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I won't hide the fact that I expected a bit more from it. The first half is a compelling look at the growing friendship between a beleaguered bodyguard and a charming young girl, which is a joy to watch thanks to the performances and Scott's precise direction. The second half, marked by Washington's revenge and the liquidation of the kidnappers, does not lack momentum and brutality, but it’s surprisingly cold and the jerky camera got on my nerves instead of making everything more interesting. But that doesn't change the fact that Tony Scott was a great director who could make even a wheelchair chase look spectacular, and his action prowess and experience can be felt in every scene and especially in the ending. Man on Fire didn't impress me given the reviews, but on the other hand it didn't bore me for a moment. 3.5*

I've always been terribly sceptical of vampire horror movies, and I can't recall a single one that has captivated me in any significant way. 30 Days of Night is the exception that proves the rule. What I mean by this is that if a good director and producer come together, concoct a spectacular and imaginative story, and surround everything with the tried and tested setting of a peaceful Nordic town, even an almost empty genre barrel can yield a great load of modern horror action. The film is not without a few unavoidable clichés and some scenes feel like a reunion with an old friend with a penchant for brutal violence, but otherwise David Slade has handled the premise really masterfully and this is definitely not a routine B-movie. Most of the credit, however, goes to the hideously looking vampires, who are truly frightening and probably one of the most successful horror villains since Snyder's Dawn of the Dead. The great romantic ending just underscores everything... 80%

A film like from another world, hard to digest in only one screening and with a lot of question marks. What I missed the first time, however, Scorsese paid back after second viewing, and with interest. A masterfully crystallised script, a carefully constructed atmosphere, great performances and a powerfully uncomfortable setting on a bleak rocky island, all this accompanied by one of the best soundtracks of the last few years. From the very first seconds, the master's direction gives the impression that we’re watching something really big and unusual, and every scene seems to suggest that we have already seen it all and nothing could surprise us, only to be covered by a thick veil of uncertainty and mystery in the next moment. DiCaprio is great in the lead role, and has definitively shredded the huge ego of the teen idol; likewise veteran Ben Kingsley with his captivating gaze, but he doesn't have to convince anyone of his acting qualities anymore. Shutter Island will never be groundbreaking for me, and its incoherence of thought is not the right nut to crack in my cinematic diet, but it still managed to captivate me for more than two hours and I was like in a trance awaiting the final reveal, which puts a very appealing, but for my taste too prolonged and overly glossy crown on the artfully glued puzzle. 80%

A classic book adapted to the screen with rarely seen precision and perfection. The brilliant performances dominate a story from the ranks of the Czech People's Army that doesn’t spare apt humour and perfectly lightens the then hated socialist regime.

I didn’t like Life of Brian at all, but King Arthur galloping on his invisible steed had undeniable charm. The humour is again terribly wacky and the script comes across as an absurd whirlwind of crazy dialogues that take on very modern social ethnicity, but this time the film left a much more holistic impression on me and made me laugh in every second scene. The Pythons simply had their own style, which is obviously a great success and which is so unconventional, strange and unreadable that it can reliably surprise the viewer at any time. Either negatively, as I felt with Brian's aforementioned adventure, or positively, which is the case with Arthur and the Knights of the Round Table, who on their quest for the Holy Grail have to overcome the mysterious knights who say "Ni" or a deadly monster guarding the entrance to a remote cave. And all this with that amazing insight, disapproving remarks directly into the camera and a really unique conclusion that basically says it all. Just thinking about it puts me in a better mood.

I spent a lot of time watching this movie when I was a kid, and I always had fun. But when I look back at Dr. Dolittle now after 10 years, I can hardly help smiling bitterly. Was this farce really my favourite comedy? 50%

Very enjoyable entertainment with truly stellar voice actors, Zimmer's music and a beautifully rendered underwater world. The lawless con-artist Oscar has wit and panache, shy Lenny is cute and likeable, and De Niro's Don Lino is a proper mobster, though unfortunately he contributes to the story with no emotion, no surprises, and no significant moral overtones. The ingredients work and the film flows, but as a whole it gets lost in the crowded competition and has nothing to say...

I've always been attracted to legal dramas, if only because of the work they have to put to appeal to the viewer, especially with long interrogations and conversations in a quiet courtroom. But Coppola had absolutely no problem with that, because he got his hands on some truly great material about an aspiring lawyer and a young boy whose insurance company refuses to pay for his leukaemia treatment. And he also got an excellent cast led by Damon, DeVito, Voight, and Mickey Rourke, who once again delights in a smaller role. Coppola is a first-class director and he plays out the extensive legal battle at first in a slow pace, then at the very end he hits the gas hard and with the help of all the wonderful performances finishes just short of the world record, which still undeniably belongs to Demme's Philadephia and Schumacher's Time to Kill, both of which left me with more lasting memories.

Definitely better than the hyped first one, even fun at times, but I still couldn't shake the feeling that a 150 million-dollar movie should have offered, besides the endless action, a more meaningful story that would have made all the cool effects, monsters and, especially, the top-notch cast not sound completely empty. But the creators made absolutely no effort, and because of their concept, Wrath of the Titans becomes only a slightly less stupid, but twice as megalomaniacal sequence of spectacular action scenes, whose hypnotic effects are barely enough for those 90 minutes. A very energetic and brisk but completely useless fantasy that wastes the talents of Neeson and Fiennes. 60%

One of the best teen comedies! It beautifully exploits the American swagger with which our heroes enter every European backwater, excitedly chasing European girls and indulging in alcohol, which is allowed here from the age of 18. In this regard, what amused me the most was the short trip to Bratislava, which was depicted as a dump full of dilapidated blocks of flats, where you are the richest citizen of the country with less than two dollars – it didn't hurt. But really, the script as a whole is so wonderfully crazy and imaginative that I was happy to get carried away and take part in the greatest trip ever organized by the Americans in good old Europe. I'm just a bit sad now that I'm not a Manchester United supporter, their fan club is really cool! 80%