Kaka

First-class and now deservedly legendary action movie, whose director managed to get the most out of the minimum. But that was back when John McTiernan still had form and didn't direct nonsense like his last few outputs. Predator has all the attributes that a proper action movie should have: tough heroes, a merciless killer, gripping atmosphere, excellent use of the harsh nature, which with the help of solid camera work often instills fear even without the direct presence of the hunter. And last but not least, there is also the great Arnold, who is tougher than the whole terrorist camp combined. A milestone that became a classic of its kind a long time ago.

Thematically, it’s a very interesting and relatively fresh thriller, but it can confuse to death the average viewer ignorant of the local oil battle, and therefore the main. The plot structure is complicated, the intertwining of several stories is veiled, and navigating through them is an extremely difficult nut to crack. I see that as the most fundamental flaw of the film. The screenwriter should be aware that the majority of people are not involved in the oil industry, so they simply do not know, do not understand and cannot keep up, and the total mess the names is just an additional bonus. A bit more clarity and explanations, a bit less gas and some additional emotions, and it could have been a top-notch political thriller. Like this, it is a smart and unnecessarily complex film with a much simpler core, which is as dry as a hundred-year-old whiskey. Minimalist music and a few raw scenes do not make a good film either.

Clint Eastwood is strongly off-topic in the war theme, instead of the dynamic friendship of young boys, he presents us with a tearful story about one significant photo and the completely uninteresting wrangling around it. The relatively significant departure from the war theme itself – that is, the fights, or America good, Germany/Japan bad – can be considered an interesting idea. The financial flows and the distortion of the national economy during wartime are lightly outlined, so the viewer is not only forced to count body. There is action, of course, but it lacks the rawness of Saving Private Ryan. There are novel views from the cockpits of fighter planes that catch attention, a slightly more detailed look at the weapons or tactics of the enemy, and magnificent scenes of the island being bombarded by battleships. The landing scenes are not as impressive, and it’s clear Eastwood is an old man, it’s missing speed. Overall, it is rather an average attempt to look at a military conflict from a slightly different perspective. The idea is good, but somewhat halfway through completion.

An incredibly gripping masterpiece in a stylish sci-fi guise that is not marred by the understandably convoluted plot involving time travel. Tony Scott has cut down with the epileptic editing, tamed the frantic camera, and now there is something to watch again. After the visually stunning but narratively unexciting Domino, the technical genius brings us a thrilling story that speaks much more to a wider audience. Even though it’s less action-packed, it’s far more thrilling and dynamic, and above all, there are a lot more emotions, like, simple looks into the eyes. There are a few flaws and the aforementioned narrative tricks and crutches, but they couldn't be avoided. Also, the motive of the killer is somehow bland and unsatisfying. But that does not change the fact that Scott is currently an absolute number one in terms of audiovisuals, and with a skillful screenwriter, it usually results in an interesting cinematic addition.

A traditionally strong film in terms of story that relies not only on absolutely confident direction, but above all on a stellar cast where no one who can stand out as the best. The best scene, however, is not as remarkable as one would expect. It is the one where De Niro describes the weight deficits with the typical snap we love from famous mafia dudes. If we look at the film as a whole, thematically it is immensely attractive and visually appealing, and that alone makes it essentially fit into the role of a favorite that will simply be liked. And yes, it definitely will.

James Spader's role as an FBI agent is questionable in this otherwise average and unremarkable thriller. Personally, I found it fitting, he portrays the federal agent convincingly, his remarks are accurate, and his character is smart enough. But it’s hard to understand what Keanu Reeves was doing there, just like the whole wannabe cool plot. It's a pointless waste of time, and I don't understand how this project got the green light from the studio given the budget.

There are films that you simply and easily fall in love with, even if you don't really know why. I want the 1990s back with its typical romanticism, heroes with their hearts in the right place, great action, ordinary stories, and its unique and unmistakable electronic and rock music.

Lasse Hallström can create a somewhat romantic atmosphere, or a little-town idyll. What was missing in most of films of his that I’ve seen is the necessary emotional power, or perhaps the magic, that can leave a lasting impact on a person. Chocolate is the first one that has somewhat succeeded in this. It is impossible to resist comparing it to the similarly romanticized The Cider House Rules, which, despite its sunny shots and “cute” faces, had almost no emotions and ended up labeled as “overly sweet”. Chocolate is just right, considering its name, it even has a slightly bitter taste at times. Nevertheless, it maintains an irresistibly romantic mood throughout, full of good-hearted individuals of all ages and the fact that a woman's heart can possess the same amount of strength as ten sumo wrestlers.

The downward trend in the quality of this monstrous trilogy becomes truly unbearable in the third, and hopefully last, installment. Compared to the first part, the action sequences are unnecessarily bloated and computer-generated (the only well-shot scenes are the cannon shots). In contrast to the second part, the there’s less exaggeration and over-the-top wit from the main characters, who were not always truly funny, but the viewer was generally entertained. This can hardly be said about the third part, though. Apart from a few scenes, most situations are downright ridiculous and cliché, not to mention the incredibly muddled editing and sequence of scenes. I don't think we should incredulously shake our heads wondering if the director is serious, not even in the case of Pirates of the Caribbean. And here, there are not many restraints.

A fast and relatively entertaining story, primarily relying en the excellent performances of the Al Pacino and Johnny Depp. The former does not play anything new, it’s still the same good-old mafia pose with a healthy dose of vulgar expressions and his own thinking, as we are used to. On the other hand, the transformation Depp undergoes during the film, is extremely interesting. The connections between the characters are carefully portrayed with perfect timing and polished dialogues. However, this story is already quite worn out, despite the fact that Al is not the big boss this time, he’s a small time outsider struggling with his life failure, but this does not change anything on his big heart. It's an entertaining film, but far from being as high-quality as other milestones.