DaViD´82

A pilot to test whether it would attract any viewers. A pilot that is the weakest link of the later series. With it’s rather small budget, some characters are played by other actors than in later episodes. In terms of the story, this is more about how the two got together, with the murder of a homosexual biker being shunted off to the sidelines. It’s definitely good, primarily thanks to the final half-hour. Up until then, it seems like a slightly above-average episode of a run-of-the-mill crime series. The final judgment will have to wait for the first regular episode.

In a way, it's tremendously sad when a kind of a by-the-numbers short has a duo of the most interesting characters Marvel has ever come up with (so far).

There are enough ideas and quotes for three films in this "feature-length Monkey Island without Guybrush Threepwood", but it's still more of a product than a heartfelt film from Aardman. This doesn't change the fun or the quality, even though this time it's aimed more at a younger audience.

The theme here is crying out to be one, but this is no ordinary emotionally blackmailing family soppy movie about a father finding the tear-filled way to his cute little kids. On the contrary, most of the time he’s having trouble handling itself. And they skip the first year following the sudden disappearance and so we miss the phase of mournful tears. However, a year later those around you expect that you pull yourself together, start being a good father, move on, stop wallowing in sorrow and they no longer tolerate explosions of grief and self-recrimination. What else is left but to try for a new beginning? Some of the storylines just seem to peter out and mainly the middle part is a little long-winded, but at the same time it seems all the while that this is how it probably happened. And although (or because) it looks all cold and inapproachable, at the end we witness one of the most moving scenes of recent times.

The almost thirty-year long history of bad blood between two clans that through constantly escalating battles of frogs and mice had grown into an open conflict of weapons and legal action on the borders of West Virginia and Kentucky that could have easily ended up as a second civil war... All this in the pleasant atmosphere of a dirty and grimacing TV miniseries that turns into one big concert of acting by a range of old pardners (Berenger, Boothe, Paxton, Vibert) and mainly Costner’s big comeback in one of the best westerns of the past few years (or decades?). And this applies to all three episodes. Perhaps just I wish the ending of episode one weren’t so “Capulet-Montague".

There are several (unacknowledged) remakes of film classics every year, but this attempt will not get lost among them. Not only does it stand on its own, it is not even pointless, which was, is and will be the biggest curse of all remakes.

The third best/worst of the five Bournes to date. It’s greatest stumbling block is the heavy-handed start which is not solved until the main duo paired up; or rather until a little room was given to the excellent Rachel Weisz who steals the show from the disturbing scene in the laboratory onward. The non-existent conclusion doesn’t make things any better, but even so it lures you rather than driving you away in disgust.

The only (fully) watchable, and quite pleasant too, opening ceremony in history! Just a shame that it’s completely unnecessary, about nothing, good for nothing... Why not just declare the games open - period? Because when Boyle conceived the Olympics opening ceremony exactly like his adaptation of Frankenstein (not just the identical industrial revolution), so something isn’t completely kosher and not amount of British (and, thanks to the rubber boots, Czech) self-lampooning can save it.

Horse versus hoarse. The Dark Knight Rises and I told myself that I would not be bowled over, but... I was, like a pin. The finale of the trilogy that can be faulted for just one thing. Unlike The Dark Knight, which found it’s own way and not be a mere Hollywood sequel, the conclusion of the trilogy suffers from this syndrome, mainly in the closing third. It’s simply exactly the same as The Dark Knight, just in a more epic, spectacular, dumber and over-the-top packaging during which Nolan is chasing too many birds in bushes. Often less is more, but in that case it is an exception that proves the rule, because even though this is a worse movie than part two due to the fact that Bruce Wayne (or else his alter ego) isn’t “sort of extra" and, in the deep shadow of the Joker, Dent, Gordon trio, this time plays central role (despite being absent for at least half the movie); and thanks to that emotions work and thanks to that consequently the conclusion of the concluding part works SO exceptionally, despite the fact that nobody pays the ultimate price. Which seems almost out of place. However, part one remains unsurpassed, not because it’s so much better, but it’s the only one that isn’t pretentious. P.S.: And if there will be a number four, in view of the trend that has been set, the only person capable of filming it would be Michael Mann.

The boredom of the langorous viewer. The social slant isn’t uninteresting, but excruciatingly slow-moving. The running offenders are excellent, but rather too side-lined. That feeling when you overcome pain, stiff legs and yourself, you clean your head, you start running above your abilities and begin to enjoy yourself at last... All this is there, but it’s ruined by the background music. Jazz is about as suitable here as a brass band for one of Bay’s blockbusters. The finale and primarily Tom Courtenay massively improve the overall impression, so in the end I was (slightly) content.