Kaka

The fear and horror is not immediately present in the film, but it gradually escalates until the grand and, it must be said, quite brutal finale, which is probably the best part. The screenwriters wrote a simple, typical textbook, linear script, but paid attention to the details, and they wrote the main character well: a diligent scientist whose behavior, appearance, and psyche gradually change. Additionally, the film is presented in a way that can be understood by the average viewer, without unnecessary scientific jargon.

A critique of the rich that is incredibly dull and uninteresting. A film that should never have been made. Or should have been directed by Oliver Stone.

The Crow is one of the most stylish, darkest, and best comic book adaptations I've ever seen. It's basically just an ordinary revenge flick, but very expertly filmed.

This film is not so much about boxing, but it is executed in such a way that it fully impacts the viewer and everything weighs heavily on them until the very end, and that is its strength. A gem of world cinematography and I am grateful to have seen this masterpiece.

An excellent premise, quite solid workmanship, and most importantly a brilliant cast full of talent, including experienced and proven stalwarts. Perhaps too drawn out and thematically impersonal, but otherwise fine.

Two strangers meet randomly, spend a whole day and night together, and then comes the critical moment when they have to part ways. However, while Before Sunset takes place only during the day and in beautiful romantic Paris, Before Sunrise takes place at night (probably the most significant change). But whether it is a shimmering evening in Vienna or the sunny romantic Paris, the actors, the screenplay, and the camera work are top-notch. Ethan Hawke and Julie Delpy are fantastically well-matched. It’s true that this and the second film are purely conversational, but they are shot so passionately and with such a unique style that it’s impossible to dislike them. Moreover, they don't lack humor, intelligence, and natural charm.

This is how controversial films were made in the 1990s, a level less intense than a decade later.

The first five minutes, with excellent camera work, are just an introduction, getting to know the main characters, and so on. Then comes the most important part, the collision, which is captivatingly filmed, typical of John Moore's action-style of directing, with quick cuts, dynamic shots, fast and sharply contoured camera moving from side to side. But that's all the film offers. It is technically competent, decent in terms of its premise, but poorly handled in terms of the screenplay and acting.

The Killer is mainly a timeless action romp that is hard to compare with anything. Unlike the action-packed Hard-Boiled, John Woo here places more emphasis on the characters and their personalities. The direction is different, but the outcome is similarly good.

This time, the 80s are quite cool. Todd Phillips surprised me and directed a quite accomplished retro comedy that is definitely worth seeing, not only because of the great atmosphere, but also because of well-executed comedic situations and good retro music.