novoten

Season 1 – 50% – As a fan of Firefly, Nathan Fillion, Alan Tudyk, Joss Whedon, and everything related to this encounter, I was happy to contribute to such fun for true fans. I'm just not sure if Con Man ended correctly. It seems like a great idea and a nice concept, but definitely not a good series. The episodes at the Con itself are of varying quality (and those of us who occasionally participate in something like this and would be immensely grateful for a photo with our favorite actor have a bit of a guilty conscience), the whole escapade with the dolls is desperately drawn out and unfunny, and Mindy Sterling's portrayal of the agent is an incredible disaster that consistently forced me to give a much lower rating. Fortunately, Tudyk was joined by such a large number of familiar faces that the unevenness of the scripts can be overlooked, and the enthusiastic performances by Sean Maher, the heartfelt voice of Milo Ventimiglia, or the slightly disturbed Amy Acker brought me incredible joy, as did the excitement with which the creation of the great Spectrum was clearly approached. I would like the guys to do it again, but this time with greater thoroughness and with a firmer goal, rather than just bringing together all the people they like. Season 2 – 50% – The fact that it took me almost four years to finally watch three hours speaks to the sour taste in my mouth from my favorite characters' missed opportunity. The second season is almost the same, although there is less (still desperately overused) Mindy Sterling, the plot is still either strange (a musical in a warehouse, lost Hemsworth) or downright annoying (most of the storylines involving Spectrum colleagues). Some things are salvaged by a decent number of episodes featuring Fillion, magical cameos by Tahmoh Penikett, Casper Van Dien, and Eliza Dushku, but I'm still lowering my rating. Why does someone have to vomit so often, talk about filth, or even eat it? If anyone else were acting in it, I would be spitting sulfur wherever I go, but even my tolerance due to the participation of so many beloved actors has its limits.

In addition to the unexpectedly kind local ratings, what surprises me the most is the naivety with which ABC decided to add a third medical flagship to Grey's Anatomy and Private Practice from the usually unerring Shonda Rhimes. Because even though the formula seems similar to the already legendary series set in Seattle's hospital, though spiced up with an exotic environment, I quickly realized that it was just an illusion. Martin Henderson as the main character doctor is a cheap substitute for the proven Patrick Dempsey (especially funny when watching in 2016), but despite several embarrassingly scripted exchanges and scenes, he plays the thankless role with honor. However, the same cannot be said for the trio of newcomers through which we get to know the local hospital. Lily is not a new Meredith, but easily gains sympathy despite her disastrous storyline with the dubious Mateo. Stuck-up Mina and prankster Tommy, on the other hand, are just boring, and little sidekick Charlie seems like he fell out of an episodic series from the 90s with his unexplainable behavior. The only truly beloved character is the rational Zee, in a spot-on performance from Valerie Cruz, and I can only wonder how she can endure in this collective. And when the characters and their interactions in this purebred romantic drama don't work, the last few episodes start to gain momentum, leading me to say that Off the Map has become a genuine misstep. The strange patient storylines (with a Nazi or prison system at the forefront) only compound this impression. I usually enjoy clichéd romances, and scenes from Seattle Grace or Seaside Wellness Center regularly move me. But here, in every important plot moment, I felt like I was watching the most formulaic soap opera.

