Kaka

A very different and original film. The Coens have finally stopped messing around with the awkwardly rough comedies that I found so desperately boring and instead made a hard-hitting film without humor, with an atmosphere that could be cut with a knife and action scenes that could be in a film textbook; without a single slow-motion shot, absolutely unpredictable, raw, brutal, realistic, and excellent. The only thing that bothered me was the storyline with the peculiar policeman Tommy Lee Jones. His lamenting over the old times that will never return somehow didn't fit well with the tough story about two tough guys competing for a hefty bundle of money.

One of the most original romantic films of recent years, and surprisingly, it is not as sugary as expected. The creators hold the story firmly in their hands and never allow unnecessary sentiment. Hilary Swank is crazy, honest, touching, playful, genuine, believable, captivating, magnificent One of the best actresses of contemporary Hollywood excels in an incredible way, overshadowing her somewhat unremarkable friends, her mother, and even her deceased husband. A clever and quite suspenseful film that not only makes you cry, but also laugh and sometimes even think.

Atmospherically, it's an excellently executed piece of work, which, despite several undeniable virtues and innovations, unfortunately doesn't quite work. The depopulated New York is captivating, but the cause of that smacks of sloppy work and is very sketchy. The atmosphere is gripping, just like the sound effects with outdoor noises and echoes throughout the night. The villains on the other hand, are so awkward. They look very digital, meditating in an abandoned house without reacting to light for a moment, then behaving like a hungry pack with a brain the size of a pea, and in a moment, the leader (WTF?) throws orders and gestures cheerfully and without inhibitions. We actually learn absolutely nothing about their intelligence, strength, and way of life. Everything revolves only around the attempt to save and the abandoned Will Smith, who is excellent. The ending is predictably predictable and it remains to be stated that I Am Legend will not be a legend.

My god, so much hype! The discussion forum had several thousand posts before the premiere, half of the FilmBooster users experienced many sleepless nights playing the same trailer over and over again, and impatiently crossed off the days on the calendar until the midnight premiere, for which tickets had been lying on the table for quite a few days, of course. And all of this was totally shit, because as usual, the most anticipated blockbuster of the year, if not the decade, is utter crap, and nobody can believe what actually happened and what went wrong. Indy is the past. The feeling of the 1980s will never return, just like the time when these films were made. Spielberg tries to stick to the old ways (titles, references to age, sound of fights, filter-free camera), but brutally knocks himself down with a ton of visual effects and accumulating nonsense, which are a bit too much even for the playful Indy. Ford surprised me with his strength and vitality – he can still handle his fists and whip well – but otherwise it's just a plain and boring setup mashed up with today's trend of “action - plot, action - plot, action - plot...”. Boring and average, not even pretty. Even Temple of Doom entertained me more.

Too simple of a film considering its runnng time, focusing too much on the main character at the expense of everything and everyone else. The story revolves around him, with the other characters just floating about and occasionally adding something. The action is fairly decent, but there's not enough of it, and it sometimes felt like it was forcefully inserted just to wake up the audience, who most likely can't help but doze off. Interesting cast, a well-developed main character (emotions, losses, successes), and solid atmospheric music. There really isn't much else to it.

It is a blast, but sometimes the excessive effort to push for authenticity at all costs can be bothersome. After all, there are simply moments when even the toughest journalist, reporter or cameraman wouldn’t be able hold the camera and would run to save their own life. So besides the fact that director, Matt Reeves, basically shouts to the world “look how realistically I filmed this” thanks to these scenes, the film does not suffer from any significant shortcomings. The characters behave quite believably, the chaos and confusion are excellently portrayed, and the sense of unpredictability is brilliant. Only the clichéd subplots of the story (except for the rampage of the monster and the rescue of the loved one – as later revealed) get a bit boring, but among all the explosions, shooting, and falling buildings, there is not much time for it anyway.

An entertaining film and pretty mature in terms of direction and script, which is especially surprising when it comes to the former, as Danny DeVito, who did not have much experience with big-budget productions at the time, took on the project with verve and enthusiasm and the result corresponds to that. The dialogues between the family members are meticulously crafted and there is no shortage of entertaining scenes. Kathleen Turner doesn't attract me at all, but that is just my personal handicap. Michael Douglas plays his classic businessman excellently again. The harsh ending, which deviates significantly from Hollywood's sweet and predictable paths, is also good.

This intellectually stupid trend never ceases to fascinate me. As soon as there is a movie with supernatural phenomena, told non-linearly, and, God forbid, with a conclusion without a rational explanation, the world falls into mass hysteria and this place is crawling with full-fledged ratings like ants in an anthill. If I were to see this crap again, they will probably have to take me to the hospital for boredom and lack of originality poisoning. Richard Kelly relies purely on bespectacled intellectuals, who latch on like wasps to candy, and he couldn't care less that this totally disjointed film offers absolutely no rational explanation or meaning (similarly to Lynch, for example). And it's no wonder when it feels that way. A first-class muddled mess without a point. Two stars for a well-portrayed family and Mary McDonnell's performance.

A truly humorous take on the Middle Ages with an unusually asinine mysterious “feeling” and wannabe bloody action scenes. I really don't understand the message of this movie because sometimes you have a “WTF feeling” and wonder if the people behind it are right in the head. And believe it or not, this two hours actors bickering feels anything but cinematic. Obviously, there were times when Paul Verhoeven was still wet behind the ears and had a long way to go before achieving shock and chills. At least he practiced on this farce. Unfortunately, it essentially caused the end of Rutger Hauer, who over time started appearing more and more in supporting roles, which is relatively strange because even as a twisted mercenary, he has quite a lot of charisma.

An ode to the character of Al Pacino, and by extension, his captivating performance in the lead role. His cop portrays one of the most tenacious guardians of the law in the history of the silver screen, and it’s definitely worth watching. Unfortunately, major technical errors and deficiencies and the simplicity and straightforwardness of the screenplay bring down the film to an average level. The blatantly botched editing work in the faster-paced scenes, coupled with the insane artificial blood, will not exactly uplift the viewer. Nevertheless, it is difficult to be too angry at this legend. Al is a great likable character and practically carries the film all on his own.