D.Moore

No one could have wished for a better farewell - Bond, Craig, us... No one. I will miss Daniel Craig as 007, but I am very happy that he has made five great films (I had no doubt that another one would come after Spectre, no matter what anyone said), which played so beautifully with the notorious Bond attributes (this time we finally get a proper villain super base) and with us, and it was just a pleasure to watch. No Time to Die is more than just the last part of a series - it's a film for the fans, which doesn't make sense without Craig's previous films, and which you'll enjoy even more if you know older films, especially On Her Majesty's Secret Service. The screenplay took advantage of everything the last four films had to offer, and added something new. Fukunaga's direction is fierce and playful in the action scenes, in the other scenes he relies mainly on the actors (I would like to highlight the adorable Ana de Armas, with whom I would wanted to see a solo film), the fateful atmosphere is illustrated and the pace is set by the roaring Hans Zimmer, who put the effort in, and John Barry's legacy is certainly not a disgrace. Thanks for saving the world and for the fight scenes, Bond. James Bond.

A sort of British post-war Kocourkov or The Best Man of All. I had to check if the script was at least inspired by a real event, because the plot is so absurd that I wouldn't be surprised if there was a grain of truth in it. But it’s not.

I am glad that from time to time we have such a beautifully cheeky genre in the Czech Republic, from which the enthusiasm of the creators and the sincere belief that the audience will have fun just like them emerges. Shoky & Morthy: Last Big Thing doesn't care about anything else, and that's fine. Yes, you could say that three quarters of Andy Fehu's film was probably made just so that he could make the unprecedented finale... And you would be right. But it's actually fun the entire time, Štěpán Kozub plays his careless person to the best of his abilities and Tomáš Magnusek is so great that you will regret every minute he is not on screen. Seriously.

Amazing ending and overall amazing film trilogy. Bolek Polívka proves that only a few films in which he has recently appeared really deserve him, because although he submits to Vorel's direction and, like the others, he deliberately overacts, he still puts his all into the role and it is he and Tomáš Hanák, who makes Cesta domů a great experience. However, the other actors should not be ashamed either, because after the last film, which focused mainly on young heroes, this one is perfectly balanced and everyone has their place in it. Few people can capture the character of the countryside, the nature of its inhabitants and the beauty of nature, in which they often literally leave their lives, as authentically as they do for Tomáš Vorel.

The good old days of honest historical films came back to life for two hours and a bit - The King is great. It's a rough, dirty and cold spectacle, but it is based primarily on the story, the characters and well-chosen actors, although the scenes you expect from such a film also occur (the battle, the battle!). Directing, design... All of it is amazing and as authentic, as if the crew had gone to the 15th century using a time machine. Timothée Chalamet actually plays Paul Atreides here - that's exactly how I imagined him.

A very good thriller, especially really impressive from the evacuation of London until the end, because the oppressive shots of a deserted big city will probably never get old. I was a little confused that by far the most prominent figure of all was the fugitive scientist, while the script sometimes diverted the positive heroes who followed him to the side halfway through the film, although at the beginning it promised something completely different. It probably wouldn't have happened to Hitchcock, whom I often thought of while watching this.

This is a big leap up from the still somewhat controversial Out of the City (which I now prefer more and more). To the Woods again has a strange (non) story like its predecessor and the same bizarre characters played by deliberately overacting (non) actors, but in terms of atmosphere and poetic mood, it is a much less aggressive and much more pleasant soothing film, which, despite all the bizarreness, perfectly and believably tells about life in the village and in nature, about the common worries of ordinary people, about their values... Vorel doesn't moralize, but at the same time he shows us how he knows and sees it all and how he imagines it should work to make the world beautiful. Of the actors, in addition to all the proven aces, I have to highlight the perfect central pair.

I didn't expect Schumacher to be as amazing a documentary as Senna... And it's not. But it is definitely a good documentary, excellent in some three quarters of the film, but above all, the conclusion lacks something that would make it a great experience. Not perhaps a current shot of Schumacher or tabloid details of the accident or his condition, but simply something other than the lukewarmly careful something that is in the film. Otherwise, it is an excellent, captivating documentary, which, of course, highlights the protagonist, but also does not protect the dark sides of his extremely competitive nature. The two passages that have to do with Ayrton Senna (one of which is the famous press conference, of course) brought tears to my eyes. It was definitely worth it, and not only because of them.

In my opinion, an honest and entertaining action film that develops as you expect, but which can also surprise. The action scenes play a key role, they are varied and it did not get old to see all the possible ways in which Kate eliminates villains like in a video game. But what would be the point if I didn't care about the main character, which Mary Elizabeth Winstead portrayed fabulously? Add to that the unobtrusive neon atmosphere of night Tokyo and great music. I was, and after those few days, still am more than satisfied.

A running Bohemian Rhapsody and a world-class film that is rarely born in our country, because, like the real Zátopek, this film has a great chance of succeeding in the competition of foreign athletes. Yes, the way Ondříček tells Emil's story is perhaps more playful and, above all, more appealing to the audience than anything unexpected or controversial, but he is able to captivate, entertain and playfully maintain your attention for two hours (hence the introductory comparison to Bohemian Rhapsody). Václav Neužil and Martha Issová are absolutely great, just as the design is beautiful and careful, and Beata Hlavenková's music is, for me, the best domestic soundtrack since Three Brothers by Jaroslav Uhlíř and Michal Novinski. In addition, viewers around the world may receive Zátopek even better than we do, as they will not mind scenes such as the "communists pressure Zátopek because of his wife's origins," which we have already seen because they are in every other film.