D.Moore

I knew how it would turn out from the conversation in the mattress shop... But I was still surprised and touched by the ending. In short, an original film that entertained and moved me.__P.S. I was amused when Simon Pegg asked Martin Freeman in the bookstore what they were doing in "this hobbit hole".

Bananas can't even be called a comedy - it's just pure fun. It's a pity that it has a few weaker scenes and especially the very last one, which confirms that a repeated joke is not always funny, because otherwise it is fun satirical entertainment in the spirit of slapstick. The brilliant opening with the assassination of the president made me laugh out loud, and the buying of food for the revolutionaries, the courthouse scene, or the New Testament commercial were also great. Yes, it's flawed, because the story is so inconsequential that the film feels like a double episode of Monty Python's Flying Circus, but then again that’s not a bad comparison, right?

I think Graham Chapman would be pleased. His autobiography feels almost as charmingly goofy in the film as it does on paper, it's just as falsely unbelievable and at times "serious" (alcoholism), the ambiguities are even more ambiguous (the scene with Biggles leads the way), and even the warm musical number like the song "Sit on my face" is a must-see. A big bonus is, of course, the dubbing, which was done by the remaining Pythons plus a few guests in addition to the author who has been dead for 24 years (the presence of Cameron Diaz as Sigmund Freud only underlines what a crazy show it is), and the authors of all the animated parts also deserve praise - each one is unique. It's a pity that about a quarter of an hour before the end, Autobiography isn't very interesting or funny. That's when we find ourselves at a party from which Chapman flees, hidden behind a cut-out Inspector Clouseau, but fortunately the subsequent cosmic encounter with Oscar Wilde sets things right. Four and a half.

A very original Christmas animated action film that is, or may in time be, much like Burton's pre-Christmas nightmare - it can be watched any time, winter or summer, and always entertains. The Aardman-esque poetics work as charmingly as in the legendary plasticine (or digital plasticine) stories, the idea that the Christmas gift-giving is one big military operation is not wrong, and the whole spy-parody vibe fits perfectly with the "power struggle" between Santa's two sons. I also have to praise Gregson-Williams' music, which made the first ride on the old sleigh into a spectacular experience, and of course the original English dubbing, which made me happy with the cute participation of Michael Palin. It was simply sensational and I am already looking forward to a trip to Trelew (I just don't know which one yet).

Tired, unfunny, annoying, something that actually only amused me with the (relatively) long one-take scene where Tom Hardy and Chris Pine install bugs in Reese Witherspoon's apartment. Otherwise, it was a pretty colourful mess in places.

More than a good spy spectacle with a perfect atmosphere and a properly sneaky script, which is full of question marks and twists especially towards the end. Boris Karloff is admirably sleazy in places, and it seemed to me that Quentin Tarantino was inspired by him when he wrote the character of Samuel L. Jackson for Django Unchained. I also praise the wartime inserts, the opening aerial duel looks truly perfect and the bombers' raid on the ammunition depots is almost breathtaking (perfect work with miniatures, which are almost impossible to detect).

A successful retro gangster film, which doesn't come up with anything new (which is probably why the title "Based on true events" is used right at the beginning), but it's damn good to watch. That the main character doesn't end up in a good place is clear almost from the beginning, but the film still has plenty to surprise and no time for boredom. And considering that Danny Greene had grown strangely close to my heart during those hundred minutes, the finale was very impressive. Ray Stevenson was great, Val Kilmer unfortunately uncomfortably obese, and Christopher Walken perfect as always. The film also scores points through Patrick Cassidy's Irish soundtrack. Four and a bit.

Truly one of the Spencer-Hill highlights. This time, the runtime doesn't matter in the slightest, because something is always happening in the film, and that "something" is never the same as what happened a moment ago. Personally, my favorite of all the well-crafted situations and perfectly timed jokes is the pub fight scene in which Terence Hill impersonates an invalid and Bud Spencer plays a retarded deaf-mute - it's a real gem.

Everything I love about westerns, crime, action and adventure films was already there 110 years ago. And it was very good. I was surprised by the rough scene on the locomotive, where I didn't notice the editing trick at first, and I was actually surprised by how rough the whole thing was.

Another of the masters who deserved all the glory and recognition he got. At the time this documentary was made, John Barry had (only - in the case of a man with such talent) eleven years to live, and he therefore appears quite vital. It's a pity that at that time he had only one soundtrack in front of him, namely the not-particularly- exceptional but still beautiful accompaniment to the film Enigma. Licence to Thrill is not a pathetic marble monument that someone wanted to build to John Barry, it's more like a kind of acknowledgement for a great piece of work. And that's the way it should be.