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It's one thing to view this film as a run-of-the-mill comedy full of great situational humour, but even more than the series, Sunday League – Pepik Hnatek's Final Match is a proper local district showdown, a perfectly harmonious and delightful look at the complex workings and bitter troubles of a small provincial club, which Prušinovský, with his open-minded approach, has taken to the status of the best village comedy since Menzel's My Sweet Little Village. Apart from his direction, the main credit goes to Miroslav Krobot, who, as a born Spartan and a hard advocate of best practices is absolutely perfect and handles the main role as brilliantly as possible. Similarly, Ondřej Vetchý once again confirms his status as one of the best Czech actors of today and his performance is simply incredible. The entire cast is flawless, actually, and if you're someone even only partially interested in village football, at least one character will look more than familiar to you. And therein lies the greatest strength, but at the same time perhaps also a bit of a weakness of the Sunday League, because it’s probably difficult for someone who doesn’t like football to fully understand all the jokes, innuendos or Hnátek's life attitude. But if you love football as much as I do, you’ll have to admit that Prušinovský literally pulled it off without losing a point. 85%

Spencer and Hill may have made funnier films, but for their fans, this is a safe bet. Brawl after brawl, and some scenes, especially the unintentional robbery of the police station, are brilliant... 80%

What a beauty! You don't have to be a die-hard pet lover or a happy married couple who just got a hyperactive 50 kg canine monster to like and understand this film, all you have to do is sit back in your armchair, turn off your brain and let the beauty of Jennifer Aniston, the charisma of Owen Wilson and the unprecedented vigour of their adorable family pet carry you away for almost two hours. Sometimes, all it takes is a little, but this emotionally captivating comedy works so well in every way that "little" is the wrong word.... Good job ;) 80%

I can't avoid thinking that this is so wonderfully accurate, like cut out from everyday life. Moreover, Josef Šebánek was probably the best non-actor ever to appear in a Czech film.

Typical Rodriguez: self-absorbed, wallowing in unnecessary perversions at the expense of a better developed story and the characters themselves, who under his baton are nothing but necessary figures without a sense of humour and exaggeration. And neither Danny Trejo's rugged expression, who is only in the film anyway because of his sharp machetes, nor Robert De Niro's villain, who is at least a pleasant refresher in Rodriguez's absurd world without boundaries, can change things. But it can’t be denied that the film is brutal action entertainment, very funny at times and that Jessica Alba's sexy backside is worth more than a dude hanging by his guts. If it was made by Tarantino, he would certainly have brought the necessary mafia touch to the story and steered it on the right action track, and Machete may have been an unattainable genre gem. As it is, however, it's just a shabbier little brother to Stallone's more stylish and straightforward The Expendables.

Raimi is, in my opinion, one of the most complex directors of our time, able to make an entertaining fantasy adventure with the same verve as a dark thriller about a near-perfect crime shrouded in a series of mysterious and convoluted revelations. The impressive production design and dense atmosphere are just stepping stones towards a perfectly crafted and utterly unpredictable story that imaginatively combines proven genre techniques and gets the best out of the amazing cast. It's dominated by the fragile and frightened clairvoyant Cate Blanchett, whose terrifying premonitions can make even the most hardened viewer jump from their seat, and also by a violent Keanu Reeves, who is not far behind her in a more negative role. The Gift will never be gem of its genre, and its final part lacks the lightness and panache of Raimi's previous narrative, but it’s still a spicy and damn nutritious delicacy that every horror fan should savour.

A nostalgic hit that, even after all these years, is a textbook example of a confidently and effectively directed action story. It has insight, great actors and an amazing pace, which in some moments is taken by the brilliantly combined and outrageous Zimmer soundtrack to the experiential gates of the most luxurious genre pieces. BUT at the same time, everything is so very half-assed, absurd and somehow machine-like – from the characters themselves, each of whom defines exactly a certain popular archetype, to the very stupid dialogue to some of Bay's traditional formal gimmicks (fire after almost every impact) – that The Rock is really nothing more than a cleverly manipulative and audiovisually handsome B-movie for any audience on any intellectual level. What's more, some of the action scenes, however impressive and cool, are awkwardly edited and slowed down, which takes away from their realism and gives them a cold character. But hand on heart, you simply won't find a more thoroughbred and entertaining 90s action flick anywhere else... 80%

A dashing Michael Douglas, the likeable Kathleen Turner, and Robert Zemeckis at the start of his amazing career. The great reviews didn't lie and I thoroughly enjoyed one of the most successful and funny adventure films ever made. Simply a classic that our TV stations can always rely on...

I enjoyed this film very much. For me, it’s a completely different take on the exhausted topic of the Second World War, this time from the "opposite" side of the barricade, that does not carry the stars on the flag or bulletproof democracy. The Japanese are portrayed as a proud people who would rather fall to their last man than surrender their territory and, more importantly, their lives to an arch-enemy, which is very much reflected in the film overall. Eastwood conceived the battle of Iwo Jima in part as a probe into the souls of these determined soldiers, as evidenced by the battle sequences that keep a powerfully palpable dramatic face throughout. We gradually get very close to the protagonists, as if we were standing right next to them and crouching with them, hidden from enemy fire. I really felt sorry for those quite nice people who had to retreat step by step in the face of the ruthless American advance, and preferred to voluntarily put their lives on the lines in order to preserve their honour. Clint did a great job, with feeling and with all the life experience he has gathered throughout his life, and I have no choice but to bow in recognition. BRAVO, MAESTRO!

An excellent Johnny Depp, as usual, an impressive atmosphere and a visible effort to prepare the viewer for the final "shocking" twist, which is supposed to be the main star of the whole story. The conclusion, however, is far from imaginative and surprising, and Stephen King absolutely failed to handle it as expected. As a result, David Koepp could have tried his best, but wouldn’t have saved this predictable and bland tale anyway.