novoten

Of the inconspicuous attempts at comedy of the 2014-15 TV season, OBH came across as the most promising to me, thanks to its clever concept and especially Elisha Cuthbert's return to the world of TV series. When she was joined by yet another beauty who had been a regular occupant of teenage boys' computer screens some time ago, it seemed like half the battle was won. However, the usually likable Kelly Brook chews the scenery unbelievably, Nick Zano seems more and more irritated with each passing episode, and the script desperately needs to shout multiple times in those twenty minutes at any cost that Lizzy really is a lesbian. Considering that the viewer understood this after about two minutes and then waited in vain for six episodes for a more consistent plot to develop from the original premise, the only positive remains Miss Cuthbert, once again shining like an invincible sun. Everything else, however, is an unexpectedly loud failure.

Season 1 – 40% – It targets children but misses everyone. I have been fond of the green grump ever since I first saw Ang Lee's feature film twelve years ago, but giving him a team where everyone has almost the same abilities was a big mistake. Five smashers, among whom the Hulk is the smartest, should have sounded suspicious to me from the beginning. Sadly, the perpetually green Bruce is also the most interesting character, while the others just fulfill stereotypes. A-Bomb is a joker, Red Hulk is an unbearable grouch, Skaar is a tough wild man, and She-Hulk is the only female character (with Eliza Dushku's voice), but her solo storyline hardly ever revolves around her and ironically remains the most extraneous of the entire squad. The individual plotlines don't contribute much either. The long-term struggle with the villain Leader is not surprising in any way (except for the fact that the last regular episode, Planet Leader, is a lively one and probably the best of the whole series), and the episodic plotlines only catch your attention when you're expecting a Marvel colleague to appear. Occasionally, these frequent visits result in pleasant adventures (Wolverine, Deathlok, Inhumans), but most of the time, they are quite boring or even colossal failures (Venom, Galactus). Hulk and the Agents of S.M.A.S.H. cannot be recommended to even the youngest children because mindless destruction can be found in every other action-packed animated series, often with funnier lines and visually better executed ideas. Season 2 – 40% – I vowed as a comic book fan that I would stick with this group until the end, and I must say it was probably the worst idea I've had in a while. The boredom is comparable to the previous season, but for the viewer, it's even worse because they already know what they're getting into. They treat the child viewer, who is clearly the target audience more than ever, as more or less a fool, and finding a smarter joke, pun, or plot twist is an impossible task. Even time paradoxes are presented extremely sloppily in the five-part Days of Future Smash and then proceed to violate all possible imaginable paradoxes. Another mystery is Spider-Man. It is unbelievable that the episodes where the audience's favorite spider-themed hero appears are almost rubbish due to their stupidity, doing a disservice to such a popular character. The episodes that try to delve into Hulk's personality (such as Banner Day) are somewhat enjoyable, but the "playful" episodes like Wheels of Fury are downright annoying. However, there is one thing I appreciate about the creators, and that is the ending of the entire series. I don't know if they were aware of the impending cancellation, but the way they dealt with all the ongoing plotlines in Spirit of Vengeance and the subsequent two-part finale, Planet Monster, is fair and pleasantly breaks the rule that superhero comics always have to end with a hint of another adventure. In the apocalyptic finish, where almost everyone we met in the series gets drawn into the fight, it is somewhat sadly suggested that the Smashers can't handle it on their own and when push comes to shove, they simply have to invite the Avengers, X-Men, Fantastic Four, or Guardians of the Galaxy (in this case, even more heroes!) to join the party. But it was almost worth it for that Marvel gallery. The feeling of a wasted series, at which the most die-hard fans of the green grumbler's source material must be tearing their hair out from start to finish, but it remains deeply buried.

Season 1 – 60% – The project that Matthew Perry reportedly tried to get on the screens for years ultimately feels a bit sad. It is completely old-school, qualitatively variable, but above all forgettable, especially considering its nearly fifty-year-old predecessor. At least if you don't take the main duo into account. Their perfect timing in even the most trivial gags brings a smile to the audience's face and makes it worth returning to their busy apartment over and over again. The problem, however, lies with the supporting characters. When Dani or Emily come to the forefront, it's still quite decent, but the scenes with Roy or Murph are occasionally on the verge of suffering. Nevertheless, I am quite looking forward to the next episodes. Thomas Lennon's perpetually bulging eyes or Perry's convulsive smile have no chance of getting boring, even this time in the form of a one-off undemanding diversion. Season 2 – 50% – The ten percent difference in the rating mainly expresses one thing: it is that slight, but unfortunately all the more burning difference between what was last year a pleasant old-fashioned feel and this year an unnecessary obsolescence. The joke only works in the direct interaction of Felix-Oscar, and if it weren't for the ever reliable Teri Hatcher, I would rate the second year of the new Odd Couple even lower. For likable actors like Wendell Pierce or Yvette Nicole Brown to seem incapable of delivering even the most banal of lines is truly an art. Season 3 – 40% – On the same wavelength as last year. It repeats both the better, meaning the contrasting main duo, and the worse, meaning the mediocrity of everyone else. Unfortunately, there are occasionally moments of sheer awkwardness because several episodes (I'm looking at you, penguins) lack even the slightest point or hint of ordinary humor. The series only makes it to an average rating thanks to my respect for Perry. Cancellation is the desired liberation for this group.

