Kaka

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.

Visually the most robust and opulent Bond film in a very long time, considering that today's trend is economical, raw, and down-to-earth filmmaking. The hazy digital effects can be survived, there aren't so many of them, but overall, it's occasionally too over the top. Pierce Brosnan delivers his lines decently and the Bond girls are a good. A number exotic locations, great action, and a loaded technical side, but it lacks charm, tension and atmosphere. A wild ride and a culmination of one decade of filmmaking.

After several big flops, this is the latest thrilling and truly action-packed Steven Seagal flick. Even though it's not old school anymore and instead of Japanese flutes, we have the atmosphere colored by African Americans, it has something to it. Andrzej Bartkowiak surprisingly manages to seamlessly combine two such different things: old fox Steven and the modern edge of hi-tech action popcorn. Other surprises are the unusually high-quality action scenes (the shootout in the offices) and above all DMX. This non-actor plays a likable character, from whom you would wish a visit to any car showroom. Surprisingly action-packed and lightly humorous entertainment that stands out from the master's filmography not only for its stylish direction and strongly American motifs but also for the unorthodox approach to the main hero's story (an outsider).

If we overlook the fact that this story of a heroic president (and former soldier) is very far-fetched and spiced up with a proper dose of patriotism and heroism, it is a relatively high-quality film with exceptionally realistic action scenes. Harrison Ford doesn’t strain himself too much in his role, but Gary Oldman had his rough Russian accent intricately polished – unbelievably so. And it was precisely him who dominated the acting. It is entertaining and thrilling as well, just needs to be taken with a grain of salt.

With the passage of time, it's not nearly the same. Technically, the film is quite inconsistent, the scenes are sometimes half-hearted, and only the creatively dynamic execution, several high-quality action scenes, and the two protagonists save the honor. The second one is much more lively and enduring. It's noticeable that Stephen Norrington is not a top-notch director and that there were budget constraints. It's a quality B-movie, but it can't be compared to the brutal nature of the second one. And this is true even though the plot is slightly denser here.

Godzilla is a hit, but a slightly questionable one. It can never be taken seriously, even a little bit. Unfortunately, sometimes it seems that way (the music, the script), but if you consider the cast and the overall atmosphere, it is clear that they all had a great time on set. Technically, it is very variable, with almost perfect static shots of Godzilla in the city alternated with striking computer-generated scenes of fast chases between skyscrapers. Logically, the movie is very silly (Godzilla moving in underground tunnels?), but as an entertaining break and a showcase of all possible and impossible effects, why not? Is not that often that you see a devastated Manhattan. Roland Emmerich wanted to entertain, not frighten.

Basically, this is where the Aikido master buried his career, or rather, it's best to stop. On Deadly Ground is really bad, soft, and fake for effect. Steven Seagal as an eco-warrior is unbelievable and doesn't do it from the heart, and although he's essentially right in what he says at the end, the style in which he presents it is not the best. In his previous movies, it usually was about revenge or sorting things out, the plot was always something personal for the hero. This time it's different, and for the first time, you could say “he's not the same old tough Steven anymore.” Technically, On Deadly Ground is surprisingly very bad considering the budget (obvious decorations and miniatures) – and that crazy dream scene. The scenes with Eskimos are the worst in the whole movie. There are several action scenes that are passable, as usual, but there aren't many of them. The final fireworks are boring.