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Considering that the premise about accidentally switched babies feels like something out of a sub-par Mexican soap opera, I was quite surprised at what an intimate and sometimes boring romance A Couple of Cuckoos is. Some of the humor borders on stupidity and many of the would-be dramatic moments are based on silly misunderstandings or common genre clichés. I couldn’t really bring myself to root for any of the three girls, and I found Umino quite uninteresting, and sort of wishy-washy. What I liked the least was his relationship with his step-sister, which the show tried to push a bit too hard as a possible solution to the whole romantic polygon. I just don't buy it, and Sachi seems more like an annoying appendage than a romantic prospect. It's a bit better with the other two girls, there’s at least a little chemistry there and I understand what the writers were aiming for, but I can't say I find it particularly entertaining or enjoyable. It’s great in terms of animation and the music is audible and tries to create a certain vibe. There are a couple of stronger moments, but not powerful enough to excite me or arouse my interest. It’s just a run-of-the-mill anime that I watched until the end, but it didn’t leave a mark on me. I might even forget it in a few days. I'd have to really think about whether I want to watch another season. 4.5/10

For me, the best episode of the franchise. It's not as unbearably loud as the first one, nor as visually aggressive as second one, or as shallow in plot as in the third one, which bordered almost on a Mexican soap opera. It has proper with, unexpectedly funny scenes, good visual ideas, and during action scenes the camera circles the space in an interesting way and chooses unconventional angles. And the biggest surprise is the one I least expected it from. Martin Lawrence may still be a pain in the ass, but holy wonder, he's funny here too. Starting with the unwanted "visit to the beyond" the goofiness and his sort of messiah complex make sense and I just enjoy the dude as an actor, unlike, say, the king of awkwardness Kevin Hart. The only one who spoils it a bit is the character of Will Smith's son, the youngster just can't act and in all the scenes he looks equally impassive, as if he's not even enjoying it.

This was for fun, it doesn't care about saving Marvel, it's more like the writers are making fun of it and reveling in the fact that it won't make sense. Isn't it? Ryan Reynolds and Hugh Jackman made an action flick where violence solves a lot of problems as long as it's done politically correct and with humor. It's reminiscent of their commercials together, which I love from the bottom of my heart. Aviation Gin Deadpool edition. Millions of references, great cameos that make sense, and many that will make any movie fan's kid heart flutter. The acting is just top notch, and Emma Corrin though she's in the role of the boilerplate baddie rocks. The subliminal line about us incompetent guys (guys and car salesmen?) who never make it to the Avengers pulls the whole movie through and almost moves you. Deadpool has always kicked second league (go Wrexham!) now he's kicking it for unreal money and I root for him. P.S: The running joke with Johnny is an absolute blast.

Did you really think the second season would be as good as the first? Initially, I did, and I was really excited for it. I didn't even mind the change in the main character's voice actor since their voices are quite similar. That was the least of my concerns. What really got to me wasn't the terrible CGI for the monsters, which was the worst I've seen since the Great Goddess Mitama. Even with the awful CGI dragons and human-faced trees that looked like something from a mediocre PS2 game, the biggest issue wasn't the animation. The real problem was the lack of humor, lightness, and charm that the first season had. While there were some cool moments with Anos that I enjoyed and which reminded me why I love the main character, there were no memorable or over-the-top scenes like when Anos spun a castle like a top or defeated an opponent with the beat of his heart. The closest it got was in the final episode when Anos stomped seven times, but even that didn't quite hit the mark. What made it worse was the excessive amount of talking. It felt like the creators knew they wouldn’t get a second season initially, so they focused on making the main character look cool without much story exposition. But since the show became so popular, they crammed all the lore and story into the second season, resulting in a lot of boring dialogue that slowed down the pace significantly. I have nothing against complex stories and lore (I'm a big RPG player and DnD fan), but the way it was presented here felt unnecessary and dull. The story, while trying to be grand and convoluted, could always be summarized as "Nothing is ever what it seems, and everything turns out the way Anos wants." It's just a shame the journey to that conclusion wasn't as epic as the destination. This attempt at deep and complex fantasy made the show lose its fun and lightheartedness. What was once a simple and amusing story about an OP main character turned into an ultimate conflict with false demon lords, gods, and dragons. But the creators failed to make it engaging or enjoyable. Even when Anos says his iconic line, "Did you really think that..." it no longer brings a smile or anticipation for what's next. Considering all the production issues and delays (which also dampened my enthusiasm), the result is disappointing. A show I was eagerly awaiting became an average experience that I finished without much excitement. The first half was a 6/10, the second half barely a 5/10, so overall, it's a 5.5/10.

