D.Moore

Tears of the Sun in the French style - even the unit commander is rough and bald (not Bruce Willis, but rather Djimon Hounsou). The first hour is full of quite well shot and gripping shootouts, the members of the unit have plenty of sarcasm and poke fun at each other, and the Taliban are not outright scary, but they do at least command respect. The second half, with the trudge through the Hindu Kush, during which it is fortunately (for the viewer) revealed that the armed tough guys are not nearly as immortal as they pretend, is sensational too, though in a very different way. Diane Kruger was excellent, even more beautiful than usual without make-up.

Quite a nice film to watch. Plus, finally a proper role for Robert De Niro again, yay! Rather than The Sixth Sense, to which the domestic distributor (stupidly) compares the film, Red Lights reminded me of Nolan's The Prestige with its strange atmosphere. Plus, it's been a long time since I've been so sure after finishing a movie that I want to see it again as soon as possible. Red Lights is perfectly cast and, of course, acted, and the script doesn't build on any shocking points, but it's damn (un)pleasantly magical and suspenseful. The direction is fine and so is its cooperation with the music, the only thing I could criticize is perhaps the overly literal ending... But that's just a small issue that I can easily set aside.__P.S. It was only thanks to the interesting facts here that I learned that the shots of "young De Niro" were not special effects shots at all, as I had thought, but a much simpler "trick". Wow!

Beautiful underwater shots (including shots of Jacqueline Bisset, of course), the hilarious duo of Nolte and Shaw, the scruffy schemer Eli Wallach, the mystery of sunken shipwrecks, treasure, morphine, mobsters, John Barry's haunting music... The Deep is an adventure film the way it should be. Maybe it’s a bit long and with a bit of a throwaway final underwater fight, but whatever. The final death of one of the villains erased all the awkwardness of the previous ten minutes.

So it seems to me that what attracted Joe Wright to Hanna was not so much the opportunity to film action scenes (not that he couldn't, not by a long shot), but rather the chance to plunge a girl with perfect encyclopedic, yet theoretical knowledge into the maelstrom of civilization and see whether she would make it or not. And that's what I liked most about the film. In the end, it wasn't so much about revenge, spies or super soldiers. I was most interested in the main character, played by the devilishly likable Saoirse Ronan, her getting to know the real world, getting close to people and so on. The music, I must say, was not great, but the visuals with long shots and many excellent scenes (both the fight scenes and human scenes, like the conversation under the duvet) trumped everything.

McClane's back, say and write what you want. It's still him. Yes, the reconciliation between father and son is hellish and we've seen it many times and better (Indiana Jones IV), but is that what A Good Day to Die Hard is all about? Don't be discouraged by the generally low rating and go see for yourself. What I saw was a pretty honest action movie that I perhaps enjoyed more than the second Expendables (but less than The Last Stand). Imaginative action scenes (the car chase, the helicopter ending, which is better than the fighter jet ending from the last film and is a typical McClane yippee-ki-yay improvisational moment), Beltrami's music, the visual effects, the jokes, of which there were more than I would have expected ("Need a hug"), the charismatic Sebastian Koch, references to the first film in the series (Beethoven, the villain's slow motion fall)... No problems at all. However, Jai Courtney really got on my nerves, and it seems that somebody also hurt the film badly in the editing room, as many scenes from the trailer didn't make it in (especially the taxi dialogue with the cop/lawyer makes me sad). I wish there was a longer version on DVD. Three and a half red stars.__P.S. The longer version was only released on BD, so I'll probably never see it.

Towards the end it gets a little long (the partisan part is extremely drawn out) with a poorly acting lead actor, but also containing a number of impressive scenes (a rabbi who doesn't want to be a rabbi) and features great sets. Three and a bit.

The ending was changed and the plot was chewed to the bone, but even so, the film Carrie does not owe anything to the book version. Brian de Palma is great and the way he shot the prom scene blew my mind. But his Carrie isn't just about a bucket of blood. Far from it. The dispute between the daughter and the mother is portrayed so engagingly, is so visually striking and underlined by Donaggio's beautiful music, that it is not boring for even a moment. And I don't need to tell you that Sissy Spacek is unique in the lead role (but she is).

A surprisingly good comedy. I was (justifiably, I think, given the films I've seen with him so far) scared by Russell Brand, but unnecessarily so. I liked the verbal shootouts between Arthur and the sarcastic nanny played by Helen Mirren the most, but there were many more funny moments. Thank God for them. I can safely say that I was entertained from beginning to end. The end was not surprising, but what do you expect from a tale about reforming a debauched alcoholic billionaire?

A very good triple feature - the only thing that spoiled my impression of it was the "masterful" deduction, thanks to which the law enforcers started to suspect the character of Ilya Prachař in the first story, and then the very last sentence in the final story (unfortunately, it is spoken by Josef Abrham). Otherwise, I had no reservations. The segment Víkend is a successful start, to which Petr Hapka's music adds an unexpectedly poetic touch. The second part of Rukojmí is unusually rough - Jiří Hálek as a panicking, dangerous drug addict is unparalleled and rages like a beast. The short story is filmed very briskly, and it’s action-packed and suspenseful. The final story has the strongest cast and looks like it too - the mesmerizingly sad Petr Čepek is deeply etched in my memory, whilst the finale brings tears to my eyes. Once again, excellent music by Hapek.

Comparisons with (for example) the film Eva Fools Around are not relevant for Minx, but I still don't think this film amounts to particularly degraded or primitive entertainment. If the film had been shorter (which could easily have been achieved by leaving out all the annoying songs), it would have been better. I find Věra Ferbasová endearing and the plot is a classic theatrical farce where the actors have as much fun as the audience (if not more). Ladislav Pešek, for example, can reliably make me laugh through his performance of an ex-actor, a womanizer who was killed by a sound film, but I also like the "chattering" Jindřich Plachta. "Do you like me more than your aunt?" - "Don't talk to me about such terrible things."