Lima

Another proof that the world of PC games and the world of film are not yet very compatible. Gans brilliantly portrays the oppressive atmosphere of the game, but you can sense the leaning towards the mainstream and the resulting somewhat sterile portrayal of the horrors of darkness. The few digital boogeymen and the very decent gore didn't save it (but Pyramid Head was impressive despite the small space). They should have pushed the envelope more, throw out the boring storyline with the completely useless Sean Bean, which diluted the dense atmosphere of the film unnecessarily and did not solve anything, and above all to make the unraveling of the mystery more clear. It was too overcomplicated and chatty at the end. But Radha Mitchell was great.

Cute, that's for sure. But the 4* are reluctant. Considering the large team of writers, I expected much more sophisticated humour, with better punchlines and not so infantile. It is definitely not a "Shrek-like" explosion of references, quotes and double entendres. The really funny situations (a hippie pacifist Hendrix fan vs. a military vehicle) won't be picked up by small children, who will be happy that the animation is perfect. The moral by the end was alright.

If the filmmakers had paid as much attention to the script as they did to the excellent technical aspects, it would have been a genre banger, but the film suffers from a short runtime. To enjoy this eternal crawling, climbing, cutting through corridors and obstacles, you need to have built some deeper emotional relationship with the characters, which the viewer is not afforded thanks to the overly hurried exposition. As a result, it's a consumerist quickie of the hamburger type, served up with a sumptuous garnish in the form of an amazing production design, and with some unintentionally ridiculous Monty Python-like dialogue. And sorry, Wolfie, Josh Lucas doesn’t have the chops to be an A-list star.

Come on, you guys are taking this way too seriously! You know how cool it is to put on Wynorski's magnum opus, crack open a beer, enjoy the genre clichés, laugh at the bad visual effects and the tragic actors, and guess with a friend which of the characters will be the next to die? The first one had to be the smoker, that's for sure, it's a pest today and we had a 100% guessing success rate until the very end, shame the ending spoiled it for us.

A Blockbuster with a soul. It captivates in several action moments (even a train accident on the big screen can be a blast), and the intimate scenes are very pleasant, mainly thanks to the main cast and the chemistry between them, which works flawlessly. Brandon Routh was born for the role of Superman and Kate Bosworth, who is not a bland Jessica Alba-type Barbie doll, exudes soulful beauty and fragile femininity. I don't accept the criticism that Singer is too reverential towards the source material and doesn't try to make it realistic and humanized. It’s Superman! A legendary comic book icon whose existence doesn't need to be subject to fashion trends and it simply doesn’t matter how he can hide his cape under his shirt or what kind of miraculous hairspray he uses. I just hope that some of the themes (fatherhood) will be developed in the sequel. With a margin of about 50% for cinema operators, it is now clear that Singer's film will not pay for itself due to the absurdly high budget (which is not visible in the result) and it would be a great pity to postpone further filming. It’s one of the best comic book adaptations in recent years and it does deserve a sequel. PS: You have to watch it in a cinema with perfect sound!

I would liken this film to a colonoscopy. It's also a probe, you don't look forward to it at all, when it comes, it hurts a bit at times, after it's over you say to yourself that it wasn't that bad and in an hour you don't even remember it anymore...

Although the body count has increased about fivefold compared to the prequel, Harry himself has gone slightly backwards. Due of his attitude towards criminals (sort of along the lines of "the gun is the best judge"), the previous Dirty Harry was accused in critical circles of fascizoid tendencies, apologism, and a return to the primitive law of the fist. Here Harry makes up for his critics to some extent by refusing the offer of the police executioners and self-appointed judges to join them, and in a conversation with his superior Briggs he proves that he’s being unfairly accused of an "eye for an eye" attitude (“...where's it gonna end? Huh, Briggs? Pretty soon, you'll start executing people for jaywalking...). It didn't help much, I guess, because Magnum Force had equally devastating reviews, but despite them, it didn't lose the audience's favor brought in even more money to the box office than it did for the prequel. Even in terms of form, compared to Dirty Harry, Magnum Force comes out as a winner, it is more elaborate in plot (the script was written by John Millius, creator of Conan the Barbarian) and more action-packed. The 1970s in full force.

Nonsensical acting and screenwriting Oscar nominations shake hands with technical brilliance in 100 minutes of entertainment that flies by. The music is perfect, led by the catchy hit "All That Jazz" (I love jazz), and the choreography of the dance numbers is remarkable, the most striking of which were the journalist "puppets" on strings with a great performance by the pleasantly surprising Gere and Zellweger. The latter, like Zeta-Jones, sings very well, dances brilliantly, but unfortunately also shows off her limited acting range with position #1: "dumb Bridget". As a result, I felt like I was sitting in some fancy Chicago club, watching one jazz-dance act after another in a show about two murderesses and one greedy defense attorney, ignoring the fact that all that bombastic glitz is hiding a flimsy script and an unexciting plot. The main thing was that the eyes and ears were happy. And they were pouring great champagne too...

After a second screening, I’m giving a full rating to this great gangster flick, with De Palma in full force. While Montana was a perfectly relatable character in Scarface, you simply have to root for the old school Carlito Brigante, with his street morals, even though he was certainly no saint thanks to his drug past. De Palma's ability to tell a compelling story while captivating with his directorial ideas is evident in the first dramatic scene in the billiard room. The final fifteen minutes escalate incredibly, and the scene of the ambulance ride with the badly wounded Carlito and his gaze on the advertising poster of the "road to paradise", accompanied by a melancholic song, is beautifully sad and uplifting at the same time.

The famous Ray Bradbury in his short story "A Sound of Thunder" (I recommend it, great stuff) describes how a tourist from the future on one of the expeditions through prehistoric times organized by a travel agency steps out of a strictly defined zone, accidentally steps on a prehistoric butterfly and inadvertently causes a sequence of fatal changes in future events. While Bradbury respected even the slightest organism in the problem of the time paradox, so that his work had even the slightest touch of logic, the creators of Frequency do not bother with any logic at all. All it takes is one radio and the mixing of the present with the past can begin, assisted by suddenly materializing objects and signs on the table. There is even a reanimated corpse, in short, a lot of fun. Here, they simply ignored all those sci-fi lectures about time paradoxes and the consequent distortion. Just fun. It's an enjoyable two hours, but it will make you shake your head :)