Kaka

Surprisingly better and more compact than the first part. Ron Howard finally understood that a cute Audrey Tautou and dodgy action scenes won't improve the story better and started relying on other things. For example, an agile script that piles one puzzle on top of another with fairly entertaining and dynamic sequences, and a fantastic (again) Hans Zimmer, who delivers uncompromising bite to the entire piece. He might have composed the same thing for the eighteenth time, but it still sounds beautiful. It sounds unbelievable, even in those few miniature action passages, Howard surprisingly toughened up. It's still a wimpy, predictable, and conflict-free Hollywood shitshow, but at least this was bearable.

Revolutionary in its devilish directorial style and overall concept, above average in action scenes and rawness, average in visual effects and technical execution, below average in the idea and concept of the script. Just what was expected. But it is very enjoyable entertainment.

Brian Helgeland's work is by far the most exciting. In a minimum of space, he builds an excellent script with a bunch of thrilling dialogues and explosive exchanges of opinions and ideas between the protagonists. Denzel Washington is one of the most talented actors of our time, and John Travolta really enjoys playing villains. Fortunately, there’s no lack of dynamics and drive, and just when it seems that everything is getting too tangled and the film is losing its initial drive, Tony Scott switches to another gear. Of course, the unmistakable visuals are not missing. A simple but well-made bite-sized treat.

A relatively low-budget spy flick in a fast style, with a rather raw and minimalist execution and likeable main characters. It lacks the typical American grandeur, filters, and glitz, but on the other hand, we get great shootouts that in a way are very inventive. The talking parts are not as interesting, but, the fluff is necessary here as well. Respectably mastered craftsmanship.

A one-off, but very entertaining. The very simple script is handled in an interesting way, the cold realities are excellent, and the main characters are believable. Although it somewhat borrows from various elements of films from the past decade, it still works well, and Mickey Rourke is cool even though he looks like an Indian.

A boring mix of romance and breathtaking mountain scenery (more interesting first part) with a disjointed action adventure (boring second part) and a typically grandiose climax. As a prequel to a famous franchise, it's decent, but as a standalone action piece, it's very mishandled. Hugh Jackman has charisma, but his character is not sufficiently well-written, the action is confusing, computer-generated, and dull. The antagonists are solid, but the final over-the-top action set-piece follows a beaten path that no longer entertains me.

As expected, a boring moral agitprop that suffers from a lack of drive, absence of strong characters, and rather unremarkable actors. The several moments full of violence can’t save the overall miserable impression. Even the digital camera is not the right fit for the Mexican landscape. The effort is appreciated, but please do better next time.

Even worse than I expected. Even though the original cast is there and it looks like a dignified sequel, the screenwriters cook up something crazy they call a script, and they throw in some cars, crazy digital chases in tunnels, and the classic masculine charisma of Paul Walker and Vin Diesel, and it doesn't work. For car enthusiasts, it will be torture because there are only a few really good chases. For action movie fans, it will also be a tough nut to crack because there is a lot of action, but it's not worth anything. And for fans of the main characters, it will just be a sad nostalgic memory of the first and only original installment. A very botched thing.

Enthusiastic, sincere, and full of life, with captivating music and the gritty realities of Asia. But it felt like a somewhat cynical affair, where the director is well aware, despite all the spontaneity, that this is exactly what people want to see. Does it work? Obviously yes, so where’s the problem? Definitely an extraordinary film worth seeing.

Another gem with heart and conceptual depth that many people (in the cinema, but also on FilmBooster) won't understand and will only see what is visible at first glance: a standard and routine crime story with a handheld camera and raw shootouts with a minimum of emotions. Michael Mann is still the same, but the film is incredibly cool and well thought out. A slightly weaker version of Heat, more intimate and unfortunately set in the 1930s.