Thirty years is a long time, and George Miller has left the original Mad Max far behind. Not only is Mel Gibson surprisingly sorely missed, given that Tom Hardy's hesitant grumbling moments simply don't work at all, but Fury Road draws on the worst of the echoes of the original trilogy. Namely, the usual bizarreness, flatness of characters, and the fact that it's mostly just about one city and its fate. The fact that this time it's done in a grandiose way through to the last shot results in an audiovisual delight led by a breathtaking motorcycle raid, but without at least one truly interesting character, it's a massacre that simply doesn't mean anything to me outside the basic action layer.

I prefer minimalism and anguish of the original over the overdone and loud action in the sequel. Though George Miller defines the post-apocalyptic genre in its essence and thus opens the doors for dozens of successors, it only answers the question for me of why I don't look for adventure in similar places.

Sentenced to death before it was even broadcast. To launch a new series with zero advertising at the beginning of April, when the overwhelming majority of viewers are getting ready for finales, is a stab in the back. That's why I wanted to catch this group at all costs, just in case they happened to be, thanks to the presence of Zachary Knighton, the successor to Happy Endings. But with only six episodes, they really can't keep up, and what's more important – they probably don't even want to. The main four characters navigate each plotline using different humor, whether it's purely verbal (as seen in the initial wedding), or at times crude and physical (referencing The Godfather), which greatly affects the overall feel and entertainment value. A much bigger problem, however, is Eric. Sitcoms occasionally need a slightly dumber character to pile the bewildered lines onto, but Nate Torrence and his childish, even idiotic approach miss the mark. Luckily, in contrast, there is the beautiful and comedically flexible Becki Newton, who truly deserves a standout role. Surprisingly, I am quite satisfied with how it all ends. Not that Weird Loners made a huge impact in the world of comedy, but it's nice to see a canceled show that manages to cleverly and satisfyingly wrap things up even in minimal space. Because what will happen in the morning is no longer up to us.

The longer I postponed watching the daily troubles of the Dunphy/Pritchett/Tucker/Delgado clan, the more clearly I suspected that once I managed to get to it, it would be worth it. And I'm very glad I was absolutely right. All the people involved are somehow crazy, quirky, and magical in different ways, and thanks to that, I love my extended family even more. Maybe that's precisely because I meet people like them in the town where I grew up (specifically Alex and Phil, maybe that's the reason why I like them the most in the series). The second strong weapon of the Family lies in the differences in humor among individual households. While Cam and Mitchell, thanks to the natural and appropriately breezy melodramatics of Eric Stonestreet, can turn even the most banal plot into turbulent theatrical twists and turns, a little ways down a seemingly simple contrast is being drawn with the calm-seeking Jay and the temperamental Gloria. Such a storyline has a harder life in the Czech Republic because here "international" relationship dynamics are still a peripheral matter, so some gags may fall on infertile ground. Perhaps because of that, many viewers still think that the joke lies in the fact that the bombshell married an older patriarch for money, which is, first of all, a great shame and, secondly, completely wrong. But my favorite group is Claire, Phil, and their children. She takes care of everything, he is a millionaire father but an impossible husband who literally and figuratively does well with his decisions. In combination with the explosive trio of offspring, it is a group that I would love to have at home one day and at the same time, it has such a perfect chemistry that it doesn't even need a script, maybe just an idea, to throw to that brilliant quintet. Until the very end of the rich eleven seasons, it was an incredibly stable (although inevitably becoming less specifically recognizable) source of joy in life, which was unrivaled in the realm of family sitcoms, and forever a spectacle that could make you laugh and touch you in a single minute. P.S. Gotta fix that step!

The biggest, most magnificent, most surprising, simply bombastic concert. Not least because it took place live at Prague's O2 arena at the end of February 2015. I fully acknowledge that some things pushed the boundaries of taste and sensory abilities for a discerning adult viewer (balloons during "Birthday", a horse during "Dark Horse"), and some even far beyond them ("Kittywood"). But combined with my lifelong weakness for pure pop, the crowd's excitement before the opening "Roar", the amazingly constructed "E.T.", and the summer-infused "This Is How We Do", this is simply a show in the true sense of the word, where Katy runs away with, flies away with, and sings with bravura worthy of a queen. If I have ever been a fourteen-year-old girl for two hours, it was right here.

