Kaka

A very uninteresting action film that tells the story of naval fighter pilots during the Vietnam War. But their joys and sorrows are portrayed in a rather unexciting and monotonous manner, very flat and without any attempt to delve into the details or give the characters a bit more depth. The action scenes are bad, so there’s nothing to praise there either. The most shocking thing is the ridiculously obvious miniatures. No, this is not Top Gun.

In terms of the writing, it’s very economical, dynamic, and enjoyable to watch without unnecessary rambling. Additionally, it doesn't take anyone's side, meaning that the FBI agents are not machines for Americanism, and not all Arabs are willing to commit suicide for Allah. There is a certain level of political incorrectness, but making a film about such a sharp and current topic is already quite an art in itself, especially with such a high budget, so the director cannot be criticized too much in this regard. And actually, he cannot be criticized either when it comes to the technical aspects. Though that is rather the work of the chief producer Michael Mann, because when it comes to action, it is mostly his style, the typical visual elements, editing composition, and especially the stunning sound and clarity. The action is simply excellent, raw and fast-paced. Above all, the final ten-minute heist is the best action sequence of the year. Yes, better than Bourne.

A psychologically rich and intriguing portrayal, particularly in the relationship between a kind-hearted soldier and a black prisoner, which gradually transitions into a very unique and personal love affair, with one of the most peculiar women in the history of cinema playing a role. The characters are excellent, with an immense emotional foundation. At one moment, you feel sadness, only to be smiling moments later. Neil Jordan has a unprecedented way of captivating viewers, and the key revelation in the middle of the film is truly a dense and profound matter for the resilient.

The first half is silly and completely off, the second half is relatively suspenseful and unpredictable. But transformation of Kevin Kline's character, or rather his escapade, is just as hard to believe as the film itself. The awkward and stupid dialogues by Mary Elizabeth Mastrantonio are practically not worth mentioning, just like the sycophantic and a still relatively unknown Kevin Spacey. There’s no key scene to speak of and the writers must have completely lost their heads while working on the script because these “sci-fi elements” made me laugh every minute. Wife swap? No thank you. Once is enough.

Cameron Crowe is a well-known sentimentalist, he’s brilliant at portraying relationships, love and emotions, but mostly leaves the audience confused in the end. Jerry Maguire is a typical example. It shifts from drama to romance to comedy, but those elements don't fit together very well, resulting in a somewhat disjointed and tearful story about an honest, wealthy, and attractive sports agent, whose kind heart couldn't be swayed even by a fat stack of money. It's a nice watch, with the good guys being good, the bad guys being bad, and everyone knowing how this fairytale for adults will end. A decent option for a Saturday evening by candlelight.

So let's summarize: agent Jason Bourne speaks several world languages perfectly and without hesitation, he drives better than a professional Formula One pilot, he can handle four highly trained agents on a few square meters without batting an eye, he knows all possible places and locations perfectly, so not only does he never get lost, but he is always several thousand steps ahead of the local police and the entire FBI and CIA combined (Moscow, London, Berlin, Turin, unspecified places in India, New York, Tangier, among others). Nothing ever catches him off guard, and he always thinks with a cool head, even when there are thousand of people with guns behind him, and he can sneak into the office of the CIA Deputy Director without being seen – don’t forget that it is a high-rise building where one office is next to another, and there are about 165,811,877 people everywhere. And on top of all that, he dares to make bold and ironic remarks. This is just a rough list of all the qualities of this elite agent. So where is the realism in that? And yet they say Bond and Hunt are over-the-top.

Cruelly below my personal expectations. Jack Nicholson is an exceptional actor, whether he plays a wolf or anything else, that’s a fact no one can deny, and in this case, he literally saved what could be saved; his performance is excellent. Mike Nichols manages to create something resembling an atmosphere, but the suspense is nothing special, the make-up effects are downright tragic, and the overall visual execution is terribly television-like. Is this supposed to be a famous and brilliantly shot horror film? It doesn't seem like it to me. A heavily average affair with an overacting James Spader, whose wolf eyes were so unbelievable that it led to a smile. Mediocre overall, primarily thanks to Jack.

The film essentially relies only on the interesting period in which it takes place, with the issues of racial segregation, harassment, and oppression of minorities. Alan Parker focuses primarily on the driving force behind this conflict: the Ku Klux Klan and its representatives. Some scenes are impressive, while others are unnecessarily drawn out. If you're expecting Gene Hackman to be his typical tough guy, you will be disappointed. He has a few such scenes, but otherwise, he is more like a witty old bachelor with a lot of sly remarks. The atmosphere of the small town and the fact that something is happening is solid, and fortunately, they didn't completely close the doors to brutality, so there is definitely something to watch, without embellishments or tricks. But it's not really worth watching a second time, the screenplay is simple and uncomfortably straightforward.

At its core, it’s an utterly simple story in an interesting package with a touch of the 1940s, with captivating performances by Michael Douglas and the feisty translator played by Melanie Griffith, as well as the very impersonal view of a multiple-year military conflict that changed the whole world. Very sober, very realistic in terms of facts and settings, and the ending is slightly tearful and overly romantic, but otherwise it probably couldn't have ended any other way. There are several scenes that suspenseful and incredibly strong, especially the ones of Melanie Griffith behind enemy lines. This whole part of the film can be enjoyed in one breath, just like the gripping ending, which was so brutally disrupted by that shockingly obvious and yet important white line.

An accomplished piece full of love, strong romance, and a pleasant feeling of intimacy and personal experience. Anthony Hopkins is captivating, Brad Pitt is merely average, but it was nothing unexpected. The plot is cleverly put together, and above all, the theme is interesting and original. It’s something that probably had never been done before, and Brest managed the uncharted waters exceedingly well. The running time is not an issue, and after the film ends, it leaves you with a pleasant feeling in your heart from three hours well spent watching this film. But you do need to accept certain rules of nobility, a slow pace, and intense emotions in advance. Only then is there a chance that this film about love and death will be enjoyed and leave the right impact.