novoten

Mark Waters = ghostbuster. Otherwise, I can't explain why for the second time he can drive a romantic screw into the supernatural and have it work again. Fits of laughter and sincere emotion regularly stacked one after another, a score that is top-notch, and Matthew McConaughey, who has definitely matured into a charismatic funnyman. Surprise of the year and a shocked 85%.

Regardless of the fact that the first few scenes scared me with their theme of a beautiful, defenseless, and endangered planet, everything changes once the action moves to the Enterprise. Jonathan Frakes' directing is flawless, just as it was in Star Trek: First Contact, and he adds surprisingly excellent jokes to the war dilemmas (the consequences of the planet’s effects on the crew are exactly on the border of refreshing innovation and slight bizarreness). However, the immense credit for the final impression goes to the character of Picard. I don't want to favor the old guard, but I was most satisfied when the captain became almost Kirk-like, principled and rebellious. The only flaw is the overcooked finale. There were too many complications in it, but the intense meeting of the two captains saves it to a great extent. Otherwise, there is a surprising satisfaction and the realization that Jonathan Frakes has truly saved this film series.

A drama that is not for me. The perpetually playful and melancholically smiling moods occasionally become annoying and only two main characters enlighten them. After just a few minutes together, they already seem like old friends in a minimal space. However, against the slightly problematic warmth, the second half is full of existential heaviness and dealing with a Cretan mentality, which is much worse and comes on unexpectedly and unpleasantly loud. An unbalanced and worn-out classic, to which Anthony Quinn and Alan Bates sinfully earned the third star.

Clint Eastwood and the most firmly held formula. A story that could be retold in three sentences stretches over two hours, but with such fascinating talent it forces the viewer to immensely enjoy that time. Every emotion feels genuine, Angelina Jolie overcomes her acting limitations, and the period atmosphere attacks all of my senses. If the whole film hadn't been infused with a very credible, unpleasant, and unrelenting hint of inhumanity, it could have been even better.

Season 1 – 90% – I have to laugh at him, root for him in action, and wish him Sarah. Chuck is a total loser in many ways, but he never exceeds the point where I would roll my eyes and stop liking him. With every characteristic, from his love of computer games to his willingness to experiment and do the craziest things at the most inappropriate times, he got under my skin more and more. In addition, the overall potential of the series promises much more. Season 2 – 100% – This is not just about the appearance of more beautiful agents, surprising minor roles, or pop culture references. This is about Chuck+Sarah being a duo that I root for from beginning to end, Chuck+Morgan being a duo whose friendship often moves me, and Chuck+Casey being a duo that makes me laugh out loud with every line of dialogue. Moreover, the episodic plots become exotically interesting, and most importantly: the last five episodes are such a perfect action-adventure ride that it takes your breath away long after you watch it. Chuck is simply no longer just a one-off bit of entertainment, but a legitimate blockbuster. Season 3 – 100% – It has original action, easily surpasses sitcoms in humor, and in relationship/family matters, I still see the signature producing style of Josh Schwartz from the better part of The O.C. Chuck remains at the top of all the genres. Once again there are overarching storylines where each main character gets more prominent space, and the supporting characters with familiar faces are appreciated (Daniel Shaw is fascinating in every scene thanks to Brandon Routh). I am still amazed. Not just at Zachary Levi's new and newer grimaces, or the increasingly clever climaxes of the missions, but mainly at how the bar keeps getting raised higher and higher. Season 4 – 90% – This show has turned from the shy guy next door into an absolute certainty. The new shades in the background of the parents' past are revealed naturally, and the worries á la Buy More are a welcome opportunity to breathe in and out. And I don't mind at all that the comedic spy has become a show about relationships where they occasionally go on missions. I still love both aspects, and this time the rating is a hundred, not just because the episodic plots have slowed down a bit in pace and ideas. The whole story around Volkoff Industries and the respective characters more than makes up for it. The announced final season thus had the doors wide open for a triumphant conclusion. Season 5 – 100% – The end within reach, the threat at its maximum, the lines still deadly. Chris Fedak and the other writers knew exactly what they were doing when they entrusted the Intersect to the right people. The farewell story unfolds over thirteen episodes, with everything it entails. With the final dose of beautiful women, heroic agents, brave deeds, and love like a sunbeam. And once again, deadly Morgan's glosses, a suitably self-destructive mood, and the Jeffster stand behind them. Right after the last episode, there can be nothing but a perfect score like it was made to order. And heartfelt. Goodbye, team Bartowski.

Not only proof that it is never too late for an adventure, but also confirmation that in the right hands of a director and animator, a pearl can be made even from an unusual combination of numerous favorite clichés. Until now, I am amazed that a drama about unfulfilled dreams does not contradict the adventurous spectacle, but perfectly adds a deeper dimension to it.

An atypical mosaic on a single ship, lots of perfect hits, and another Richard Curtis bombshell that could easily be renamed as "Heavenly Radio." These moods, which resonate very deeply, can only be evoked by a British genius with a weakness for relationships.

As usual, Moby intensifies the atmosphere, Sarah Michelle Gellar is as beautiful as ever, but Richard Kelly, this time sitting in the director's chair, plays the fool who enjoys making a mess and then joyfully wading in it. I still don't understand what path I was supposed to take, why the cars are having sex, why the character Krysta got so much space, and most importantly, how The Rock and Seann William Scott managed to keep serious faces even though they couldn't understand what was going on. Stay away from futile attempts to imitate David Lynch's masterpieces.

After twenty minutes, I still hadn't figured it out, but after ninety, I was applauding. As soon as Keith lightly undermined the role of a carefree person who is never bothered and annoys you with his unwavering enthusiasm, I suspected that with a bit of luck, I could fall in love. And I did. The most human film in a long time, masterful directing by Todd Kessler, who in my eyes has become the harbinger of the future (though inexplicably for me, a successful filmmaker's career did not await him), and last but not least, a perfect soundtrack like an extract from my favorite music style. It's wonderful.

Season 1 – 80% – Playing with fate, time, and death, with Princess Eliza at the forefront of the action in a modest civilian environment. What more could you want...? The extreme initial enthusiasm gradually fades over time, mainly due to the fact that anything Tru or Harrison try for the first fifteen minutes leads to a setback and we can start correcting mistakes. However, the turning point comes with the arrival of Jack Harper. This inconspicuous whisperer is responsible for transforming a teen mystery detective show into a well-thought-out story with hints of basic fantasy archetypes. Then the close of the season sets such a pace that it makes the first half look like a distant and completely different series at that moment. Season 2 – 80% – Life and Death in an irreconcilable war, which was nonetheless given too little time to become unforgettable. Thanks to the absence of introductory episodes and the main storyline moving quickly forward, it would seem that Tru Calling is aiming for perfection, but the FOX network tripped her up. The six episodes allowed to be filmed out of the originally planned thirteen are great, but they only feel like a taste of something that could have guaranteed immortality for the whole series. Due to the openness of the main storyline, the rushed development of the character of Jensen, the cliffhanger at the end, and the knowledge of what was supposed to come over time, the overall impression is inevitably diminished.