novoten

T-shirts in the closet, Chinese soup, and bad moments in life. After years, someone dared to go to the waters where usually only Richard Linklater goes, and I am very glad that it was the Duplass brothers, Jay Duplass and Mark Duplass, who prove that the series Togetherness was not just dumb luck. Sarah Paulson has also been in great form for the past few years, and finally, she is doing so even outside of Ryan Murphy's TV series. In the meantime, I am slowly waking up from this flood of memories and nostalgia. Some secrets are meant to remain closed, but just like Jim and Amanda, sometimes I can't resist and I have to go back to them once again.

Season 1 – 90% – Behind every dusty town corner, behind every distant mountain, there is such potential hidden where during chills were running down my spine the first few episodes from all the possible scenarios of how I would handle each complicated situation. Jonathan Nolan and Lisa Joy cleverly tell the story at a measured pace that presents many questions but also manages to quickly answer the most pressing ones with subtle clues, so that an attentive viewer can guess the twists ahead of time. But when such dark suspicions are confirmed, with the assistance of phenomenal performances by Anthony Hopkins, Jimmi Simpson, and Thandiwe Newton, it becomes a genuine delight for the audience. Westworld is not perfect yet, but with each episode, it refines its edges faster, and despite the painful loss of some beloved characters, after closing a surprisingly large number of doors in the finale, I know one thing above all: I want more and I am glad that I am not alone in that. Season 2 – 60% – A forgiving assessment that goes hand in hand with polished visuals, captivating performances, and special effects that turn each episode into an event. However, in combination with the almost insulting pace and the need for shocking twists in the finale, the second season is possibly the biggest disappointment of recent times. HBO's attempt to turn Dolores into a new poster Daenerys Targaryen is absurdly forced, especially since her storyline perhaps gained significance only at the very end. Otherwise, the whole endeavor paradoxically loses strength the better we get to know the main characters. It's as if these creations, by losing their influence, have lost their mystery and have become two-dimensional figures with no surprises hidden in their progress or apparent development. Without William's memories, I would definitely rate it lower. Like this, I consider the second ten episodes a misstep that is still redeemable. Season 3 – 85% – I can't remember the last time a new character became the savior of an established series. The human element of unpredictability is brought by Caleb, portrayed by the brilliant Aaron Paul, and it is thanks to him that the symbiosis of philosophical ideas, meticulously crafted shots, and thoughtful action works. Despite its breakneck pace and reliable cast, it's not a knockout despite its breakneck pace and reliable cast because the friction between Dolores and Maeve is perhaps a bit too calculated and the trajectory towards the divine machine is too straightforward. Nevertheless, I was pleasantly surprised by how much I look forward to the regular dose of robotic emotions and savor every twist. For some, the line between good and evil may be too clear-cut, but I am happy that one of the most ambitious shows of today is not afraid to come closer to the viewer with such a decisive step.

In the first half, pleasantly (not only in terms of genre) meandering, purely resting on Charles Aznavour's shoulders and his charismatic gaze of a man who has experienced something and who can, whether he wants to or not, charm every girl he sees with that look. From the moment of the abduction, however, Francois Truffaut dives too deeply into the thriller genre, where he is no longer at home at all. He never truly embraces the suspenseful tracks and, instead of being inspired by various noir rules, he is instead constrained by them until the very end.

Such a great sacrilege and not only because of that, but also such great fun. The romantic storyline is so strong in nature that it manages to move you, and on the other hand, the action storyline is sufficiently absurd and visually attractive that, in combination with the bombastic soundtrack by Fernando Velázquez, it works almost just as well. Moreover, when the annoying Mr. Collins, who is always present in the original or previous adaptations, is added to the mix, and Matt Smith elevates him with his rubber face and playful grimaces to irresistibly selfish naiveté, I must almost applaud. It's not perfect fun, but unexpectedly unfailing romantic adventure, definitely a yes.

