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This film is rightfully a forgotten escapade of its time, in which only the performances of the participants, especially Macháček with his ambiguously conceived provocateur and tough guy Josef Somr, work well in hindsight. Milan Sandhaus is also remarkable in a small role with little screen time. Vladimir Sís was a below-average director who failed to evoke any semblance of atmosphere and authenticity throughout the film. The soldiers do not behave like an elite group of professionals on an extreme mission but rather like a bunch of reserves on a training exercise. The dialogues sound unnatural at times, clearly written by someone with minimal understanding of battles in the South Pacific. Even the two stars I'm giving it are a generous reward for what the film can offer to today's audience. Overall impression: 30%.

American studios don't pay screenwriters such small money that they can't create somewhat more believable characters and more credible stories. The November Man is watchable, but I had no enthusiasm for it. Similar stories are brought to us by American action movies 12 times a year. Brosnan got to play a confident seasoned action hero in his old age, good for him. Overall impression: 40%.

In the 1980s, Hollywood practically gave up on the western genre and didn't return to it until the famous title Dances with Wolves. The Oscar success attracted the interest of studios, so in the first half of the 1990s, there were a number of attempts to revive the genre. Around the same time as Tombstone, Wyatt Earp was also created, which was sunk by Kasdan's megalomania, but the more realistic portrayal of Wyatt appealed to me more. Cosmatos' film is an attempt to revive the myth of the Wild West with all the classic clichés of gunfights and the most seductive romance. There's always a bit more pathos than necessary, there are countless grand words and heroic gazes, more bullets are fired than in many battles of the Civil War, and the villains are devilishly corrupt and of course, there are overwhelming numbers of them. It is miles away from real life in the American West and I have never enjoyed this kind of fairy tale. Fans of the genre may of course add one or even two stars, but for me, it was a waste of time. Overall impression: 40%.

As a little kid, I adored pudding, but more than eating from a full plate, I enjoyed hunting for scraps from the pot, those remnants that stuck to the bottom and walls of the container. I took perverse delight in it, and only because of that do I (hopefully) give the last season of Luther three stars - that way, I become immune to the visible effort to extract the last grains of commodity from the drying reservoir of minerals. Long ago, it lost the feeling of precision and cleverness, and now it just dutifully repeats the schemes that once excelled with the viewers. Even the return of Ruth Wilson no longer creates the same chemistry between John and his femme fatale. It's simply a mess in all aspects. But I will give it 50% because I really did like the stubborn black detective and his dangerous opponent.

For a long time, I neglected documentary series that relied on perfect cameras and panoramic shots, so I can afford to give Aerial Cities the highest rating. I simply haven't tired of this style yet. The series is built on impressiveness and effectiveness, and the camera delightfully focuses on monumental skyscrapers, industrial complexes, and technically sophisticated and daring architectural elements. It also includes shots of natural beauty, military complexes, and all elements that reinforce the feeling of American exceptionalism, prosperity, and strength. You will, of course, not find any examples of the decline of American cities such as Detroit there, nor any other troubling elements that would testify to problems or deficiencies. However, the series is truly convincing in what it aims to be, and the views captured from drones or helicopters are fascinating and at least entice you to ponder a tourist trip for exploration. Overall impression: 90%.

Some decisions are difficult to explain rationally. The Blues Brothers once upset me with its undemanding infantile spectacle, and I mercilessly gave the film a very poor review. I don't know what I was expecting to see when I started watching the sequel. Landis has not matured after 20 years and has stuck to straightforward crazy humor that definitely won't occupy more than a few of your nerve cells - and by a few, I truly mean two. Those who liked the first film will not be disappointed. It has the same absence of a meaningful plot, only this time, John Belushi was replaced by John Goodman. For me, it's a complete waste of time and I got the feeling that they completely missed the mark. Overall impression: 25%. If it weren't for a few musical numbers, the level of my despair would be absolute.

The album "Pink Floyd: The Wall" is one of those to which I regularly return with strict regularity, and the central musical motif brought my neighbors to madness when I was constantly playing it. Nevertheless, I avoided the film for many years because I suspected that Parker and I would not get along. In the past, I have encountered feature films conceived as hundred-minute music videos, and in my opinion, these projects fail because they would work great when divided into individual songs accompanied by visuals, but they do not hold together as a whole. They appear too inconsistent, and The Wall is a clear example of that. I would rate the six-minute music video "Another Brick in the Wall" on YouTube at 100%, but here, after 10 minutes, I already felt that my ominous suspicions were being fulfilled, and with each passing minute, I realized that I would appreciate just listening much more. The visuals simply interfere. This is not changed by the presence of many ideas, interesting animations, and great shots, because the film is supposed to function as a whole, not as a collection of parts. Overall impression: 45%.

The opening scene of a failed drug deal ending in a bloody shootout raises expectations supported by a decent cast of A-list actors. Such potential should not be wasted, which means you will be looking forward to an adrenaline-fueled genre ride. However, as the minutes tick away, doubts begin to creep into your expectations. The problem lies primarily in the typical B-movie script, which overlooks a lot in order for its original concept to work, and the logic takes a hit. The characters behave nonsensically and their ideas reek of absurdity. The disparate group of people besieged in a building easily repels the attacks of elite professionals with top-notch military training, massacring them way too easily. Additionally, Richet's direction is not at all inventive and does not help the film. Genre fans might add a star, but I will be more stingy. Overall impression: 45%.

The movie has a good camera and decent set design and Gian Maria Volonté, famous for his animalistic acting, was perhaps born for such borderline roles and certainly did not disgrace himself. On the other hand, it's quite cliché, and schematic, and the result in some places resembles a spaghetti western from a B-movie creator. For me, it's the weakest Damiani film I've had the pleasure to come across. Overall impression: 45%.

There are films that have a stupid script but solid direction. Then there are films with a decent script but terrible direction. And then there are films where both fail and unfortunately, Swelter belongs to that third category. Some folks say that the film has "average routine direction," but Parmer should consider that an honor. His editing is terrible, the action scenes are minimal which is fortunate because they are poorly shot, and it's evident that the director wanted to make a quick-draw Western because he fell in love with the fast and inappropriate drawing of guns in certain situations. The script is logically full of holes, and the only beacon of support is the cast. Not that you will find any A-list actors here, but the character actors do what is expected of them in a B-movie project, including Van Damme, who at least doesn't get in the way. Overall impression: 15%.