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A very average thriller that is mostly watchable thanks to Clive Owen in the lead role, decent pacing, and a few successful moments. TV star Jennifer Aniston is surprisingly bland and forgettable. The film can be seen as a screenwriting exercise full of plot twists that can be divided into two groups. The first are easily predictable and clichéd for genre fans, and the second are unexpected but all the more implausible and improbable. Viewers who are used to thinking critically will start to ask questions like, "How is it possible that...?" or "How did he know that...?" Overall impression: 50%.

An intimate psychological film that you don't often see. Precise directing, very good camera work, excellent concise dialogue, and a fantastic performance by Billy Bob Thornton in the main role. The psychological transformation of the characters and the change in their value hierarchy are portrayed subtly, almost inadvertently, through details. The atmosphere of the film is exceptionally strong, and the final quiet scene on the doorstep of the house is filled with emotions. Even those with more down-to-earth film tastes will appreciate the naturalistically conceived lovemaking scene between Hank and Leticia. If anything was lacking, it was Halle Berry's performance, who overacted a bit compared to Thornton, and when she was supposed to show great emotions, unfortunately, she overacted noticeably. She was strongest in moments when she relied solely on her gaze. Hank's transformation was also somewhat fast and straightforward. In life, it is not true that you can't teach an old dog new tricks, but it takes time and requires a lot of effort. Despite the aforementioned reservations, it deserves an honest 90% and 5 stars.

Each of us is intimately familiar with this situation: the smaller the expectations, the greater the enthusiasm for an otherwise average film. And vice versa - the greater the expectations, the more bitter the disappointment, even though objective reality is somewhere in the middle. I seriously expected very little from this movie, or rather "nothing." After watching it, I initially intended to give it four stars with excitement, but then I pondered it and erased a star. Rob Schneider is slightly less awkward than usual, but he still overacts and Sandler also recalls his worst acting several times (most notably in the scene where he cries on the boat, reminiscing about lost love). Nevertheless, despite all of this, it is still the best Sandler comedy with surprisingly civil performances from both main characters and a funny storyline. Overall impression: a decent 65%.

I was curious about this film due to the overwhelmingly negative reviews it received. After watching it, I must say it's not nearly as bad as it's made out to be. However, that doesn't mean it's a good film either. Nonetheless, fans of the genre and those who still appreciate Sharon Stone's remaining charm might give it a second star. The problem is that the main draw of this film was supposed to be the fading star, Stone. Unlike other models who have strayed from the runway to the screen, she is capable of delivering a certain level of acting performance. When supported by a good director and quality co-stars, she can even surpass herself, as she demonstrated in Casino or The Muse. Otherwise, she is a completely average actress who excels at self-presentation. Since this sequel brought together a mediocre director with mediocre actors and a mediocre script, the result is a mediocre industrial product suitable for airing on any commercial TV station any time after midnight for chronic insomniacs. Overall impression: 20%.

A film about the search for love and defining its boundaries. The less diligent and reliable Wilbur, who also suffers from various forms of depression and neuroses, is much more successful in gaining human sympathy and the favor of women than his older brother. Compared to Italian for Beginners, I rate this film by Lone Scherfig somewhat more critically. The main reason is the not very credible portrayal of the characters and their relationships. It's a bit of a mystery what fascinates all the women about Wilbur, who they constantly have to rescue from the bathtub or cut down from a chandelier. Everyone probably knows charming rascals who are completely unsuitable for ordinary family life yet extraordinarily attractive to women. However, Wilbur lacks their provocativeness and vitality. Nevertheless, the director's touch is evident, and the film is a good choice for those who enjoy psychological subtlety. Overall impression: 65%.

A decent French comedy that has retained its freshness over the years. In addition to the classic theme of womanizing, it targets the decadent life of the upper class and serves as a non-intellectual, popular counterpart to Buñuel's The Discreet Charm of the Bourgeoisie. The film features many well-known actors of its time. Besides the excellent Michel Galabru, Jean Lefebvre, his companion from Now Where Did the Seventh Company Get to?, appears in the role of a priest. Claude Gensac's role is interesting as she parodies the wives of wealthy bourgeois families, a type she has played countless times in her career. Overall impression: 75%.

I cannot review this film completely objectively - the problem is not that I consider the subject matter to be too "feminine" or that there is no trace of romance in me. However, I am a descendant of the plebeian society and plebeian ancestors, so instead of being moved by noble manners and witty sparkling dialogues, I feel like grabbing a pitchfork, poking Mr. Bingley in the backside, and shouting: "To the Bastille!" Besides, I get the feeling that the creators did not capture Jane Austen's essence very well. In reality, she was more like an English Chekhov of the late 18th century. She had her own thoughts about the manners and conventions of the confined aristocratic society, and her novels can be read more as a gentle social satire on contemporary morality. However, the humor in the film shifted more toward romantic comedy than satire. Keira Knightley is perfect for her role - delicate, fragile, romantic, and charming. However, her male counterpart lacks the charisma that Colin Firth showed ten years earlier. The cinematography and the selection of exteriors are very good, and the period music accompaniment is pleasant as well. Overall impression: 70%.

This was a nice surprise. It's an interestingly shot spy thriller that clearly differentiates itself from the usual productions and avoids typical genre clichés. Eduardo Noriega managed to give the main character credibility, and his transformation from an idealistic young man to a seasoned secret service agent is believable. The story is even more interesting because it is based on real events. The creeping decay of the authoritarian regime is depicted almost incidentally through military and police leadership meetings. The film also shows the personal cost a person must pay when they choose to disguise themselves and suppress their own identity. Two scenes spoil the overall impression: in the first, Wolf unnecessarily risks being shot by revealing the true identity of an ETA member, just to prove his moral superiority (pathetic and clichéd), and the second is the final "briefing" by the head of the secret service, where he describes how terrorists and police forces need each other. However, the head of the secret service would never make such an open admission, as clever viewers will figure it out anyway. Overall impression: 90%.

Vladimír Menšík is primarily known as an entertainer, master of ceremonies, and comedian. In the role of the peasant Špáta, he proved himself to be a first-rate character actor, unmatched by many. The screenwriter and director succeeded in translating the outdated literary language of the 19th century into a modern form, creating a timeless story about how a simpleton found "happiness." The theme is similar to Chytilová's The Inheritance or Fuckoffguysgoodday, but in this film, the creators dealt with it in a much more civilized manner, with a tragic outcome. Besides the outstanding performance of Menšík, the other actors provide strong support - particularly memorable is Josef Bláha in the role of a ruthless manipulator. Overall impression: 100%.

A western from a period when public interest in the genre was waning, with the production of classic westerns shifting to Europe, giving rise to the phenomenon of so-called spaghetti westerns. In the USA, significantly fewer films were made than a decade earlier. However, they stopped being so formulaic, and there were attempts at innovation and new perspectives on the "Wild West" phenomenon. Bandolero! has a traditional form, but the characters are more nuanced and not just black-and-white. Another positive aspect is the decent acting performances. Overall impression: 50%, but genre enthusiasts can safely add another 10-20%.