Othello

The masterpiece of that psychopath Giger couldn't ask for a greater tribute than this film. Brilliant claustrophobic atmosphere. Great lighting work and a decent cast, mainly carried by names like Ian Holm, John Hurt, and finally Ripley in her dropping panties.

Sheer B-movie guilty pleasure with perfect action, great music, decent lines, and a distinctive style. Very violent and bloody, which I like -) It's just a pity about the terrible digital effects, otherwise I have no reservations. It's simply cool.

Batman Begins is a terribly clever piece of work. For movie lovers, or people who are more into film, it muddies the waters with awesome acting aces (Tom Wilkinson is a god, Michael Caine is a god, Cillian Murphy is a god, Liam Neeson is a god, Gary Oldman is less of a god here than usual, and Rutger Hauer's godliness didn't get a chance to shine through), topped off with some great cinematography, a terrific score, and Nolan's deft hand. I mean, I have my complaints about the direction, of course, because to shoot 150 million hand-to-hand battles in a comic book movie like in a Steven Seagal movie (meaning a short montage of close-ups) is kind of yuck. But still ok. The problem is that all of the positive factors listed above are just tinsel on top of a supremely idiotic script about a battle between (absolute) good and (absolute) evil. Really all the positive characters here are dehumanized by perfection, and the negative ones (except one) have no other side whatsoever. It's not fair, and it blows the proclaimed darkness completely out of the water. That's like writing that LoTR is a noir film. It's classic American blockbuster hypocrisy, meaning there’s no lack of monorails falling on a town of people whose lives no one cares all while Batman’s coming up on police cars even though he has plenty of space next to him to see if they’ll move. And move they shall, but Batman Begins can’t dodge a mediocre rating from me. Sorry.

A clear five star affair in its personality and style. Supported by an excellent soundtrack.

Exhausting, authentic, daring, brilliantly acted and directed, decadent, one hell of a film.

There are quite a few things that didn’t come together, the acting isn't the best, but given the filmmakers' enthusiasm, the budget, the ideas (viewing a room through a camera flash), and most importantly, the brilliant and formally bombastic ending, it deserves a buck. Too bad the sequels just ruin the name of this awesome thriller.

Definitely a film for me that made me realize how scared filmmakers are of proper action sequences these days. Visual splendor, amazing music, great sets, and the final fight with the main bastard is a choreographed delicacy. I'll also mention the fast direction, the clever cinematography, and the really superb editing, especially of the action scenes. And yet the vision of a world without emotions – the filmmakers took on too much with that. From that perspective, it's quite a mess. That's why I’m not giving it a 5.

The action and some of the lines found fertile soil. Details like the setting in the Czech capital or Ronnie are definitely delightful, but a fifth star is kept out of reach by two significant negatives. The fact is that the film doesn't respect the first installment in certain respects (the encounter between the vampire and the sunlight in the first was definitely not as poetic), and whenever they say more than two sentences in a row, it's usually pretty much a bummer. But otherwise, a blast.

Oww. Utter idiocy and Anderson's unintentional handbook for "How to not make a great movie, or any movie at all". Anderson takes two of the MOST BRUTAL sci-fi creatures and throws them into a PG-13, places the story on the ground, which matters not one bit because the whole thing takes place in the parrot-eyed bowels of some kind of pyramid, and throws in a hodgepodge of characters so stupid and unsympathetic as fodder that you struggle to identify with at least a nearby piece of ice. To find so much as a relationship with even one of them is a task for the greatest masters of empathy, because when they're not commenting on what we're seeing, they're analyzing facts at the level of elementary school children (first grade). The relationship between them is always implied with one shot of about a second and that's the end of it. Another certainly calculated move was to pick from these maximally murderable characters the absolute most nerve-crawling and make her the protagonist and the predator her pet. Then we can indulge ourselves solely on the action, and there are two action scenes... one of them an absolute mockery of the aliens as creatures and isn't worth much, and the other one with the mother of the aliens is actually pretty good (that's probably the one star). All in all, AVP is a terrible B-movie, unlike the decent second installment, but it makes itself out to be a big-budget film and I won't forgive it for that. Dreck shit crap evil. PS: The film contains an incredibly funny scene where a pyramid hologram appears in front of everyone in the briefing room and Weyland says: "Our leading experts have learned that it's shaped like a pyramid." Why didn't any 14-year-old boy get a job on the script…

Space fighters swoop in and then an aerial dogfight over the city rooftops. The destruction of entire planets. The murder of an entire airliner by one man using only two knives. An underground prison on a planet that's about to be hit by a wave of fire. Assholes versus bastards. Killing with a soup mug. Hellhounds. A shootout in a post-industrial setting. The hero's escape from the crash of a giant transport ship. An all-conquering race. A contest for the best killer. Blades on boots. Vin Diesel...