Isherwood

Bruce Willis is quite decent as the ruined drunk, although at times he looks like he's not even acting. However, Donner's monotonous, unimaginative, and (in the end) heavily drawn-out direction drags this film down below the average rating, also thanks to the unremarkable screenplay, which serves up, instead of action, awkward life wisdom about how anyone can change. In the early 1990s this would have been forgotten next to the adrenaline rush of Speed, and today it will meet a similar fate as well because, amongst the current hi-tech action, any good old-school film has to turn all the aforementioned negatives into positives. Both the director and the lead should retire quietly as their efforts to stay ion the big leagues are as embarrassing and sad as the awkwardness of the drooling, infirm old men in the retirement home.

The leaky logic is excused by the fairy tale, which always has its clearly given rules, and which Shyamalan strictly sticks to all the time. The phenomenal Paul Giamatti and the ethereally beautiful mysterious look in Bryce Dallas Howard's eyes, along with the wonderful atmosphere, ensure that this film is a major win for the director (at least definitely for me)!

This decadent fairy tale-non-fairy tale, set against the dark backdrop of a mysterious forest and a black-humored story proves that as Terry Gilliam grew older, it was as if he was entering his filmmaking adolescence and his only goal was to provoke. However, the film provokes cleverly, boldly, and entertainingly all at the same time, so anyone who has even an ounce of flair for a slightly "different" narrative will certainly enjoy at least the divine Peter Stormare, and as a bonus will be given one little white kitten!

It’s slightly lengthy at times, but in the end, still an above-average horror spectacle that takes only the leitmotif from Straub's brilliant book (which, when I was thirteen, provided me with one of my most thrilling reading experiences), but is still suspenseful more than twenty years after its creation. And, most importantly, with the ghost uncovered, utterly terrifying. Contemporary horror bastards have a lot to be envious of because this is how it's supposed to be done!

Even in the context of Besson's export, this film is an incredibly trivial, awkward, and, above all, incredibly sterile spectacle that has no place being on a filmstrip. A desperate spinning concoction of mutual slapping and shouting by Hispanic beauties Hayek and Cruz, whose bodily sensuality is only used by the directors as a self-serving voyeuristic fetish, for which top-notch cinematographer Thierry Arbogast was unfortunately abused. The dialogue is dull, the gags desperate, the action scenes lack ideas, the pace has no rhythm... It’s even absolutely unusable as entertainment for which you switch your brain off.

The phenomenal Aaron Eckhart could even make you think that smoking cigarettes is actually a healthy thing. Unfortunately, director Reitman spends the entire ninety minutes flitting between the political correctness of a hot topic and a family melodrama about model fatherhood. If it had thirty extra minutes and a more integral directorial lead who could have been more "loose" would have only helped the film. Then it would have been an absolute hit. Andrew Niccol poked at a similar theme much more vigorously, boldly, and, above all, engagingly. It’s not at all bad for a debut and the promising signs of interesting talent are definitely there. Keep it up!

Stylish brainwash fun that squeezed the video game spirit to the last byte and let it be transformed into an uncompromising action blast that brings back memories of the Mortal Kombat days, which was once pleasing to the eyes of fans who loved the genre. Scantily clad ladies fight at an impressive pace in a masterfully filmed, edited, and musically underscored fetish that will leave five out of four erotomaniacs drooling with bliss. A highly artistic experience and a must for anyone who grew up with a joystick in their hand and when their parents took it away from them, they went to flip through Esquire.

Yep, yep, yep! Great and entertaining shit that cheerfully runs down the lines of clichés of all sub-genres, and the final product is a fun hour-and-a-half-long trip, which (maybe) requires more than just a good perspective to watch. It would take half a page to list all the (mostly entertaining) negatives, although it must be admitted that the bad editing, which breaks the dramatic storyline, is a clear expression of the director's falsity. In the end, it will probably be much easier and less distressing for the audience to let the spirit of Ed Wood shine through thanks to digital special effects by Uwe Boll, and enjoy the whole thing...

The long hiatus certainly did not benefit Jiří Menzel, as all the feelings of a true artist drained out of him during that time. The only thing that remains is the skillful craft (he and cinematographer Jaromír Šofr create true wonders), which, however, desperately lacks energy in the form of authorial input and real emotions. The less than two hours are arranged in a self-effacing coat, through which Menzel wants to evoke a classic retro atmosphere and at the same time innovate a bit and get closer to the current trends (the terrible special effects in the form of flying stamps and money). Unfortunately, the result is disproportionate kitsch (although in several cases intentional). There was not much room for comedy n the tragicomic plot, and Menzel resigned himself to tragedy completely (except for the character of the chief Skřivánek in a phenomenal performance by Martin Huba). Ivan Barnev, in the lead role, fills in the concept of "commis waiter" to the last detail, while the philosophizing Oldřich Kaiser goes a bit outside the plot, despite the fact that he is its narrator. The rest of the cast simply floats through the story (except for the aforementioned Martin Huba), leaving us with nothing worth remembering, which is essentially how the entire film comes off. It’s a dry average that definitely doesn't show how much of a dream project it is.

Technically, it’s a slightly imperfect mix of Star Wars and 2001: A Space Odyssey, but it fully radiates the author's desire to explore the possibilities of filmmaking techniques and to fully develop his own imagination in futuro-design. Already in his directorial infancy, Cameron proves that the cool, industrial-looking set design would be his greatest domain for the future - and six years later, he began writing one of the most important chapters of science fiction...