Marvel's salvation doesn't quite happen, in fact, neither does a proper sequel the kind the two previous great films deserve. The threequel, in my opinion, is largely a cynical marketing ploy (yes, I know movies are made to get people to go see them, but they don't have to stick out like that), the plot of which is summed up by its title; it is, after all, nothing more than an opportunity to see Deadpool and Wolverine go on a rampage. Don't expect a surprising plot, and unfortunately, don't expect the well-written story that the first Deadpool had, and oddly enough, don't expect such imaginative action sequences or naturally occurring humour either. There's either too much or not enough of everything in Deadpool & Wolverine. Ryan Reynolds and Hugh Jackman certainly had a good time and gave it their all, or what did work worked mainly because of them, as Shawn Levy didn't help much and the other actors and actresses are negligible and entertain mainly with their return to their roles and not by doing anything entertaining. Otherwise, though, I'll long be haunted by things like the agonizingly long monologues of the TVA boss, the soon-to-be-ridiculed slow-motion posing before the action, the whole mess that someone decided to call a story... If the film is a success, I'll be happy for the people behind it, but I certainly can't call it that.

I like the first episode a lot and have seen it three times. It's a very funny spy family action comedy with a perfect Dave Bautista and a good Chloe Coleman. But the charm of the first one is gone and the second one is actually completely pointless, with humour that has gone very much to the side, very mediocre action, and very little of it, and the plot couldn’t be any more generic. The only things I liked are the nice setting of Italy and Chloe Coleman, who is growing into a great actress (here she even handles the action herself, so I wonder if she will be an action heroine in the future). Shame, I was looking forward to it. 5/10.

Nice setting, a decent Guy Pearce and the nice bloody carnage (blood spurts surprisingly in a big way) at the end are the upsides. The downsides are the rather slow pace and the not very engaging story, but for one viewing it's fine. 55%

If it ain't broke, don't fix it. And Deadpool, unlike the rest of the MCU, isn't broken, so he's doing what he did last time and audiences enjoy it. The combination of gleeful violence, juvenile slapstick and solid directorial craftsmanship is spiced-up with the return of Wolverine, the great chemistry between Ryan Reynolds and Hugh Jackman and a throwback to the days of Fox comics. But anyone expecting the third Deadpool to bring any major changes to the MCU will be disappointed. A proper Deadpool comic book movie with Logan as a bonus. Nothing more, nothing less.

In terms of dramaturgy, it’s terrible, with uninteresting passages stretched to death to make the interesting stuff hurriedly catch up at the end. There are two flashbacks for good measure, the first one pointless and boring, the second one interesting and action-packed. In terms of acting, it's a disaster, full of unlikeable characters who behave illogically and move from place to place at the creators' convenience. The visual effects and action scenes, however, are top-notch. The light sabre swinging and head-butting action works. The narrative framework isn't bad, but the subplots, twists and dialogue are on the wrong level. The Jedi Knights act like a bunch of amateurs who are nervous because of an audit? The ending is unfortunately open and basically the beginning of something, but I have no idea what. Why are the twin girls so important and they are the chosen ones for what? I don't know. Unfortunately, I guess the creators don't know either and they put together a lot of filler to build a second season around one sentence. Hopefully it'll be better.

These heartwarming stories about rescuing helpless animals never get old, especially when they're based on true events. This beautiful tale, filled with humanity, proves that when it comes to doing good, even an American and a Russian can join forces.

This could have been a perfect spaghetti western if only Terence Hill had been in the lead instead of that Dutch guy, Glenn Saxson, who clearly didn't get the memo on how to act. Imagine Bud Spencer standing by his side, booming with advice. Saxson's performance was a double dose of cringe. Despite that, the rest of the movie was pure fun and stayed true to the era's vibe.

I'm glad the creators got the timing right by releasing the new season of the Wrexham football miracle before the new football season starts. I've been following their journey all year, and this series solidified everything happening at the club and in the town. Now, I can't wait for the new season to kick off in League One in just a few weeks. The shortened eight-episode format is perfect — they covered everything they needed to. There's a bit less of Rob and Ryan, but there are still plenty of stories in Wrexham to keep us hooked.

