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Until the climax came around, a thriller neither surprising nor groundbreaking, with a rather unconvincing Audrey Tautou. The discovery of the truth in the second half is predictable, and everything is saved only by relatively brisk directing. With no hope of granting anyone a happy ending, this makes for only a meager attempt at a genre film.

An unassuming action crime film that delves into the psyche of the characters down to the smallest detail, giving strong meaning to even the smallest scene and allowing the tension to build to unbelievable levels. And who do you root for? With a persistent shiver down my spine, perhaps both of them. The moment when Neil sees Vincent approaching on the sidewalk is a bombshell that had me trembling with anticipation throughout the second half. Heat is the first open victory of Michael Mann's civilian form and enduring sense of immediate interaction with the plot. I gotta hold on to my angst. I preserve it because I need it. It keeps me sharp, on the edge, where I gotta be.

Everything that A Place on Top successfully avoided was brought about with A Place in Life. A story without a twist, zero side characters, and ultimately nothing but a porridge of exposition. On top of that, Jiří Chlumský's visuals are also laughable to the maximum.

A surprisingly human perspective on war, with all the positives and negatives that it can bring. The night action is provocative, the viewer roots for the heroes until the very last moment, and every potential danger makes them tremble for the moment to come. And yet everything goes downhill when the script tries to lighten the situation and some offhand lines start creeping into the poignant hospital scenes. It then turns Riders in the Sky into just a well-done war film, while the unforgettable testimony is suddenly gone.

An unexpected pleasure amidst the flood of miserable series. It's a pity that there were one or two unnecessary storylines, otherwise it would be a flawless affair. Ondřej Vetchý and Miroslav Táborský dominate the cast and the very end is beautiful. I'm afraid of the continuation (and, as it turns out, rightfully so); mere speculation would be better in this case than a flash-forward "two years later".

I feel sorry for everyone who saw this masterpiece of parody in a dubbed version. At least half of the gags are based on the vocal performances of Steve Oedekerk and the others. I never thought that this craziness would make such an impression on me or that some of its quotes would become my personal cult favorites. During my high school years, few things brought such a broad smile to my face as this.

Ambivalence, charm, an ode to comic book battles, and the naivety that only Peter Parker can bring. Some movies just have to be watched over and over again, even though they have a few flaws in them.

A gem, with something legendary, precious, and brilliant in every scene from Sergio Leone, in every note from Ennio Morricone, and in every gesture or word from Charles Bronson, Peter Fonda, Jason Robards, and the beautiful Claudia Cardinale. Whoever finds this epic boring should just give up on movies altogether.

The painful realization that this Argentine student film looks like a full-fledged production from Germany. For a whole hour and a half, not a single scene lifts me out of routine boredom, and when the essence of the mystery in the subway is being resolved, it only takes a moment to pay attention, get the gist, and start dozing off again. The weak second star is only because it doesn't completely kill the film's denouement. The unnecessary side plots and worthless actors, however, do indeed.

The tired Arabela, the grumpy Petr, the eternally chattering Roxana, and an annoyingly drawn-out plot with Pultanela and apples based on a single new idea. Simply put, things beloved of children should not be tampered with.