3DD!3

An excellently conceived noir movie with all the trimmings. The Coen brothers aren’t afraid of inserting a little humor into serious scenes and, paradoxically, this makes it more realistic. The acting is really great. From Byrne to Turturro, they all enjoy the excellent screenplay to the full.

A smoothie made of Se7en and Zodiac, filmed as a PG-13, with no blood and explicit dialog. To cap this, we have Batman playing the role of chief investigator of a series of unexpectedly personal murders. Comic-book poeticism vies with a realistic approach and, despite several small hiccups caused by the not completely perfect script, most of the time Reeves successfully manages to balance them both. From time to time, the slow and atmospheric story is interrupted by a skillfully sound-engineered, visually impressive and un-confusingly filmed action scene, the greatest treat of which is the car chase with Oz. Bob Pattinson does quite a good job of Batman, his aggressive style of keeping order is likeable, but had not enough time to be convincing as Bruce Wayne. Catwoman is a fox. Dano enjoys his part. The final confrontation with the Riddler is perfect. The Batman Oreos was a nice treat. Nobody!!!

The most enjoyable thing we have got from DC in a really long time. Gunn has outdone himself, this is superior even to his Suicide Squad. John Cena immersed himself in the role of Chris Smith so deep that James Gunn thought he should have his own series to serve as a follow-up and also partially to explore the origins of Peacemaker, whose upbringing, demons and peculiar approach to life are explained here. The war against the alien butterflies is a little unimaginative (and exists only as justification for the hundreds of dead bodies), but it comes back in the last episode with an ingenious punchline. But the gravy surrounding this war, whether it is uniting the team through music or Smith’s conflict with his father, is nourishing and has no lumps. Dumb humor alternates with intelligent insider mickey-taking and the cast has a whale of a time. The high point of this series is the simple sociopath Vigilante, played by Freddie Stroma, who steals every scene he appears in. This is what Dexter could have been like if the creators hadn’t stepped on the brakes. A perfect rock soundtrack, perfect action. You're late, you fucking dickheads!

A dumb script, typical for Czech movies, into which somebody subversively smuggled cynical, self-parodying elements. So the Deceased oscillates somewhere between Dumb and Dumber and Naked Gun, but surprisingly often it makes you laugh with all its stupidity. The production design, dramaturgy and even the dumb lighting in most of the scenes is terrible as usual. Luckily, the actors are well aware of this and overact with incredible verve. Vágnerová makes the most of her strange role. The type of hogwash that is fairly entertaining in its absurdity.

Somehow it just isn’t what it used to be. Setting it in the World War I gave it a more earthy feel, but Vaughn just isn’t trying as hard anymore. While the first part was overflowing with visual finesse and sly jabs, this movie is mostly serious. But the story has a couple of interesting twists and hats off to the respect for historical events, but if it weren’t for Rasputin, there would be nothing to praise. And of course we know how the Great War ended up and it’s unreasonable to expect the opposite from Tarantino here.

A thoroughbred Star Wars type western where the filmmakers more or less do what they want and willingly sacrifice a consistent basic story just to please the fans. Boba is full of flashbacks, it simply steps aside for two episodes to tell us what Skywalker’s new pupil is up to and demolishes Tatooine in Godzilla vs. Kong style. It’s enjoyable to watch, but Star Wars could do better.

This is Little League as animal animation goes (even my daughter wanted me to switch to a Pixar movie), but it was watchable. The New York fly-throughs are gorgeous, but the animal animation not so great, and the script is chaotic. The only really memorable character is the white rabbit with the modest goal of wiping out mankind. P.S.: He doesn’t manage to.

Present day Greece. An irresponsible Afro-American goes on a nighttime drive without drinking a Red Bull before setting off. Falls asleep, crashes, plowing through a building, killing his wife/girlfriend who irresponsibly did not fasten her seatbelt. Before he faints he sees a carrot-top kid. When making his police statement he lets this insignificant piece of information slip and, suddenly, everybody wants to kill him and he has to run for dear life. Ironically, shortly before that he had decided to commit suicide out of solidarity. A 70s-based conspiratorial chase through the picturesque landscape of the Peloponnese, spiced up with political intrigue. The unfortunately unlikeable hero who behaves like a cretin most of the time miraculously escapes his pursuers and picks up snippets of information to help him solve his situation brings the whole thing down. The screenplay oscillates between an action B-movie and a artsy Euro movie = doesn’t make much sense. After Tenet, this is a step in entirely the wrong direction for Washington.

Having watched this for the umpteenth time, I started to wonder just what Rylance’s Flop actually is, and I reached the conclusion that he is a robotic form of nanny (hidden in an embroidered toy). We don’t ever see Bing’s parents in the stories and so it’s quite clear that they met a violent end, following which their son was placed in a village/artificial reality where they care for kids with a similar trauma. I have been searching for a pilot episode that explains all this, but without success. So the Brits are now skillful at slipping science fiction into shows for kids. Certainly higher quality than General Hospital, Days of Our Lives or As the World Turns. Bing just killed a butterfly!

The sad princess that I remember from my childhood has become a hallucinating, self-centered bulimic that feeds her kids unhealthy food. Stewart’s acting is superb, I just don’t like who she acts. Larraín tries to copy Terrence Malick, but without the directing skills and without Lubezki. Hesitant wanderings around a cold and wet England with a crazy woman for a guide. To add to things, Greenwood gives us background music suitable for committing suicide to. P.S.: The Queen’s only one-liner in the entire movie resonates nicely. You understand, my dear, that all you are is currency.