Lima

The opening scene with the plane crash is brilliant and some of the deaths are delightfully sophisticated, but the film doesn’t have much else to offer. As time went on, my initial enthusiasm wore off and the ending with the deadly electric cable is quite dodgy.

The film is not badly made at all, but the fact that Demi Moore attempts to style herself into the role of a badass warrior, especially in her full-contact fight during one sequence, really doesn't scare me. Moore was a co-producer and I feel Scott allowed her to get more involved than appropriate.

Geena Davis was supposed to revive her fading popularity with the help of her husband. The result was the exact opposite. I feel sorry for Renny Harlin, because considering what a monumental flop this film was, he didn't do a bad job at all.

Even though it’s a made-for-TV movie, it was released in cinemas here many years ago. It should be said that for its time it’s pretty good. One of the best films of Kabir Bedi’s, who otherwise floundered in B-movies.

I can't help it, but at the end of the film Lars von Trier tries to wring tears out of the audience at any cost, proving his famous cynicism, which works reliably in many of his films, but not here. He could have spared us the moment at the end when Björk cries hysterically as the hood is pulled over her head. It was cheap and gratuitous, and that's when von Trier's went too far. The three stars go mainly for the music and the great performances, especially David Morse and Björk, who literally lives her role.

Another French attempt to make a film in a Hollywood package, but this time it got out of hand. The result is a mess, with a monster like in Predator, a victim caught like in Jaws, love, sex, kung fu (in 17th century France !!), an Indian, a mutant villain, etc. It's terrible crap, but I have to say I wasn't bored.

One of the few films with Dolph Lundgren that I liked. Of course, it's not Lundgren's merit, but the gentleman behind the camera, John Woo is simply amazing.

Mad Max Czech style. A very bizarre and original film. I'm amazed that such a thing could have been created under the commies. It only ran in a few theaters after the revolution. I recommend it wholeheartedly, but I have no clue where you can get it.

A rather enjoyable prison drama in the vein of Escape from Alcatraz and Shawshank. Even the expected clichés like predictable developments and evil guards are bearable for some mysterious reason. Unfortunately, the last 15 minutes make the film a rather hard to believe fable, which is a shame. Otherwise, I would recommend my colleague Rady to visit a zoo to study the mimicry of primates, his comment about Stallone is a bit off, I would say. Sly played his part, and he played it believably and likeably.

A mediocre poliziotteschi from the year when the popularity of this once super popular subgenre in Italian cinemas of the 70's started to slowly fade away and so did the yappy career of the charismatic Luc Merenda, who looked good on camera, but in all his films acted exactly the same, with a limited acting register. And Dardano Sacchetti, to him be eternal glory for his scripts for Fulci's masterpieces, didn't do anything world-class here either. We've got stolen drugs from the mafia, a bank robbery (which itself, by the way, was often used in poliziotteschi, I've seen it myself in at least five films), some violence, one naked pretty Italian girl, two weak car chases, just... over and over again, nothing we haven't seen in previous films of the genre. I'm not surprised the Italians themselves started to get into it. There's some attempt at levity here, delivered by Merenda's hunchbacked sidekick (perhaps to make Merenda's tall figure stand out) who throws childish jabs, but it doesn't work either, I was bored. Umberto Lenzi's films with Maurizio Merli were a different brew, dumb as a bag of bricks, but high-octane from start to finish.