Kaka

I didn't believe it, the psychological foundation of the characters was not strong enough in the context of their development, as well as in the construction and flow of the story. I didn't believe Ian McKellen as a war criminal (even though his march was impressive), I didn't believe Brad Renfro's transformation from a top student to a twisted and vulgar teenager, and the initially suggestive and captivating narration about the gas chambers didn't affect me significantly. Bryan Singer doesn't know how to work with emotions, that's a fact that bothers me in his films, and I don't remember any of his creations enriching me in this regard. Maybe I'm mistaken and I'm just not tuned into his wavelength. Very interesting material, a shocking scene with a veteran in the hospital, and that's about it.

The only thing worth mentioning is the final shootout, when a group of about a hundred soldiers led by the main antagonist, Commissioner Harem (Geoffrey Rush), surrounds the house where the entire gang of four mates is hiding. It is excellently filmed, and most importantly, the amusing and truly exciting idea with the armor, where you has to support the not-so-charismatic heroes whether you want to or not. The leading actors are not too convincing, and that is probably the main flaw of this whole pompous project, a creation that can be characterized as average and easily forgettable. And I haven't even mentioned the several-minute-long and completely unnecessary barking of Naomi Watts, who was really there just for that attractive Australian look.

Robert Redford doesn’t needs this, but his performance as a businessman is definitely worth mentioning, at least as much as the role of a mysterious kidnapper played by Willem Dafoe. The kidnapping plot is very simple, with a straightforward narrative and minimalist music, but it hides a fairly solid and tangible depth in its simple message and restrained dialogues, and it’s definitely not an unnecessary product belonging to the past. The editing is extremely interesting, thanks to which the plot is relatively gripping and unpredictable despite its sparseness. A similar style was seen, for example, in 21 Grams, although it was much more striking there. Redford is still in.

A surprisingly balanced and bearable mix of romance and drama in an excellent visual package. Primarily benefiting from the setting, this relatively simple piece by the otherwise average and stereotypical Sydney Pollack stands out. Havana is a beautiful place, and the story set before the revolution in the 1950s has a literal magical charm, and appropriately supporting music and the charismatic Robert Redford are just the right additions. There isn't much to talk about in terms of acting, but Lena Olin is captivating, she handles the stronger scenes (of which there are not many) excellently. The characters can be somewhat confusing during the relatively long runtime, but the ending is satisfying, and the romance itself is decidedly mature, so why not.

Absolutely brilliant in its direction, Brian De Palma's style is incredibly progressive and purposeful, at times, it feels like being on a roller coaster. It starts with a phenomenally shot scene in the showers, continues with several silent scenes (only music and image), and ends with the division of the screen into several frames and the sped-up voices of the actors. Insane, but incredibly daring. Some of the script tricks are hard to understand, but the story itself is relatively simple. However, it is the director's skills that truly stand out on this relatively flat and straightforward film. Sissy Spacek is not particularly terrifying, and even the final scene did not make me cover my eyes – although it is impressive, no doubt. However, there are several significantly better adaptations of Stephen King's books that easily overshadow the slightly above-average Carrie.

It's hard to believe, but DMX is truly an incredibly cool motherfucker. You can shake your head at his wisecracks, but you’ll end up devouring them without even realizing it. Surprisingly, the story is decent and the runtime is just right. Unlike typical American “gangsta” movies, there is raw action and a digital camera (mostly filmed at night), which are very welcome things. Furthermore, the ending adds a pleasant breeze of unexpected twists to a somewhat worn-out plot. The film overall is not innovative, but it is presented in a truly original way, without moralizing, motherly speeches, or an attempt at redemption. DMX is simply a scoundrel, but you can't help but like him.

George P. Cosmatos approached it differently than most of his colleagues. He managed to shoot a straightforward and decent western, full of tough men, mysterious villains, beautiful women, and the right moral values and principles. Tombstone is simple and predictable in terms of plot, but at the same time, it is so dynamic and mature that you cannot fault the creator. The biggest asset is, of course, the star-studded cast. Kurt Russell is incredible, but in my eyes, Val Kilmer, who plays the tuberculosis-stricken Doc, is the best character, and his final duel is absolutely unexpected. Michael Biehn's portrayal of Ringo is also exemplary – his Latin dialogue with Doc is captivating. The action is fierce and dynamic; this film has everything needed for above-average entertainment, there is no need to hesitate. Tombstone is worth watching.

Ron Howard is unable to shoot a properly gripping film, but Ransom is thematically so interesting that the two-hour runtime can be easily endured. There is, of course, no shortage of clichés, and occasionally the film even reaches for that mainstream Hollywood feel, but there are moments of light with some particularly excellent scenes. Gary Sinise's clever “cop killer” move is worth mentioning, as well as the incredibly suggestive “urination” scene towards the end, and especially the telephone dialogues between Mel Gibson and the kidnappers. The character of Delroy Lindo is a bit of a hindrance, as he doesn't have any deeper justification (or at least I didn't find it). Finally, it would be good to mention the excellent action, there’s an unusual amount of blood for Howard.

Not much action, bad actors, no plot, and on top of it all, some kind of wannabe philosophical musings about a new world. It really doesn't work together. Surprisingly, considering the increased budget, the film doesn't live up to expectations. The several beautiful shots of the desert horizon have little to do with the finances, and the production design is not particularly impressive. Everything feels very cheap and it doesn't have anything to do with the attempt to evoke a sense of authenticity of desert dwellings. Tina Turner is quite a monstrous acting mistake and I don't quite understand her presence here, and the whole skeletal structure of the plot is tragic, literally about nothing. The Thunderdome is essentially present only in the opening fight, and the rest is Mel Gibson wandering, dying, searching for himself, leading a group, etc... The worst part.

Average content packaged in a brutally intellectual and visually distinctive guise that doesn’t fit everyone flawlessly. Peter Jackson is bursting with directorial ideas at every step, some are good, some not so much, but it is difficult for anyone to criticize his directorial talent in the end. However, the film does have its deaf spots, with some unconvincing scenes in terms of the performances of the actresses – their roles were extremely demanding, but somehow nobody cares. The cinematography is also memorable, which in many aspects (fast transition between whole and detail) reminds of the legendary B-movies on which Jackson built his career. Overall, however, the film is somewhat unrelatable for me as it revolves around two girls. The ending can be understood, yet it strongly contrasts with the rest of the story, which is at least peculiar.