D.Moore

Purely objectively, this may be one of Karel Zeman's weaker films. Plot-wise, it may be a bit lacking. Maybe not as interesting. The laudable anti-war idea may be mired in confused bouncing back and forth. And Emil Horváth, Jr. may owe his charisma mainly to the dubbing of Jan Tříska, because otherwise he is quite wooden. Perhaps, perhaps. But what does it all matter when On the Comet is still such a beautiful film and a completely dreamy, almost touching fantasy.

A teen comedy about a severed penis and the quest to save it. It's genuinely funny in places, but unfortunately it drags quite a bit as well – especially in the third act, when relationships start to take over instead of penises, and the film loses pace completely. Nevertheless, I had fun, I had a surprisingly good time, and if it had been even crazier I would have enjoyed it even more.

Had to wait a few days to find out in retrospect that I actually liked the film. Despite the fact that it was completely different than I had expected, and than its first half hour or so had suggested, despite everything that happened in its second half... Yes, I liked it. It's an odd spectacle, but it goes its own way and doesn't really care what it does to the viewer, and I appreciate that. And Colin Trevorrow racked up a lot of plus points in a finale that even Hitchcock wouldn't be ashamed of.

It's on the level of the "Mártyho frky" comic strip by Martin Pohl – sometimes it's funny because it's just brilliantly written, paced, and acted (anything with Grundza, for example); sometimes it's funny mainly because it's so horribly stupid; sometimes it’s just stupid and cheesy. The biggest gross-out scene came a while after it started, then it was easy to endure after that, and I actually had quite a bit of fun wondering what was going to happen next given that it was absolutely impossible to predict. However, if I were in Reznik’s target audience, I probably would have been much more impressed and would soon want to watch Párty Hárd again and again and again.

Just the kind of show I needed to see. Great idea, cynical black humor, with the literally divine Steve Buscemi and with Daniel Radcliffe acting so natural I never once thought of a certain bespectacled wizard. Geraldine Viswanathan is a new discovery for me and I have a feeling I'll be happy to see her in absolutely anything from now on.

With the honorable exception of Gene Hackman's (fantastic, as it happens) character, this is actually an unsurprising story that unfolds and turns out exactly as you expect. But it's all very well filmed and acted, and I certainly didn't find myself watching it for two and a half hours.

Average, average, average. Morgan Freeman is the only one of the actors worth noticing here, and if some scenes have anything like a rush, it's because of Jerry Goldsmith's music. But just so I’m not being completely negative, I liked the first half hour a lot. However, after that it was like I started watching a completely different movie with increasingly bizarre situations and a not very interesting denouement.

The brilliantly paranoid direction and cinematography do to the viewer in The Invisible Man what, say, Spielberg's Jaws does to the viewer – the unsettling static shots simply suggest to you that there's someone standing there somewhere who can't be seen. Or are they there? Or there? Really terrific work and, along with the perfectly believable Elizabeth Moss, it is the main triumph of this unassuming but all the more impressive and surprising horror film, which of course deals with serious themes of domestic violence and restraint as much as it does with jump scares. If it had been a little shorter and had deleted say, the entire part in the attic, I'd have absolutely nothing to find fault with.

A simple idea, but one that was exploited to the max. Virtually unknown actors in front of the camera, action specialist Walter Hill behind it, unpredictable gangs, and also a hardly predictable story that can turn out in any way. I enjoyed it.

As long as the characters don't talk, it's pretty good. It's just that the characters start talking too soon. And in dead earnest (or just dead), so the result is about the same as Guns and Powder. I mean, not much, except that the filmmakers certainly had a good time. However, the animated opening was fine, and I wouldn’t have minded if the entirety of Rough Savior had been animated (and considerably shorter).