Lima

An emotional and edifying story about how a strong will is one of the greatest attributes a person can have, and that fighting to the last of your strength sometimes pays off. Show me another film in the last five years that communicates this idea with even more intensity and I'll pay you a trip to the Peruvian Andes :)

Oh, that was painful! Sahara is the type of movie to watch on TV when you come home, tired after a day's work, your mind is working at about one-fifth capacity and you desperately need something to fall asleep to. But if you don't want to sleep and, on the contrary, want to enjoy a pleasant two hours of no-brainer fun, you're in for a disappointment. Even if you can get over the fact that a massive armoured ship colossus from the American civil war is in the middle of the African desert, that one toxic factory can cause a total global ecological apocalypse and a bunch of other bullshit, you haven't won yet. You’ll still have to digest the pile of clichés in the script, which reminded me of my childhood creations around the age of ten when I attempted to write an adventure novel. But that's still not all. Then you have to deal with Penelope Cruz and her monotonous acting (even visually this lady never captivated me) and Steve Zahn's dumbass jokes in his usual position as a jerk. Thankfully, McConaughey's charisma makes this schlock at least somewhat watchable, and William H. Macy delights with an artful performance that is so far removed from his typical wimpy underdogs. But that’s a weak compensation.

A classic, quality, but no longer surprising Jet-Li action flick, poorly masked by a higher message in the form of unquestionable ideas about the need for friendship, love and the fact that the right family is always a support. Had it stayed with just that message, led by the always great Freeman, it would have been a great film. But combined with the breaking of all possible limbs, it's another Made by Besson single-use piece of crap.

A subpar whiff of the 1980s. I like The Rock more and more since The Rundown as the prototype action hero, but he should weigh roles carefully or change his agent. With a film of this type, you have to wonder what you're actually looking at in the cinema, and it's not just the ridiculously short runtime (an hour and a few minutes on top), but mainly the absolutely rudimentary, simple, clichéd story that seems to have fallen out of all those C-action movies on late-night TV.

A standard Hollywood prefab with a weak script and awkward, clichéd humour. There are a few funny gags (about two), but they get completely lost in a flood of mediocrity. Even the action scenes, which should have been Liman's greatest domain, are not anything special, except perhaps for one car chase. I'd write more, but this movie completely fizzled out of my head an hour after watching it. In short, it was one of the box-office hits that attracted audiences only thanks to the big names, and strangely enough, it was able to make 200 million dollars. But it wasn’t for me.

The director and quality actors are not to blame, the culprit is ironically the "shocking" stupid twist of the screenwriting crutch. Depp was good up until the reveal, I didn't believe his transformation for a second he was on screen.

The viewer's slight and, over time, steadily increasing suspicion diminishes the resulting effect of the final revelation. The Machinist, therefore, is strong not in the incisive Shyamalan-like twist (which I found satisfying, it was very fitting in the context for the story), but in the brilliant depiction of the mental suffering of a man, sparked by severe insomnia and the violent repression of guilt within himself. On top of that, the gloomy atmosphere was delicious. Anderson could not have found a better actor than Bale, in whose face all the shades of mental anguish and fatigue are perfectly visible, and whose Stanislavskian method, supported by the consumption of just one apple a day, leads to something that, in scenes where Bale's character is half undressed, makes the viewer feel physically sick. Apples were soon replaced by mounds of doughnuts (the model diet of any proper Batman) and it makes me want to say that Bale is not the devil, KevSpo. Even he wouldn't take such a gamble with his health :)

An autobiographical memoir of a harsh time when scientific authorities and cultural personalities were forced to work as stokers, diggers or rolling barrels at breweries. Sometimes a mere monologue of a dumb brewer can say more about the absurdity of an era than stacks of textbooks. But those who expect a story with a richly layered plot should turn elsewhere. Audience is more of a situational snack. Small but tasty.

A formally unimpressive, yet chilling documentary if one has just a little empathy and can relate to the feelings of the hijacked passengers and staff. And most of all, a tribute to the brave stewardesses who tried with all their might to move past the tragic fate to the other side until the last moments of their lives.

An unfunny, unimaginative and somewhat schizophrenic mix of comedy, parody and sometimes unexpectedly serious drama (the scene with the killing of the mother). The screenwriter didn't eat much funny porridge, so most of the scenes that look humorous or are "set up" for a funny punchline fizzle out. After that, even the superbly typecast actors and the fine looking zombies can't save the final impression. What I did like was the great ending and the creators' reference to the godfather of gore, Lucio Fulci, naming a pub after him.