Season 1 – 65% – There was so much potential, it was inevitable to be disappointed. The focused Rami Malek, the specific environment of the opaque hacking theme, the attractive neighbor, the unpredictable current state of the main character. This loaded pilot simply didn't last long, but it soon became clear how much more suitable a standalone miniseries would be. In ten episodes, all the tension gradually dissipates, some characters almost lose their justification with their unnecessary lines (Wellick went from unreadable to fatally incomprehensible), and when it comes to great revolutionary actions, paradoxically, the plot loses the most juice. In the second half of the season, I even lose interest in all the storylines where Elliot himself doesn't appear, and although the creators ascribed him an unbelievably combination of psychiatric diagnoses (not to mention that with the help of morphine, he would probably be incapable of thinking in no time), Malek plays everything so perfectly that I even swallow the last nervous glance into the viewers' eyes. The second season is a huge risk that can only succeed in attempting to reverse the premise into completely new levels. Plot jumps using shocking twists have exhausted themselves. Season 2 – 70% – The attempt at another significant twist this time rings somewhat hollow, but the second season holds surprisingly better together. This is facilitated by the even more brilliant Rami Malek and the fact that the disappeared Tyrell can't bother anyone. However, I have one fundamental problem with Mr. Robot that ruins the whole series for me. Although I understand its popularity and the viewer's desire to dissect every shot, I can't get rid of the feeling that Sam Esmail is mainly trying to prove to me how perfectly cool his series is. I feel this obvious effort in every shot, and even though many scenes are really formally perfect, the impressions quickly fade away during self-absorbed, unbearably slow dialogues and unfortunately also during unnecessary side storylines. It particularly saddens me with the divine presence of Grace Gummer, but I still can't go beyond three stars. Season 3 – 70% – Confusing manipulation of characters (unfortunately too little Dom, fortunately too little almost redeemed Tyrell), disproportionately dragged-out plot of all possible stages, but nevertheless, with a squint, a satisfying outcome with a specific and thankfully sufficiently paranoid and suspenseful atmosphere. I'm still most sad about my own contemplation of how perfect a miniseries Mr. Robot could have been, when instead it's just a slightly above-average technofairy tale. It remains questionable whether the increasingly polished and refined visual side will compensate for the fact that I stopped being interested in Darlene or Angela a long time ago. Season 4 – 85% – "Am I his monster?" I won't lie, with my conflicting relationship with the series itself and considering the hiatus between seasons, which lasted almost two years, I didn't have any desire for further hacking. In previous years, despite its undeniable quality, the central plot was stretched out disproportionately long, and the only way up was to focus on the core of the story again. And it happened. Gone are the endless theories and phases, Esmail writes about the main characters, their uncertainties, and the goal towards which the story visibly aimed from the very beginning, with few exceptions. In suspenseful moments, it gets on my nerves unbearably, and in moments of relaxation, I understand the dynamics of the narrative much less, but within the whole, things fit together easily like never before. However, I can't resist commenting on the ecstatic praise for each episode. I don't question that genre-closed episodes take your breath away, but both the shocking long-term reveals and the short-term ones (mint tea) can be seen from afar, and therefore, no fascinated staring at the screen happens for me. For me, unlike the majority of viewers, these top moments are not related to the endlessly bleak mood and indulging in the diagnoses of the main characters, but to promises of hope (the airport) or disarming catharses (the whole carefully built finale).

This belongs to the subgenre of dramas I don't really like because discovering how hateful people can be is something I encounter every day. Fortunately, Thomas Vinterberg's provincial resentment goes far in terms of the credibility of the feelings on both sides, yet sadly he reaches them unbelievably quickly. It's as if the editor skipped several tens of minutes of gradually built tension and jumped from innocent fun to harsh threats. I understand the anger and helplessness that swept through the nursery and family homes, and I praise the tension of several specific scenes, but I am still overwhelmed by the sudden decline, especially since Lucas should have been everyone's favorite neighbor or acquaintance. And I can't help but complain about the lamentations, complaints, and sometimes even hatred of those who comment on the character of little Klara. All of you who wish her harm here either didn't understand the movie or are simply the same nature as a gang of self-proclaimed individuals.

Shane Black appeals to me just by the way he still bets on his overdubbed, voiceover-guided format even after years, but this time he just made it by a hair's breadth. The storyline scissors are very wide open and it takes almost twelve minutes to really cut with them. He unnecessarily complicates the different threads and it takes quite a few dozen minutes before it becomes clear to us who, with whom, and how. Fortunately, one weapon is hiding in this arsenal that kicks strongly as expected. It's Ryan Gosling, who again does everything to not be categorized in any way and thanks to the anti-intelligence displayed here, he reliably sent me to my knees several times. His March is so genuinely passionate and yet completely useless that it even overshadows the reliable bulldog next to him. 70% and a fourth star if I look the other way, and for how obvious it is that the central trio enjoyed this nonsense seriously and with taste.