While one group of viewers was disappointed already because of the premise, and the other group because of what ultimately emerged from it, this time I will only and solely express my gratitude. For the first time since the almost forgotten American Horror Story: Murder House, this puts the horror in American Horror Story. Unexpected appearances of disgusting creatures, occasional well-timed jump scares, or such disgusting character deaths that I preferred to look away. But when there is no fear, Ryan Murphy and Brad Falchuk do their thing again, and this time so harmoniously that I dare to even label Roanoke their best season yet. The deaths here are not only terrifying but also ironically, surprisingly, and often playfully toying with the audience's expectations given the scope of certain veteran actors' roles. Sarah Paulson's increasingly brilliant storylines add a meta-humorous touch, making me laugh even now when I think back to them, but at the same time, I am disappointed by how few people (especially in the references-packed second half) are listening to them. The peak season and the brightest proof that things can be done differently, even for the sixth time.

Five years is an incredibly long time, so when the first notes of the familiar soundtrack started playing, genuine goosebumps appeared and didn't leave me until the closing credits. My beloved JK Rowling is constantly adding surprises, new ideas, and genuine magic to the script every few seconds. What's more, Eddie Redmayne perfectly fits a role for the first time in his career, a role tailor-made for his quirks and shyness, which stands out even more in contrast with the chilling (and as expected, perfect) Colin Farrell. But what I enjoy the most is that the heroes are adults who are skilled in magic, so all the chases are incredibly dynamic. Combined with the touching fairytale romance, it's not just a surprise, because I was expecting a fantastic spectacle, but I didn't expect the Fantastic Beasts to play the most touching personal notes for me.

The perfection of form, where every flyover, orbit, or simply a view of the elegance of anything is a visual fairy tale, won me over after a few minutes. I realized that Amy Adams is playing the role of her life right from the prologue. But I still remained sober, I still anxiously waited to see exactly how those touching family scenes would connect with the archetypal sci-fi plot, and until the very last moment, I didn't believe that they wouldn't appear as randomly thrown together elements. They didn't. Instead, Denis Villeneuve proves that he can cross genres in a Christopher Nolan-esque way, escalate tension, and share with us exhaustive spectator experiences that leave me so exhausted that I can't believe Arrival is really just a movie. Personal.

A spoiled and stubborn trilogy of trivial conversations. I've been avoiding it for years, but in the end, I couldn't resist and now I have no choice but to pretend that my beloved Baz Luhrmann just filmed this nonsense on a lark.

It is sad that the best and most interesting part is ultimately the penalty shootout. The camera in the present follows the stars of the day somewhat inconsistently, and while someone like Karol Dobiáš unnecessarily takes up a large space, the most interesting storyline with Masný lacks two scenes with a reveal that would shed more light on his situation. I consider all the vignettes like "Waiting for Hamšík" a complete disaster because although touring Naples may be beautiful to watch, unfortunately I didn't learn anything more than the fact that his idols are beloved in Italy. Combined with the meaningless ramblings of the ungrateful Liverpool lad Martin Škrtel, I would leave the theater almost disappointed, but there is one big BUT. Before the actual screening, there was a pleasant raffle in the hall, and when Antonín Panenka himself drew the main prize of UEFA Champions League commemorative medals for me, I have to be in an excellent mood, even if the film is the worst. Thanks, Tonda. Paľo Korec and Dušan Milko should have a much clearer purpose next time.

So much information, so much magic – and so little time. It is clear from every scene how much Scott Derrickson (and ultimately, all of Marvel Studios) love the new addition to their universe and happily immerse themselves in all the magical gadgets, spaces, and twists. However, they could have given us more time in this gold mine because two hours can be desperately little at times. I had a great time, and Benedict Cumberbatch was born for the role of Strange, but in order to reach the highest rating (which is not far away), I will have to devour the entire adventure several more times and finally become acquainted with the source material, which I have been putting off for some time.