, unicorns, and centaurs, and especially for the fascinating dance of fairies, which color nature and accompany it in its blooming, set to the backdrop of Tchaikovsky's Nutcracker. The most limiting factor of Fantasia is the guide, who always describes the plot of the following visual composition too literally and also overly passionately the religious final passage with Ave Maria.

When I first came across King's novel Body, I immediately thought it would be worth adapting it into a screenplay from the first lines. And when I reached the passage with the dog at the dump, I remembered that someone else had already done it for me a long time ago, and that I had even seen the film and the scene where Chopper chases Gordie, even though it's not fatal and luckily the heroes don't suffer any consequences from it, often haunted me in childhood dreams. Fortunately, a successful and surprisingly fascinating film was made from this amazing source material, which will be understood by all those in whom there remains at least a hint of the melancholic and half-playful mood of the boys who are slowly finishing elementary school. Even in short scenes, it is possible to show the fateful bond with an older brother, and above all, the whole film literally shines with King's melancholic mood, which seemed to me to be the toughest challenge while reading the original book. Everything could have turned out badly if it weren't for the great child actors. Moralizing about young boys is always a tricky matter, but here, everything was brilliantly handled by fifteen-year-old River Phoenix, who convinced me that if it weren't for his tragic death, Americans could have a current acting genius. The icing on the cake is Kiefer Sutherland, who endowed the originally more or less routine villain Ace with such an aura that you will shiver when you look at him. In the end, the source material remains unbeaten, but the film was able to capture its most precious aspect - the mood it evokes and which will stay with the viewer for a long time.

I don't understand why I initially condemned Rozpuštěný as unequivocally the weakest thing that my favorite Zdeněk Svěrák has ever produced. I guess I couldn't get over the fact that the main inspector is played by the not very comedic Jiří Zahajský. But the second time, I praised how clever the whole parody is and how it is interspersed with magical supporting roles, led by Pecháček played by Jaroslav Weigl. Because of Zahajský, it's still only a four-star rating, but the thought that I appreciated another clever Svěrák work warmed my heart.