D.Moore

I feel like this movie didn't offer anything interesting at all. The only twist, a 180-degree reversal of the Superman story in the style of The Omen, is known to anyone who has seen the trailer, and I didn't see any others. I would write that a promising idea went unused, but it's questionable whether it could have been used at all with this approach. It's neither proper horror, nor psychological thriller, nor even entertaining in any way... It's simply not good.

A very good Wild West romantic adventure in which a desperado with noble intentions not only finds Love (the capital L is for the gorgeous Bessie Love) but also uncovers his own past. Douglas Fairbanks' character is a bit of a western Robin Hood, a larger-than-life likeable character who doesn't show off and who you have no problem rooting for, and there are some pretty decent gunfights and a hilarious action finale. The restored 2014 version is definitely worth seeing.

Even though the first film is better, I was pleased to see that this sequel isn't (or doesn't feel) hot needle stitched, but the filmmakers really went the extra mile. I just think genre-wise it's no longer a horror film, but more of a noir adventure film. A big plus is Vincent Price, who has no problem delivering the advancing madness using only his voice, and again the stunts are great.

A wealthy Douglas Fairbanks gets a job as a bouncer in a gangster's dance hall, and he has the most adorable reason in the world to do it, named Bessie Love. The film certainly doesn't offer any surprisesin terms of its plot, but it's easy to watch as Fairbanks easily performs his athletic numbers.

A fantastic film that only becomes fantastic at the end, when everything makes sense, including the wonderfully warped sets. The restored extended version is a treat, and it's certainly not the last time I'll see it – on the contrary, I think it's only when I see the film a second time that I'll see it in all its glory.

I expected a lot of things after Parasite, but I still couldn’t imagine such a great combination of a monster movie that balks at nothing (the carnage!), a satire that bites like a mutant giant fish, a compelling drama, a black comedy, and a pure unadulterated horror movie. It's a funny, but mostly sly film. Funny and cunning in a slightly different way every time.

Comparisons to Armageddon aren't fair; it's like an impressionist and a realist looking at the same blooming spring meadow and each painting it in their own way. One person might be drawn to one painting, another to the other, and that's fine. The overwhelming impact goes differently at the end of the world – more realistic, more dramatic, more human. Not as entertaining, but certainly not boring. In fact, if any part of the film left me relatively cold, it was the mission of the shuttle crew to drill and blow up the comet – whereas in Armageddon, that's the main plot, here, it's almost an unimportant subplot (made interesting mostly by Robert Duvall) and the most important stuff happens on Earth, with Morgan Freeman playing for keeps, Téa Leoni reconciling with her parents, Elijah Wood saving his family and his girlfriend's family... and a very listenable James Horner. Four stars and a bit of a fifth.

I enjoyed the series very much, and I recognized my favorite comic strip from beginning to end – the Lockes (well, except for Rendell) seem to materialize right off the pages and are as they should be. Especially Bode, who you can't help but love as he rampages through the corridors and rooms of the Key, excitedly discovering one secret after another. The mysterious atmosphere is also great, kind of reminiscent of Stranger Things, which Locke & Key owes to its production design, direction, and awesome soundtrack (may it work!), and I loved the gradual unravelling of the family's past. So why only four stars? Because of the rushed nature of the last few episodes, which suddenly and unnecessarily started to address things that hadn't been mentioned until then. And that's just for the "big finale". The Crown of Shadows, in particular, didn't need to be brought up at all and could have stayed tucked away until the second season. Not that the battle with the shadows wasn't hilarious, but I'd seen plenty of much more impressive scenes in the series up to that point, and they didn't even have to involve fighting – like Bode's flying or Nina with the wardrobe and ashes. Less is sometimes more (and better).

Just seeing that a new Peter Zelenka film is coming to theaters is enough for me, that's all I care about and I know I'm going to see it. At most I'll allow myself one trailer, but no more; I don't read interviews, I don't check up on anything, I want to be surprised.... and then I'm surprised every time. Droneman is another proof of how great a world-class filmmaker Petr Zelenka is. He takes a subject that touches him deeply, mixes reality with ingenious fiction, and creates a world that literally draws the viewer in and then lets them watch and make up their own minds. Droneman is just that – believable and yet surprising. A Czech film, but with a world view and scope,which it simply isn't afraid of. Petr Zelenka doesn't compromise and makes the film the way he wants to make it, and if the audience is on the same wavelength, they will enjoy this grim, ugly story about the fact that when it comes to down to it you actually have only two choices (which Lenka.Vílka beautifully captured in her comment). The story is as deadly serious as it is absurd, as bleak as it is hopeful, as full of exclamation points as it is of question marks. In the theater, I felt sorry for the audience, who were amused by "Madl talks weird" and "Hádek is weird", grasping at every hint of a joke (actually a pretty cynical smirk) so they could finally laugh again, and walking away shaking their heads at the closing credits. Too bad. The film deals, among other things, with the fact that the Czech courts can't handle the world's problems because they haven't grown into it yet. And it's the same with Droneman – it won't appeal to immature viewers. Too bad and good for them at the same time.

Beautiful film, really beautiful. There are so many moments in it that other filmmakers would use in other films to try at least to move me or completely blow me away, but Greta Gerwig doesn't need to. Everything in the Marches' story was meant to have an effect on me, and yet I still had that satisfied feeling. It wasn't overly melancholy, it wasn't extra sad, it wasn't tragic. It was just beautiful. As for the cast, as expected, Saoirse Ronan absolutely reigns and is once again amazing in every minute, however I was surprised by Emma Watson, who made a real impression on me for perhaps the first time since Harry Potter.