DaViD´82

A series about a jail break. On the face of it, a well-worn topic, however in this case the first impression was quite wrong. The biggest asset is how it is so incredibly easy to identify with the main protagonist - you just can’t help rooting for him. Each episode comes along with several mostly unexpected and surprising situations that have you watching with bated breath. However, the above applies only to the parts in prison and unfortunately not to the “on the outside" side-story. This always takes up about a quarter of each episode and, despite also having some qualities, it becomes rather mundane and seen several times before. But still, it is well worth being part of Scofield’s gripping escape from Fox River State Penitentiary, because it sucks you in and won’t let go... Run Scofield, RUN! Season 1 (5/5) During the first two episodes the gains pace that grips you and doesn’t let you go. Impetuous, playful, intelligent and suspenseful like nothing else on earth. This applies up until episode 13, where the series was originally supposed to end. Originally it was “just" a filler to fill the gap until another season of 24. But it was hugely successful, which forced the creators to drag it out into a longer affair. Unfortunately. So as of episode 14 the quality starts to drop, or rather the breakneck pace relaxes. It is still perfect, but without the “condensed adrenaline". Instead of bated breath, here you get just a couple of priceless moments alternating with tolerable filler. But what keeps it from going over the brink perfection are the separate characters and the actors. Toward the end of the season, the quality starts to get back on the rails, leading to a climax in a perfect and absolutely flawless penultimate episode which is the premature climax of the entire series. But the overall impression of the season is wrecked by the last episode which, in terms of quality, fits better in... season 2 (3/5) ...this season of the series. The only good news is that Prison Break isn’t boring. But it is no longer suspenseful even for a second. Any suspense is diluted by dozens of various uninspiring storylines. It is sad just how unintentionally ridiculous it is, especially in terms of conspiracy theory (and the following seriously-intended monolog in episode 2x14 sums it up perfectly: "So,this is the conspiracy,huh? Bunch of little boys in suits running around, trying to kill each other. It's pathetic…"). And it really is. Most sitcoms would turn green with envy. The carefully built characters and their motivation is ruined. Coincidences, nonsense and screenwriter glitches rule. But as I say, it’s SO VERY BAD that you will laugh your head off. Toward the end, the quality level begins seemingly to return along with a feeling of déjà vu from past seasons.

Corpse Bride is an excellent movie, which is imbued from the very first shots with the typical Burton atmosphere and with his strange humor. It has momentum, gorgeous execution, wonderful voice casting, and a great soundtrack from Danny Elfman. But it's unfortunate in that it came after the brilliant Nightmare Before Christmas, and apart from the maturity of the animation, it can't compete with it in any way. Everything that is here at a very high level was one step better in Nightmare (it is especially noticeable in the songs). I also can't shake the impression that this is another in a line of movies based on Burton's tried-and-true (and thankfully still working) recipe for "his" kind of movie. Maybe it’s time for a bit of a change, Tim. ♫ OST score: 4/5

Had it not been for the terrible screenplay, this could have been a more than decent thriller. The interesting introductory premise remained criminally unused. At the same time, from the beginning (or in the first hour or so of the movie) everything looks pretty good until the "shocking climactic twist", which while everyone anticipates it, at the same time everyone hopes with all their might that it wouldn’t come to this... But it does. After the psychological-mystical introduction comes the action-dramatic finale of the worst and saddest type. The screenplay is truly weak, with poorly written characters. At least the actors give as much as possible to these desperately one-dimensional and mostly useless characters. Even the director tries to disguise the weaknesses of the screenplay as much as possible, but it simply cannot be done and so it remains a mediocre affair in all respects.

A mediocre sci-fi series through and through that seems like a failed live-action version of Cowboy Bebop. Certain elements of originality and unconventional ideas are definitely here; yet, the negative aspects are significant, especially the tremendously uneven quality of individual episodes. While I get where the cult nature of this show comes from, somehow I don’t get where its proclaimed quality is hidden.

A TV sequel to Christmas Vacation that is nothing but a showcase of awkwardness. What is striking is the participation of Eric Idle, he really doesn't need this in his old age.

Aside from the barely half-minute scene of a French dinner by the woods, there's not a shred of Gilliam in the entire movie. There is nothing by which you would recognize this as being his work. I'm exaggerating, but not that much. Terry made something that no one expected from a genius of his format - a well-done example of film-craft. Nothing less, but, unfortunately, nothing more either.

Through and through a mediocre affair that is only kept afloat by Denzel Washington alone. You just can't help but cheer him on. Almost nothing is utilized of the great thematic potential of a police investigator investigating himself and therefore is always one step ahead of his colleagues. The exception is the scene in the middle of the movie in the police station lasting about fifteen minutes. In this scene, everything works one hundred and ten percent, and the tension could be cut with a knife. Unfortunately, this is the only such powerful scene in the movie, and besides it, there are just a lot of solidly done clichés.

A solid thriller which, thanks to being so short, manages to maintain a decent pace throughout. The actors handle their one-dimensional characters excellently and even manage to give them something extra, which applies primarily to Cillian Murphy. As long as the movie stays on board the plane, this is an excellent, suspenseful thriller with clearly dealt cards in a restricted space. But once the plane lands, the whole movie goes down the drain and turns into a festival of genre clichés and logical fallacies, which is a shame, because they wreck the otherwise solid positive.

Paradoxically, the most interesting stages of Hughes’ life are merely mentioned in passing or completely ignored, while there is also a lot of needless filler (albeit excellently filmed). The actors are excellent, Scorsese’s still got it - it’s just that the screenplay isn’t one of the best ever written. Which is really a great shame and it knocks The Aviator out of the sky before it has the chance to take off.

“I give Dad about one month, maybe less!" The most serious movie by Zelenka so far, but even so it is an excellent comedy spiced with a nice dose of tragedy and loneliness. The main storyline concerns the relationship between Petr and Jana, wrapped up in lots of completely separate scenes that relate to the main story to a greater or lesser degree. It all relies on the actors and they are excellent. Down to the very last one. But, thanks to being given enough space, Ivan Trojan as usual shines out above the rest, as does surprisingly Krobot too, in the role of his father. In places you can tell that this is an adaptation of a theatre play and therefore lots of things had to be altered or left out. This is primarily a shame in the storyline concerning Petr’s boss, Karel Heřmánek and his “relationship" with Eva, because the whole thing ends with loose ends. And the ending? For a Czech, post-revolution movie, the ending works unusually well.