Kaka

From the very first moment, it is more or less clear which direction Rising Sun will take. Just a quick glance at the grainy, old-looking image (which really has nothing to do with the quality of the media) brutally evokes the 1970s/80s, and it's clear what and how. Philip Kaufman never deviates from the beaten path and the constant speed is sleep-inducing, just like the unconvincing performances of all the supporting actors, not to mention the tragic action scenes. Old school is fine, but not with these flaws. Besides the three main characters, there really isn't anything worth watching. However, the script is more than promising and whenever it seems like we will figure out the problem surprisingly quickly and get ready to discard Rising Sun deep into the closet, a fragment appears that sharpens our attention. It's a bit too little, but at least something.

A mismatch of action, romance, and a peculiar atmosphere set in rainy Paris, where you don't know who is good and who is bad, with a disappointing finale – the worst thing the film offers. Not even Thandie Newton's charms can elevate this film to an average B-movie. It's unbelievable how the masterful and imaginative Jonathan Demme (Silence of The Lambs) has declined in productivity, and after more than a decade can descend from a demonically and brilliantly written thriller to a dull and completely unengaging run-of-the-mill film, where the star-studded cast doesn't automatically equal a solid viewing experience. The opening credits are inventive, the music is relatively well chosen, but the rest is not worth talking about.

An amazingly filmed fantasy masterpiece with a story so action-packed that it takes your breath away. From the moment the disobedient student starts reading the magical book, a thrilling adventure begins, with one mesmerizing location after another, rich in powerful and poignant words, all beautifully accompanied by stunning music. If there’s anything Wolfgang Petersen put his heart on, it was definitely The NeverEnding Story. The conclusion is brilliant, and during the scene when Atreyu passes through the first gate, it is impossible not to have a heart-stopping moment.

The running time of this film is the most peculiar. 84 minutes is a truly interesting number and ideally suits the ongoing game of good-guy Wesley Snipes and wannabe tough guy Bruce Payne. The action is surprisingly fast, dynamic, and the fights are well executed. The frequent change of locations prevents any stereotypes, so do not expect the monotony of Die Hard or Under Siege. However, the film doesn’t lack a series of nonsense and logical mistakes, but if you are willing to accept certain pitfalls and consider Passenger 57 a genre film from the 1990s, when the word “reality” was not taken so seriously, you will certainly not be disgusted.

Another tangled exhibition by Christopher Nolan, much more comprehensible than Memento and much more entertaining and original than the boring Insomnia. However, I need to ask an important question. What was it actually about? Nothing. This film is just like the tricks performed by the magicians, it has absolutely no storytelling value at its core and offers a sweet illusion that will appeal to many viewers. It is strong in terms of acting, brilliant in terms of costumes, but bloated in terms of plot and internally empty. Nevertheless, this entire trick is presented with such drive and audacity that it cannot be rejected in the end.

There have been several films about the IRA, its issues, and history, from modern interpretations dealing with the situation from a few years ago to older ones describing its formation and the personalities that directly influenced its history and events. Michael Collins falls into the second category, but thankfully, it lacks the excessive starchiness and arrogance that often appear in movies of this kind (the great hero type). Liam Neeson plays a significantly younger character, but he is charismatic and believable enough, his performance is quite impressive (of course, thanks to the work of director and screenwriter). The costumes and production design are excellent (as expected from the great Neil Jordan), and the almost complete absence of pathos is surprising. The large war sequences are relatively believable within the possibilities, and I would have been more satisfied if there was a bit more emotion (...pathos...), but that's simply a matter of personal taste.

Another average and unremarkable smart romantic comedy that boasts a plethora of star names (Miloš Forman is the most surprising) and a solid screenplay. I liked Ben Stiller, for the first time he isn’t making a fool of himself, he plays rather a solid New York rabbi playboy, and it definitely works. Edward Norton, on the other hand, is exactly as I dislike him – a cute know-it-all. There is an attempt to break free from the mediocrity box, but unfortunately it is unsuccessful.

An excellently functional gem with a typically embellished sense of humor that clearly and loudly exclaims “I'm British!”, light, natural, and with an utter absence of sentiment. The brutally restrained dialogues and Hugh Grant’s brilliant performance were a pleasant surprise, it’s the first time I saw him not overflowing with awkwardness. The whole does not stumble – believe it or not – even once. Everything is topped off by an ending that is just as sharp and strong as the beginning. There are polished scenes that may not necessarily be explicitly funny, but it will be difficult to refrain from smiling at them. A small, yet entirely heartwarming affair.

The mediocre pace and sometimes very uninteresting plot, along with certain specific scenes and quiet moments strongly overshadow the captivating acting of Emma Thompson, skillfully supported by Kate Winslet. Perhaps for the first time, while watching Emma's outstanding finale, I silently wondered how a person can act it like this, in a completely genuine, heartfelt and compelling fashion. Ang Lee has a delicate touch and carefully crafts a story about relationships and fateful loves brilliantly set against the customs, traditions, and ultimately the backdrop of old England in the 19th century. It is a very slow film that requires the viewer's presence not only in the head but also in the heart, which is rarely seen nowadays.

Peter Weir is not exactly the type of director who relies on a dynamic plot, scene progression, or heavy emotions, so Green Card is solid but not particularly entertaining as a comedy. The introduction is confusing and the introduction to the main characters is relatively clumsy. This is followed by a somewhat disjointed pursuit of the desired goal (the green card), and finally, some clichés, but the way we reach them is more than solid, without overly familiar pseudo-romantic scenes, with little pathos, and with fresh and relatively cleverly acted and written scenes throughout. Nothing extraordinary, but as an afternoon snack, it is satisfying.