Kaka

A decent classic of the genre with a riveting acting duo that takes the rating up a notch. Steve McQueen in particular is absolutely brilliant, a guy you can't help but root for. Impressive visual effects (the large model of the building was especially well-made), skilled directing, and one suspenseful scene after another – that's how it should always be. However, I wouldn't go overboard with lamenting about its unsurpassed pinnacle in its genre. It is indeed high-quality, but also the first, hence a considerable bonus on top.

A triple portion of moralizing nonsense, tastelessly worn-out sentiment, and the fact that all good people will live a happy life, while all the bad ones will burn in hell. Sam Raimi must have had a fever during filming if he thought that this transparent, boring, and worn-out nonsense would satisfy the viewers who were expecting a golden peak after the original first film and its action-packed sequel. Instead of a peak, there is a tragic downfall, Spider-Man has become an idiot pointing finger-guns at passers-by, wearing a dreadful hairstyle, Mary Jane throws wisdom around like a shaman of an ancient African tribe in her twenties, and Harry Osborne sees his deceased father in the mirror. Some of the supporting roles may have been decent, but the rest is an annoying, dull, and visually repulsive (incredibly obvious presence of computers) ride where the beginning fizzles out of your head before you even see the end.

Adrian Lyne knows how to create a suffocating erotic atmosphere, but that is far from enough for the whole film. We practically learn nothing about the psychopath Glenn Close, her motives, her past, the reason why she acts this way – nothing at all. Her character is flat, like an airport runway, not to mention that she is visually repulsive, so Michael Douglas's infatuation seems very hard to believe, and it’s not really a question of taste. The dialogues are solid, Michael's acting is more than above average, he is fantastic in these “suit and tie” roles and his voice work is captivating. Unfortunately, the psychological connection of the film is somewhat lacking, and when Lyne doesn't know where to go, he throws a white rabbit or an amusement park in our way. The final scene, as traditionally hyped as it is in these types of films, is not exactly good.

It starts as solid-looking, smart science fiction with elements of drama, but it gradually turns into a wannabe philosophical nonsense that not even the the relatively decent visuals, the highly talented cast, and the suspense of the plot can save. The closer we get to the end, the more senseless this endeavor becomes. It opens with a monumental raising of the flag, continues with the survivor of a shipwreck, and the powerful ending can be seen in the form of a face and the fact that “they are us and we are them”. Stupid. Brian De Palma completely off the rails, or this is what happens when someone lets their imagination run wild and doesn't stick to what they do best.

Wesley Snipes surprisingly stepped away from his typically action-packed roles, and his detective from the murder department, facing eviction, was a refreshing change. If we overlook some unnecessary flashy escapades (the opening scene with a madman, the ending with the president), it is a solidly written and directed crime film, with a decently complicated screenplay, with just the right amount of action, which is, by the way, excellently filmed. There are some logical flaws and script deficiencies that disappoint, but not so many. Another relatively routine and average crime film, but it is definitely not a bad choice to kill two hours.

The first Coen brothers film that managed to relatively capture my interest. It’s a gangster flick with an excellently interwoven plot and good acting that takes a different direction than the classically linear Scorsese and similar directors who where supplying the film market with mobsters in very regular doses at that time. Here, most of the spotlight is taken by the brilliant Gabriel Byrne, but even Albert Finney and his “terminator” piece are worth seeing. Nothing groundbreaking, but certainly a must-see within the genre.

An ode to the rescue of nature, Deforestation, and the Issue of decreasing green areas on our planet. Simply put, it is presented powerfully, narrated smartly, and fairly well-acted within the genre. There are some phenomenal scenes, and just as important as the director's name is the main music composer, none other than the legendary Jerry Goldsmith. Although Medicine Man addresses current politics and the relationship between humans and nature, it is more of a classic adventure and thrilling story about the search for a cure for the worst disease of mankind, so the message remains somewhat halfway.

If we ignore the fact that, in terms of plot, Entrapment is somewhat “soupy” and mostly easygoing entertainment, it has one immense advantage (that many people might not notice): the relationship between Sean Connery and Catherine Zeta-Jones is brilliantly portrayed, especially from Connery's side. The intimate scenes (under the blanket, weaving through lasers) are the best, and Connery's facial expressions are so perfect that you can beautifully read what is going through his mind in that second. He plays the lonely gentleman with a good heart so well that I hesitate to give anything less than a full rating. Quality and smart entertainment.

From the very first moment, it is more or less clear which direction Rising Sun will take. Just a quick glance at the grainy, old-looking image (which really has nothing to do with the quality of the media) brutally evokes the 1970s/80s, and it's clear what and how. Philip Kaufman never deviates from the beaten path and the constant speed is sleep-inducing, just like the unconvincing performances of all the supporting actors, not to mention the tragic action scenes. Old school is fine, but not with these flaws. Besides the three main characters, there really isn't anything worth watching. However, the script is more than promising and whenever it seems like we will figure out the problem surprisingly quickly and get ready to discard Rising Sun deep into the closet, a fragment appears that sharpens our attention. It's a bit too little, but at least something.

A mismatch of action, romance, and a peculiar atmosphere set in rainy Paris, where you don't know who is good and who is bad, with a disappointing finale – the worst thing the film offers. Not even Thandie Newton's charms can elevate this film to an average B-movie. It's unbelievable how the masterful and imaginative Jonathan Demme (Silence of The Lambs) has declined in productivity, and after more than a decade can descend from a demonically and brilliantly written thriller to a dull and completely unengaging run-of-the-mill film, where the star-studded cast doesn't automatically equal a solid viewing experience. The opening credits are inventive, the music is relatively well chosen, but the rest is not worth talking about.