novoten

A sufficiently funny and pleasantly crazy odyssey, which has the drawback of relying too much on Clooney's comedic expression and bizarre supporting characters. When they escape from prison, I shake my head, when the Sludge Stompers sing, I almost cry with laughter. It's hard to choose, but the smile on my face remains even after the credits.

The film that confuses you leads into dead ends and suddenly in that moment of understanding, the viewer is left with nothing but surprised gazing and trying to contain enthusiasm. As a result, Ghost in the Shell is incomprehensible, but at the same time incredibly captivating anime, which with a bit better character work could lose the impression of a colder spectacle and therefore easily reach the highest levels.

A film in the mood, which gradually sinks into a pile of grandiloquent speeches in the second half. It's a shame, the start supported by an excellent relaxed soundtrack promised much more. And I wonder who wrote the screenplay, which prescribes crying in practically every dialogue for the main characters.

The story does not differ from the more well-known American western classic, perhaps only in that Kurosawa gives more space to the villagers and the viewer can sympathize with them more, whereas in The Magnificent Seven, I was more concerned with how many cowboys would survive than with the farmers. I don't like looking for flaws in classics, but three hours for a story about saving a village from bandits is a bit too much, and especially in the middle third, I found myself glancing at the clock too often. This time, Asian grandiosity did not resonate with me.

The bizarreness that Anderson brought to the extreme in The Life Aquatic is still served in the style of amusing peculiarity, in this case combined with occasional, almost gentle humor. And the screenplay plays very sweetly with the characters until the very end. Hackman and Stiller simply lead the family at a sharp pace in the position of one of the most specific feel-good movies I've ever seen.

Diametrically different halves, the first three parts somewhat decent, the third one not really great, but from the fourth to the sixth unstoppable laughter and a flood of brilliant gags.

A tragedy that is incomprehensible and almost impossible to reach the end of. The director evokes the atmosphere of the village through uninterrupted shots of intercourse and expresses the feeling of solitude through the view of a slaughtered goat being cooked. The story can be summarized in a single sentence, and even the redeeming ending sails miles away from me.

One of the few cases when I'm really glad that I haven't read the book. Those who didn't have such luck protested that this or that is different and that something is missing, so I would be far from a surprising enjoyment. This way, I got a human story with painfully life-like characters (real events scream very loudly) and a beautiful, lingering ending.

Uncontrollable burst of sketches that cannot be defended against. It requires calm, good mood, original delivery, and it can only end with either love or hate. Whenever Dr. Evil appears, I am not far from tears of laughter and I realize that I will probably occasionally quote this overblown madness until the end of my life. The fat scoundrel is a misstep that prevents the highest rating, but the explosive Myers and the hot Heather Graham save everything else.

Although it is not boundless, audacious, and almost genius madness like the previous installment, even this time I am enthralled. Rationally indefensible cult with the immortal character Dr. Evil.