Lima

007__#4__Thanks to the newly available technical film possibilities, the viewer can enjoy many attractive underwater sequences with small submarines, a submerged fighter jet and one mass underwater battle of divers. Thanks to Bond's never-failing sex appeal, many a man's eye will again feast on pretty Bond-girls, one of whom really "made it" this time :). A definite plus is the character of the charismatic villain played by Italian Adolfo Celio, his Emilio Largo is in the context of the first five Bond films a member of the criminal organisation Spectre, which churned out one interesting villain after another. I enjoyed this visually appealing Bond film.

007__#3__For me the main draw is the casting of Goldfinger (the excellent Swiss Gert Frobe) and his henchman Oddjob, played by wrestler Harold Sakata – I'll never forget his killer bowler hat. The main villain, as one of the members of the criminal organization Spectre, which accompanied the Bond franchise from Dr. No to You Only Live Twice, does not want to take over the world, but thanks to an ingenious plan "only" to get as rich as possible, which makes the whole story more believable. Some of the scenes have aged, but otherwise I'm satisfied, though I don’t think this is the best Bond movie.

007__#2__One of the best Bond films. It has an interesting compact plot by Bond standards, cool villains (the girl with the bayonet in her shoe is great, Martin Shaw as a straightforward killer), and the few action scenes are pretty good and brisk (well shot train fight). A big improvement compared to Dr. No.

007__#1__The Bond movie that "started it all" and served all the ingredients typical for it: a simple plot that doesn't need to much thinking, a distinctive villain with megalomaniac plans (in this case a member of the Spectre organisation that regularly accompanied the Connery Bond films), an attractive setting and a pretty babe (Ursulla Anders's exit from the sea is still one of the most quoted scenes). But Dr. No is different in a way. It's almost devoid of action, it lacks Q's typical gadgets, and most importantly, Connery is too serious, without his sarcastic wisecracks and wit. Yet it was Connery's considerable charisma that "made" this film, without it, it would have been very mediocre. Better times were yet to come.

The incredibly banal, rudimentary story, which could be described in a few words, is certainly not the highlight of this film. Nevertheless, thanks to the skilful direction of an experienced filmmaker, it's quite a watchable affair that can be seen from several angles. For some it may be a self-celebratory ode to a famous rapper, for others an autobiographical story, or a clever producer's move to monetize what's hot right now. For me personally, all of the listed options together, plus a curious visit to a culturally and mentally distant environment where respect and esteem can be won in a rapper's duel, where a rich vocabulary and artfully put together words replace cords or fast colts at the waist. For one (but really only one) viewing, a passable piece of work. Summary: two and a half *.

It's been a long time since I've come across a film that brought me to tears in the positive sense of the word. Until yesterday. I didn't feel that I was being emotionally blackmailed, and even if I was, I could forgive this film for everything. Emotions, that's what I love about movies. Thanks Daldry for a beautiful experience.

It chills one to the bone. It chills me to see how young children are quite easily seduced into the path of crime by watching their "role models" – teenage murderers. A little boy can kill with complete calmness and even with a kind of joy, a bunch of tiny, faceless brats raid shops with a gun in their hands as if they were going to play football. City of God is an unsentimental look at life in the slums, where, due to the difficult social situation and lack of education, crime and drugs are a common part of the landscape and where gang affiliation is more than the law. It does not lecture, it does not provide instructions for solving the problem, it just impressively shows the harsh reality that is unfortunately not only inherent to Brazilian metropolises. It’s a technically skilled (top-notch cinematography and editing) cheerless spectacle, in which you don’t, of course, get a redemptive catharsis, a positive outcome. And the final caption “Based on a true story” says it all. PS: In the closing credits, there is a short scene with the real life version of one of the film's characters, Knockout Ned, saying exactly the same words that are heard in the film.

The Matrix wasn't the first. What do you get when you combine actors, simple 8-bit graphics and the philosophy of computer action games? Tron, a cult classic overseas that, although it’s for a rather specific audience, may also attract others with the originality of its visuals and story. After all, how many movies 23 years ago had computer terminology and virtual reality at their core? You could count the number of such on the fingers of one hand of a worker working 40 years in a sawmill.

A psychologically cruel film, with Mr.Cynic once again showing himself in full light. Von Trier probably doesn't have the best opinion of people (not surprisingly, perhaps), but he has a biting insight into their characters, as usual. And I liked the minimalist form very much.

Disappointing, especially since I am forced to compare it to Juran's The 7th Voyage of Sinbad, which, though 16 years older, is infinitely more entertaining and has better visual effects. My favourite visual effects wizard Ray Harryhausen (Clash of the Titans) really shone in that film, but here he seems to be skimping. Particularly in the first seventy minutes, apart from the animated wooden statue from the bow of the ship and the two little devils that more or less just flicker in and out of view, nothing major happens visually. That is quite a problem for a film whose focus and sole justification is Harryhausen's one-man-show (he also co-produced it), and which, due to a weak script and an all-too-simple plot, has no chance to impress with anything else. The film is simply boring, the not-so-skilled director fails to breathe more life into it, and the animated six-armed Kali (very nice, Harryhausen did a good job), the one-eyed centaur and the four-legged bird in the last half-hour can't save it. Neither my fondness for Harryhausen, nor nostalgia, nor pretty memories of the time when I literally devoured Sinbad in the cinema as a kid can save the final impression.