Kaka

The topic is indeed interesting, comprehensive – we find out the cause of Travolta's psychological change – but that mysterious “enlightenment” that happens by chance under the moonlight didn’t sit sit well with me. Otherwise, it's a touching and intelligent film for easygoing moments, and even for normal moments, which it will make easygoing without any problem. Towards the end, it gets a little sentimental, but it can be endured. Travolta’s performance is excellent, and his character is so vivid that instead of shaking your head and not believing your own eyes, you swallow the love story with line, hook and sinker. Kyra Sedgwick's very rough voice also has its merits, as a rough country girl in the context of the place where the film is set, is much more attractive than many of her more beautiful and more polished colleagues.

A fairly believable piece of American heroic action, at least in terms of the plot structure, with a lot of likeable actors in typically masculine roles (David Morse, Kevin Spacey, Samuel L. Jackson, J.T. Walsh, etc.) that complement a good action story with solid pacing and a typically attractive, falsely accused, hero. The work of the negotiators is presented in a very interesting way and the chemistry between Jackson and Spacey is great. There are scenes that are not completely believable, and that are forced into the film with violence, but otherwise, it is a solid action ride.

While watching this bizarre piece, I could not help but compare it to the films of Quentin Tarantino. Walter Hill serves a simple story of a rough gunslinger bursting with one-liners with such exaggeration that it is hard to believe at times. On the one hand, there are bloody shootouts, on the other, dry humor and lots of fun. Christopher Walken is also brilliant in the role of the legendary shooter Hickey. A fairly unknown film that was relative success for Hill and solidified Bruce Willis’s position as a tough guy.

Jet Li knows how to move incredibly well without tons of digital effects and various crutches and accelerators, which we have seen enough of in his films. Fortunately, Kiss of the Dragon has a European touch and it's bloody obvious. From the action style to the choice of locations (Paris), it has everything that a proper action movie should have: an amazing villain, a likeable beauty, a proper hero, and above all, thrilling action that is truly abundant and excellently shot; lively, fierce, and uncompromising. As far as quick and simple action films go, it's fantastic entertainment.

An incredibly entertaining parody of everything that stood in Paul Verhoeven's way at that time. Brilliant internet interludes, brutal and unprecedented bloody action scenes that are almost flawless, likeable protagonists, excellent one-liners, Michael Ironside as the ultimate badass, and fantastic looking bugs. This is how an action-packed masterpiece should look, skillfully alternating suspense with light-heartedness. I admire the director, he truly wasn't afraid to use large amounts of blood and scored with that. If nothing else, even the skeptics will remember this movie because of all the severed limbs and heads. Brilliant fun and excellent score by Basil Poledouris.

It starts as a smart and atmospherically charged film, but it gradually becomes poorly staged horror without a hint of sense or logic. Laurence Fishburne is flawless as the captain, and the other crew members are also decent. The futuristic-looking sets will please every fan of dark sci-fi, but the closer the film gets to the end, the more you shake your head. There is literally no twist, blood pours like crazy – and completely unnecessarily – and all the carefully built atmosphere of mystery vanishes. Skip half an hour, replace it with a meaningful ending and maybe a bit of unpolopathically explained philosophy and it would be a very decent addition to the scifi genre. Like this, it's just a controversial bloodbath.

A relatively cold about a top sniper. Although Jean-Jacques Annaud intersperses it with his typically monumental and meticulously detailed production design, the war itself is not realistic or bombastically shot to immerse the viewer in the plot. The story of the two elite snipers is uncomfortably sterile and drawn-out in many passages in the second half. Additionally, the constant presence of English in a setting like the Battle of Stalingrad is very distracting. The excellent performance by Ed Harris, plenty of blood, and several stunning sniper shootouts are good, but otherwise, considering the marketing campaign and all the hype surrounding it, it's just an average genre film.

60 Seconds is exactly as dumb as you can expect from a brainless action flick from the turn of the millennium. Lots of testosterone, hot cars, a hard to get female element in the form of Angelina Jolie, whose spontaneous looks evokes the uninhibitedness of the late nineties, and a few almost mystical scenes of Nic Cage vs Shelby – or a car like any other. it's a pity that Dominic Sena kept silent for a good number of years after this film, because his visuals are fantastic, his music is even better, and thanks to that his have an action-packed pace and a spine-tingling spirit. This one was missing a more meaningful screenplay and sometimes it could use more logic (see Memphis and his jump on the bridge), but it can be endured as a way to unwind. The soundtrack is badass, and thanks to it, you can forgive these cars for their many faults.

The Czech locations are fine, but they do not fit into the general hi-tech atmosphere of the movie, so the shootout with heavy weapons at a Czech castle feels awkward, even ridiculous. Similarly unbelievable is Vin Diesel escaping an avalanche or his stunts with an off-road motorcycle. Certain things can, of course, be tolerated, but this is too much even for an unrestrained tough guy like Xander. On the other hand, the film does captivates with its cold winter atmosphere, the fantastic Asia Argento, and a few cool wisecracks that show how Diesel always has everything under control and can assess the whole situation with just one look. In ten years, this gem will make us smile a lot more and we will say how wonderfully stupid it is. There is no reason to trash it now.

A very minimalist and at the same time absolutely captivating film that disarms the viewer with its absence of sentimental coating, its unbelievable rawness, and emotional intensity. Billy Bob Thornton is clearly deserving of an Oscar, but Halle Berry is fantastic as well. The issue of race plays a rather secondary role here, it pleasantly and, above all, effortlessly moves along with the plot. But the main focal point of the film is the breathtakingly portrayed fragile relationship between the solitary Leticia and Hank. One of the most intimate and personal films, as tough as a rock and yet as gentle as velvet.