Kaka

It's a completely stupid affair, but Van Damme tends to act deadly serious in all of his action films. It's hard to say whether it was the writers or the director who pushed him towards the opposite, but surprisingly, it works. In combination with the completely contrasting Mickey Rourke, whose character I almost like the most in his filmography, it can't be anything but average. I've seen better action in the filmography of the Belgian and the technical intricacies won't impress that much.

The action and the disastrous flood are equal partners in this not very well-known, but qualitatively decent action film full of water, small town hooligans, and scooter chases. The change compared to the usual tracks is not only in the setting and emphasis on natural elements, from which the director extracted the maximum, but the main character is quite unconventional, too. Christian Slater is no bruiser, he's an unremarkable and non-confrontational police officer who happens to have come into contact with much sharper and more brash thugs. And despite not being a great actor, his unique type of “invisible” charisma works surprisingly well. A wet and dirty thoroughbred action film in a very interesting water setting.

“I'll be asleep, and all the sudden there he is, that big smile. You know that smile. And I say, 'Hey, Bobby - where you been?' but he won't tell me. He just smiles and says, 'Remember, Christina: I'll always love you; I loved you the moment I saw you; I love you now; and I love you forever. There's no goodbyes - there's only love, Christina; only love. Then he's gone. But he's always happy when he goes so I know he's got to be okay - absolutely okay.”

Taylor Hackford is an old man, so this modern action film set in the Eastern looks very retro in his interpretation, surprisingly not to its disadvantage. The spark between Russel Crowe and Meg Ryan was very controversial at the time, so why not turn the page instead. Quality action, impressive sound, and the sequences from POW camps are realistically portrayed within the possibilities. It's far from a documentary style, there is still too much American cliché, but it's not downright bad either. It's just simple enough, aggressive enough, and action-packed enough for the audience.

A technically captivating and visually impressive romance that for me lacks the right attributes. The Asian setting and strongly non-standard elements are, admittedly, stunning in their unusualness, but on the other hand, they sometimes appear overly poetic in an effort to show the direction that applause and Oscars should take. An exceptional work, but certainly not among the elite company of the best.

The gorgeous Catherine McCormack literally steals the whole film for herself and I don't mind it at all. Her captivating performance as an involuntary courtesan is unforgettable, it unleashes a whirlwind of emotions and creations that place her among the acting elites. There are no grandiose decorations, monumental sets, or twenty-million-dollar actors, yet everything fits perfectly even with a minimal budget. The plot is told in a captivating way, and the “oldest profession” is excellently portrayed halfway between comedy and drama. It is expertly dosed and brilliantly directed. Bravo! A fantastic film.

Jan De Bont basically drained all his energy on the first film, so the sequel is just a tired action ride, lacking any drive, compelling pace, or heroes to root for. Jason Patric tries as hard as he can, but the flawed script doesn't give him much opportunity to match up to Keanu Reeves’s performance from the first film. Sandra Bullock, once a tough driver, has turned into a ridiculous diva that starts getting on your nerves after about fifteen minutes. The finale is grand and quite alright, but otherwise it's an unnecessarily dragged-out and poorly executed action ride. A stupid and unnecessary sequel.

The action a level worse, the villains are less charismatic, and the plot is more idiotic with a motive so weak that it's almost funny. A very weak sequel. Kickboxer and the others at least had a pleasant touch of mysticism – partly because they were filmed outside of the US – and it is precisely this element that kills Lionheart.

Another legend. Van Damme can do everything, he takes down terrorists, masters acrobatics, and even showcases save of the year as a goalkeeper. It may be ridiculous, but it has its charm, especially for fans of the 1990s. The fights are decent, the villain is very elegant, and the visual effects very inconsistent, from the good (the rocket launcher) to the incredibly awkward (helicopter slow motion). It is very hard not to laugh during the over-the-top finale, but you have to take the Belgian tiger with a grain of salt. Clichéd and quite average, what else to expect from Peter Hyams?

I can't shake the impression that Steven Soderbergh went a bit overboard with the dialogues this time and should have pushed harder on the dynamics of the story. George Clooney is slick and Jennifer Lopez looks good, but in some parts, the drive disappears. It is also impossible not to notice the often messy and somewhat convoluted editing, which is like an eyesore in a chillout film. Three stars for maintaining a solid intellectual level despite some flaws, and for the incredibly shot, lit (!), sound-designed (!), and acted romantic scene in the restaurant and hotel, which is undoubtedly among the top 10 in the history of the silver screen, supported by beautiful set design (room decor) and captivating details (snowflakes fluttering outside the window).