Season 1 – 45% – Setting works at different periods of American history was already utilized by AMC in the reliable Hell on Wheels. Now we are shifting back a century, when the streets were ruled by the redcoats, the political situation was highly tense, and expressing sympathy towards someone undesirable could be equivalent to a death sentence. Though the reality was exactly the opposite, the groundwork was laid for a gripping period drama. And yet for clever historical-spy adventures you need likable characters, and this is where TURN first, but thoroughly, falls short. The main group is a disgracefully uninteresting collective (Ben and Caleb remain completely anonymous soldiers despite various twists of fate), led by the cowardly and foolishly behaving Abraham. Their opponents, though played by experienced tough guys Burn Gorman and Angus Macfadyen, can't be considered memorable antagonists due to their minimal and inconsistent screen time. The second major problem is the slow pace of the plot. Not that I mind that the creators are taking their time with everything, but when even the smallest problem for the main characters becomes a catastrophic obstacle stretched out to the length of an entire episode, it's not good. Why, then, stick with the series? Because the determined Anna Strong, brilliantly played by the enchanting Heather Lind, deserves full attention, and it's because of her fate that I will eventually return to Mr. Culpeper and his campaign against Simcoe and his kind. Season 2 – 55% – It's surprising how many uninteresting characters appear beside the positive figures. In the camp of the main heroes, everything remains the same, and Abraham, despite his prison odyssey, gains more negative, unappealing points, precisely because he presents his several-month stay in jail as twenty years in the galleys. In addition, George Washington himself, played by the awkward Ian Kahn, increasingly takes the lead in the movement, looking sadly half-hearted, and the special episode with him at the center of the action is unfortunately one of the worst episodes I have ever seen. If it weren't for the conflicted Anna, I would probably cheer for the enemy without hesitation. There, both the ambiguous Hewlett and the increasingly likable John Andre attract attention. Despite this, I don't know what to do with the series now. The first half of the season showed remarkable improvement, but the inconsistent behavior of the regular characters (Woodhull Sr. behaves kindly and understandingly for a while, only to swear constantly in the next episode) and the stumbling central storyline significantly hinder this effort over time. Season 3 – 80% – The fates of the characters have finally reached where they should have been from the very beginning – the realm of nerve-racking situations, crucial decisions, and moments when the lives of those involved hang by a thread. But what fascinates me the most is how much I am engaged in the doomed romantic storylines. Major Hewlett's feelings towards Anna, followed by Major André's enduring love for Peggy, always break my heart on demand, and I willingly forgive some unnecessary digressions or casting mistakes (the likable Owain Yeoman is uncomfortably stiff as Benedict Arnold). Combined with the diminished focus on Abraham and Mary, and finally including the originally planned inner circle around Washington, I shockingly realize that this wearisome history lesson has turned into a thrilling spy saga, and the last two episodes of the third season can undoubtedly be ranked among the best of the entire television series. Season 4 – 70% – In the end, it truly was a story about great people, from which the screenwriters unfortunately tried to make an even bigger story. In the end, questions remain as to whether it was really necessary to extend the war for four full seasons, when most of the supporting characters (Peggy) did not live up to the expectations promised by the extent of their screen time. In the final moments, I somewhat reconcile with Abraham, who often selfishly resisted various obstacles or the natural course of events to the point where I questioned if viewers could even manage to root for him. However, his fate ultimately takes him to the very center of all the battles, and I can accept that as his redemption, especially after the actual finale. This conceals a beautiful epilogue, which proves that the story of Washington's spies was not just about warfare and intrigue, but above all about love that lasts beyond the grave. For some, it may seem like a weak ending, but for me, it confirms that the series found its identity and stuck with it.

Grandiose, with clear resonance, characters filled to the brim – and yet I want more. Especially since this director's oversight was likely the last. Those who followed Joss Whedon's most complex work, Buffy the Vampire Slayer, under circumstances other than coming home from school at the age of thirteen, know that some of the narrative archetypes were already being tossed out by the king of geeks almost two decades ago. And even though this time the story about how Beauty had to save the Beast (Black Widow and Hulk) and the one about the man who has no supernatural or technologically driven abilities and yet must be enough for the local gods (Hawkeye) is limited in this way, it does not yield any worse storytelling. Just tell it faster. That's also the only downside to the peak of the entire Phase Two. It has to hint at events from all the solo films and lay the groundwork for Avengers: Infinity War, so it's no wonder that there's not enough time for everyone involved. It doesn't matter for Iron Man, Thor, or Cap, because even though we adore them, we'll soon see them in separate adventures and their roles, cut down to a flawed genius, a courageous warrior, and an honorable leader, which will be more than enough. The bigger problem is with the twins, who have a lot of potential, which Ultron – functioning as their origin – has no chance of fulfilling. So there's no point in kidding ourselves, those two and a half hours are desperately short for a bunch of plotlines and two bunches of characters. If it's true that the original Whedon's cut was over three hours, I'm not surprised at all, and secondly, I request a private screening because the world would not have seen a better comic book shop.