Season 1 – 80% – I was pondering the mass popularity of this one-sided action series until the end of the first episode. However, the way Saitama throws himself into battles is so irresistible that I started to fall for it too. Soon, it becomes a mash-up of parodies of superhero fights, unbeatable monsters, rankings of various abilities, and training for unimaginable power. And when everything blends together in fantastic visuals and unexpected lines, featuring the innocently enthusiastic Genos, it works great. The only thing missing is some kind of second plan that would help to conclude things other than just the action, but at the same time, I realize that it would be a bit of a sin to mess with something that successfully stands on its own.

Season 1 – 60% – The pilot is a bit misleading because it has refinement, swiftness, and style. However, it also reveals its greatest ace in the hole, namely the identity of the extra cunning perpetrator. Suddenly, there is nothing to figure out and the whole fraudulent charade collapses temporarily. The episodic format doesn't work, the corporate plots reliably put you to sleep, and the acting isn't great either, mainly because the office cast is mostly desperately uninteresting (I can't remember such a consistently bad performance as Jay Hayden's as Danny). Fortunately, right on the edge of both sides of the barricade stands the central anti-hero, who captivates with Peter Krause's charm and no matter who he lies to, I buy it wholeheartedly. Even the unnecessary deception plays out much better and when the unpredictable Rhys, played by the ever-enchanting John Simm, gets involved, everything works a bit better, and in the final two episodes, it even reaches a solid A+. The fact that beneath all the razzle-dazzle is nothing but a romantic drama is, in its essence, more than appealing to me, but I remain sober in my evaluation. I still fear that the second season may stretch something that was already struggling heavily in the ten-episode format. Season 2 – 70% – In interviews, Peter Krause promised that he sat down with the writers and agreed to move away from the weekly agency plots (because they bored the creators, actors, and ultimately even the viewers) and focus on a long-term storyline and the definitive transformation of the series into a fraud-filled romance spectacle. All credit to them because they fulfilled it to the dot. The story rolls smoothly, the new characters portrayed by proven TV faces (T.R. Knight!) fit into the plot, maybe with one exception. According to the storytelling, the menacing thug Ethan is ultimately an interchangeable pseudo-handsome guy without a hint of charisma. His storyline with Alice further increases my antipathy towards the main female character, for which Mireille Enos is also to blame as I believe her chattering less and less. Similarly transparent is the attempt to make Danny an action hero and a first-class lover, which is undoubtedly the biggest joke of the entire The Catch. However, this time there are significantly more positives, paradoxically precisely because the series has finally detached from reality. With each new storyline and twist, I stop caring about the logical mistakes and simply enjoy the freshness of the plot and the chemistry between selected characters (the bromance between Ben and Rhys still takes the lead, followed by the interactions of newcomer Tess with practically anyone). I have to let go of the desired fourth star due to the last episode. As a season finale, it works well, changes the balance of power, and promises more than decent things for the future. However, it desperately fails as a series finale, whether due to the inexplicable absence of one recurring character or because of how much was promised to us in the last minutes. Unfortunately, this situation also reflects the insatiability of the creators, who, instead of offering a satisfying conclusion, arrogantly stepped into unknown waters even when the ratings alerted to almost zero interest from the audience. I, for one, would have gladly had at least one more batch of sophisticated escapades, as assembling such a star-studded cast will be difficult.

A gift for Bryan Singer. After contributing to the series with origin, key work, and crossover, the situation finally arises where he can rampage carelessly, break free from the chain, and simply shoot a pure team comic book. I knew from the announcement of the storyline that it wouldn't be routine, but that it would be one of the highlights of the entire universe, and I'm still breathless a day after seeing it. It's not just a clash with an unbeatable enemy, but also the way the heroes themselves are incorporated into it. There's no need to develop them because we've spent six movies with some of them and know what to expect from them. Magneto's next attempt to exit the scene, Raven's inability to cope with herself and with mutants as such, or the newly developing juniors portrayed by Scott and Jean are still storylines that complete the already perfect cocktail of characters and motifs. And when you add Quicksilver, the visit to Lake Alkali, or the astral confrontation of the strongest wills, X-Men: Apocalypse becomes the strongest superhero film at least of this year.

