DaViD´82

This is my cup of tea. The first full-feature romp of Monty Python. Perfection, originality and absurdity ooze from every scene.

A slew of awkward and brilliant scenes. Overall, almost the same as the first part, i.e., a solid easygoing comedy for teenagers that doesn’t pretend to be anything else.

So bland, pedestrian, trite and pointless that it's better to let review it with AI-generated gibberish than to waste time with it: Il Boemo tries to emulate its great predecessor, but unfortunately it lacks the freshness and energy we saw in Amadeus. This is despite the fact that the film features solid performances, especially Vojtěch Dyk in the lead role. But one can't help but notice that the story of Myslivečk's life gives a bland impression and his music, which should be the real star of the film, becomes more of a backdrop to the overall plot. Although the film is not what I would have liked, it is definitely worth watching and enjoy the glimpses of Baroque art.

The (un)official final part of the free trilogy from the Aran Islands. Of McDonagh’s works, this the closest to his theatre roots, which is a problem. McDonagh is a better writer than director and a better playwright than screenwriter, and as a film director, he tries to hide the distinct theatricality of the script, which is a mistake, it would be better if he accepted it for what it is. It is a minor detail, but coupled with the fact that it's not the best part of the trilogy, which also as a whole is overshadowed by the Leenan trilogy, means that The Bahsees of Inisherin feels like a tiny step backwards for McDonagh as a writer and as a director. Since his film debut, I've wanted him to be closer to his roots in style and substance, and this confirms the proverbial "be careful what you wish for, it might come true". But does any of this mean it's not excellent or perhaps superbly acted? Not at all.

Cunk on XY for the twentieth time, and still bloody funny, no question about it. Brooker manages to again get something funny out of a concept that he himself has battered countless times, and Diana once again sells it incredibly well, but it could use a refresh after all these years. On the other hand, if every episode continues to contain more than one turn, snark and joke that sticks in the memory, then why am I complaining when I know I won't miss the next Philomena either.

The preparation and consumption of food in a small kitchen-dining room as a unifying element of destinies, dreams and traditions in a geisha "boarding school". Utter Koreeda, utter melancholic feel-good, utter food porn. | S1: 5/5 |

How little it takes for our advanced Western society to sink to the depths where paranoia, misinformation, anarchy, panic and baser instincts begin to triumph step by step through lack of information, accountability and resources. How little it takes to make concepts like ethics, morality, humanity meaningless. It is hard to criticise anyone, to find fault (although that is what this is all about), but wrong decisions made in good faith can lead to disastrous consequences. We are used to seeing this in (zombie) apocalyptic science fiction, not in a less than two-decade-old event from an institution "on the cusp of human progress". The reconstruction of the events of a few days after Katrina on the grounds of a hospital where everything that could go wrong did, with very tragic consequences, and the ensuing hunt for the culprit through procedural investigation and judicial finger-pointing. The best disaster thing since Chernobyl, with which it shares some of the same DNA. Chilling, compelling, revealing. The only problems are the length (it would have been better to cut across the episodes to make it one episode shorter overall), the hospital/court break (both passages are excellent, but for me it's better to mix them than half this and half that), and the unsuitable melodrama of the second episode, it may serve as a "calm before the storm" (or after the storm), but it doesn't fit the otherwise raw concept one bit.

A beautifully animated snowy, melancholic tale that would very much like to be a modern-day Little Prince, but annoyingly overwrought in that "Paulo Coelho way", full of recited platitudes and big life truths pulled out of thin air instead of dialogue.

Brilliant, playful, and with the timeless "la résistance contre les adultes" poetics of Dahl. The musical guise fits it unexpectedly well, which is something you wouldn't think in your wildest dreams. After all, what could be more repulsive on paper than a musical remake of a children's classic where most of the parts are sung by first graders. But everyone is enjoying it to the max, led by Thompson, who tops them all in an unprecedented way. And how that thirteen-year-old Alisha can keep up with her performance is an unfathomable mystery. A "Paddington-esque" film for the whole family, which even the biggest grumbling adult "why the hell are those kids singing" moron will be so energized that at the end of "Children Rebellion" they will be humming along with a smile of satisfaction on their lips.

An artsy tale about the small joys and sorrows of Christmas in an Italian Catholic girls' orphanage during the war told through the innocent childlike gaze of a likeable rebel. It really breathes Christmas atmosphere, and despite the setting it doesn't lean towards emotional blackmail for a moment, and in general it's all so... Adorably Christmassy.