This show takes a well-worn theme and gives it a fresh twist, which is fantastic. Benedict Cumberbatch delivers another stellar performance, and he has plenty to work with here. His character, a father, loses his son in the gritty streets of 1980s New York. As you progress through the series, you realize that nothing is as straightforward as it seems. Cumberbatch's character undergoes a brutal transformation over the six episodes, and the atmosphere of the city is palpable. These two elements are the standout features of the series. While it might feel a bit stretched at times, making me consider dropping my rating to three stars, I ultimately decided that Cumberbatch's performance and the immersive atmosphere deserve higher praise.

“Slay the Spire”, but they wanted to be a bit like Free Solo, but with a heist and a fatal love/hate relationship like in The Deepest Breath.

Olmo Omerzu's Czech film is neither distinctly Czech nor global. It's an attempt to capture a fragment of a certain part of Europe, but unfortunately, it ends up being not very appealing to the Czech audience. Specifically, the theme of "Atlas of Birds" is a seemingly clever metaphor about the bitter downfall of a family business, whose head remains an arrogant alpha male until his last breath. However, the reasons for this downfall are as banal as classic infidelity can be. Additionally, the script focuses too much on a naive fraud involving a scorned ex-lover and neglects the broader context of the deception. Olmo Omerzu and Petr Pýcha do not seem to be mature enough creators to analyze the disintegration of a personality and instead prefer to hide behind dialogues among the treetops.

Ute Lemper has a similarly well-sculpted face as Katja Flint, which is why both of these German actresses became icons, lending themselves to portray the most interesting women of the past in films. One such woman was, of course, an Austrian. In Pierre Granier-Deferre's film, the end of Marie Antoinette's life is depicted without unnecessary pathos, sensationalism, or other distractions that usually overshadow the life of this queen. Here, an excellent intimate drama focusing on her inner life before execution was achieved.

Ballerine represents for Machatý just a stepping stone between Austria and America, and it is "only" an adaptation of the then-new novel by Giuseppe Adami, "Fanny ballerina della Scala" (1935), but can you imagine a better theme for him? The theatrical setting, the endless beauty of dance costumes, and the graceful bodies of the ballet dancers... Of course, half of the aesthetic beauty of each shot is the work of cinematographer Václav Vích. In the lead role, we can enjoy the charms of Silvana Jachino, and in a supporting role, we once again get to see Maria Ray, the protagonist of Machatý's previous film Nocturne (and his then-wife). A luxurious, visually captivating experience. As for some interesting trivia, the lead role was originally supposed to be played by the real ballerina Irina Lucacevich, but she died in a traffic accident. Her replacement, Jachino, was not just a one-time stand-in but went on to have a very long career, managing to stay relevant even after the war, which was not easy after the regime change in Italy. Machatý did not have oversight over the final cut of the film and disavowed the film (probably because the first cut failed, leading to further edits of the film). Official reviews tend to be harsh, primarily because they do not consider the film itself but the conditions of its creation, the question of funding (a state commission), and its impact on Machatý's career. He is often referred to as the best director of his time, even though his artistically ambitious projects often did not achieve commercial success (and he himself functioned best in the Czech-German linguistic space, despite having European to Hollywood ambitions).

I went to see the new release of the week in theaters yesterday which is kind of being seen as a sequel to the 90's film Twister and it's not bad, but it didn't completely blow me away unfortunately. It was nice to see Glen Powell and Daisy Edgar Jones, who plays the sort of intelligent woman who figures everything out. Visually it's decent, I liked that it keeps things down to earth and there are no overblown CGI attractions or destruction, it's quite realistic, but there's not a lot of action and it could have been presented more impressively (there aren’t many buildings flying off, the body-count isn't high, either, and I expected the atmosphere to be a bit more unpleasant and intense). For me there were a few deaf spots, it doesn't have a very adrenaline pace and I wouldn't watch the film again, or I wouldn't mind at all if I kept the film until I got home, it wouldn't change the experience. Passable average and a plus for the fact that disaster movies don't come around much anymore, but maybe it's not my cup of tea. 6/10.

Powerful not in concept, but in content and confrontation with Western lifestyles and values. It showcases a society rooted in traditions and a rigid caste system, which does not hesitate to harshly suppress liberal tendencies within relationships and family dynamics. Some passages offer a truly chilling account of the murder and torture of those who express a desire for personal happiness and freedom from religious and cultural rules. Overall impression: 90%.

One star is for the inclusion of the music video Smooth Criminal. Otherwise, it is the ultimate essence of pathos and kitsch in a dosage rarely seen. A pop culture phenomenon that, due to the creators' lack of judgment, became annoying. Musical films usually have a problem with a script that can meaningfully connect the musical numbers. Here, it seems to me that the script is completely absent, or rather, it was created during one alcohol-soaked evening. Overall impression: 25%.