Everyone sings, dances, works hard, and shines perfectly in every song and even in every exhilarating transition from stage to stage. I adore the original musical and wouldn't miss the Czech version, which I saw live. But this is the most Greased of all the Grease productions, where I stare amazed at the screen and cheer for everything and everyone. Greased Lightnin' and Born to Hand Jive charm the most, the "captured" race surprises the most, and Vanessa Hudgens is the most emotional, transforming Rizzo, not one of my favorite characters, into an unforgettable role even in her toughest moments. Rydell forever.

Season 1 – 90% – All expectations turned upside down. Potentially annoying scammer Jesse is my favorite character from the first scene onwards, potentially annoying caring Skyler positively surprises me with every decision. I want to know as much as possible about both of them, I want to see more of the main hero's abilities to get out of the worst situations, and ultimately, I just want to see where such a series can go. I didn't find any superficiality or false glamour of the drug trade here, quite the contrary. It starts as a genuinely restless family drama set in the unfortunate/lucky backdrop it can unfold. My biggest wish is for it to continue in this humane manner. Season 2 – 70% – I enjoyed it when Walt fought with his own morals in the name of his family, but I don't enjoy it when he tramples over his family and their values and only uses his original goals as an excuse. As my sympathy for the main character decreases, so does the quality, because his constant arrogant and rude behavior towards his (no matter how silly and naive) partner breaks my heart, just like Walt's way of making decisions in key situations, such as the obvious moral dilemma in the final episode, Phoenix. It's a shame, because there is still a lot of potential, and the outlook is becoming significantly darker. Hank, on the other hand, is working his way up to become the most charismatic TV cop. Season 3 – 80% – Some actions lead down a complicated path, but others don't. After the events of the previous season, the main character is still the deserved attraction for me, but I can't root for him, mainly because of his lack of self-reflection and sufficient repentance. On the other hand, the underrated Pinkman, thanks to Aaron Paul's perfectly human performance, becomes the driving force of the series in every aspect. However, the creative and incredibly suspenseful level of the show is truly restored only in the final two episodes, during which I hardly breathed due to nervousness, and I truly appreciated Giancarlo Esposito's nearly anti-mimic acting performance. Season 4 – 75% – Most AMC shows, in their exploration of interesting topics, reach a critical point where breathtaking twists start to thin out, and the humane approach begins to border on boring stagnation. Breaking Bad reached this point precisely in the hype of the fourth season, and there were times when I thought that any further dialogue between Walt and Skyler about the "car wash" could kill me. Fortunately, the second half of the season, which again deeply delves into the relationship between Jesse and Walt and introduces Jesse and Gus and Jesse and Mike relationships, is completely different in terms of tension. The dramatic ending of the last episodes cleverly presents a great climax, and it is a pity that Vince Gilligan often can't restrain himself and lets impressive scenes go too far. The building of an overwhelming pressure from all sides is as claustrophobic, if not more, as the previous season. Season 5, first part – 80% – Walt is unbearable. I never understood his popularity, and now, when the inconspicuous psychological terror against the depressed Skyler has finally reached its peak, I am sickened by Heisenberg's boastful monologue to the point of nausea. Although Bryan Cranston still has surprises up his sleeve even in the fifth year, the development of his character has disgusted me for a long time. I praise Gilligan for it, as well as Jesse's definitive maturity and the pervasive sense of the inevitable beginning of the end, led by the episode Dead Freight, probably the best episode of the entire series. Season 5, second part – 90% – Saving the best for last. If it weren't for a few missteps that, nonetheless, reflect the development of the entire series, it might even be an absolute rating. Nevertheless, I was given eight episodes that leave such a strong impression that I could easily forget about the weaker periods. It is here, at the moment when everything is falling apart and literally all characters are on the verge of disaster, that you can best see who has grown closest to our hearts. And when I reminisce about Breaking Bad, I will always be grateful for giving me one perfectly complex character that quickly became one of my all-time favorite TV characters. Unlike most viewers (whom I will never understand), this character is not Heisenberg, Walter White, a self-absorbed villain, no matter how we may call him. In my eyes, it is the broken and perpetually stumbling addict and unfortunate soul, Jesse Pinkman.