Kaka

A bleak, exclusively interior film with little panache. It's a bit of a shame, but you don't come across Spielberg every day, so the artistry is for next time. Fortunately, Anthropoid makes up for this with passion for the material, tenacity and a gripping last half hour. Murphy and Dornan are awesome. The testimonial value is of course next level.

Creativity? If only! Gone Girl 2, but for a less sophisticated audience that hasn’t seen much and only knows Fincher from the train. Thanks to the novel it's based on, Girl on The Train has the potential to be a chilling and distinctive thriller, but that potential is nullified by a twist that anyone can guess halfway through the film. The other thing that doesn't work reliably is the editing and all the flashbacks and time jumping. Someone must have been under the influence of drugs, because it is very difficult for the viewer to piece together what, when, where, how, and anyway they explain it semi-literally and literally at the end, even though leaving loose ends would have been so much better. Emily Blunt gives a performance that makes you hope from the halfway point that she will take off her autumn coat, show her muscles and start doing good with a gun in her hand, but it doesn’t happen.

Zwick took it differently and badly. He seems to have abandoned the main strengths of the first one and serves us a second story of an agent with a mysterious past with a minimal portion of insight, which, however, does not so much play the main role, but only in details dilutes the damn serious note, which is itself the biggest criminal cliché in recent times. Unfortunately, even the screenwriting and framing of the story is first-rate Hollywood cynicism and dullness. In other words, you get all the ills that scripts for ordinary action films have, and as a result, all the twists and attempts fizzle out in the end. It's partly saved by the usually top-notch action Zwick has always been good at, but you'll still miss the slow, frantically unedited brawl from the first episode. Cruise is great, the family element is questionable and brings down the overall rating. After the first one, which caused a solid fan breakdown and there was talk of another agent like Bond and Hunt, came a cold shower and who knows what will happen with the third film.

An interesting existential probe among a specific breed of emotional and life failures, but in essence it is a similar social experiment to the likes of Eternal Sunshine of the Spotless Mind. In other words, a very bizarre film where you have nothing to like and only shrug in appreciation of the sophisticated script, the editing and the acting.

A fantastic drug theme and a story where even the most authoritative of the authoritative wander in – the stuff of epic, or at least worthwhile, cinema. It's therefore a great shame that The Infiltrator looks more like a proud representative of a direct-to-DVD-movie that only die-hard genre fans will rent rather than a first-rate blockbuster. With a better layout, a more refined, epic execution, and a sharper pace, I'm sure it would have been a lot more fun. A bit better than the mess Black Mass was, but with very similar ingredients and flaws.

Impressive in its time, perhaps a bit shocking, as there were relatively few of these narrative survival films until the early 1990s, and those few were only marginally impressive due to poor technical quality. Even here, there is an annoying rear projection and a few other ailments, but the impressive cinematography and the riveting Andes do their job. The bland pacing and many dull scenes, on the other hand, bring it down to average, and you basically tiptoe around the film's biggest highlight. It has lost its urgency and luster over time, but it's still solid filmmaking with a damn serious theme based on a true story. And it also stars Ethan Hawke and Lionel Messi!

A not very accomplished attempt at retro. The traditionally charismatic Gibson is great, but it lacks directness and impact, it drags too much and is drowning in tons of dialogue filler. The few bright moments are mostly action scenes, or when the cinematographer, or the screenwriter, has a bright moment and there's something cool for a few seconds, which is what we love about these redneck oldschool action movies.

Quite a lot of value for a few bucks. An attractive victim, two interesting bad guys, a great atmosphere, a traditional cold British style. The creative newcomers took on a stylish everybody betrays everybody story and it turned out solid. It's a pity the first part is so well laid out, because it starts to get a bit thin towards the end. But the potential for the future is huge.

Awesome spectacle. The opening 20-minute handheld camera shot, which looks like a semi-documentary about blokes on oil rigs, is perhaps even cooler than the occasionally slightly stereotypical and frenetically edited banging and destroying everything possible and impossible. Kurt Russel and Mark Wahlberg are both top-notch, in roles that fit them perfectly, so almost everyone will be rooting for them. A minimum of pathos and a decent portion of unadulterated emotions speak for Berg. I think this is a decent tribute to another catastrophe that affected millions of people. It’s not as precisely documentary-like as United 93 for instance, but it’s not nearly as pathetic as the likes of World Trade Center.

This is a good looking film, but one where nothing works the way it should. The opening piano and drawn-out shots give the feeling that a serious note will be played and serious matters will be dealt with, but then things become very absurd. The stellar cast is just for show, because they don’t have much to play with, the tales of money laundering and evil Russians aren't much either, we've seen that elsewhere and much better. Moreover, the whole thing is woefully lacking in suspense and painfully predictable, including the ending, or the final twist. But the worst part is the fact that it lacks logic and common sense. The story unfolds in a way that is hard to believe the protagonists would go that far. And even if one tries to turn a blind eye, after all it is a film, here it was so blatant. Rarely does such a well-cast and good-looking film with an interesting and engaging premise turn out so miserably.