Kaka

The first time in this cult franchise we have two key elements playing the main role. The first one is undoubtedly the Alien itself, and the second is the depressing and oppressive setting along with the morality and psychological profiles of the convicts – serial killers, violent criminals, pedophiles. David Fincher doesn't waste anything in his debut and his camera escapades (the Alien’s POV) are already a signature. Unfortunately, the monster is again only one and also annoyingly computer-generated when shown in full. Compared to the second installment, there is a slight downgrade, but the atmosphere is brilliantly depressing, and the play with lights is amazing. For example, the lighting of the background during the autopsy is worth mentioning. The emphasized faces alternating with short shots of the scalpel's sharp macro details are incredibly suggestive. Likewise, the prisoners have very well written characters, and the ending, as presented by Fincher, is not particularly surprising. Definitely a progressive and the most peculiar Alien.

Hands down the best installment of this famous franchise. James Cameron confirms his incredible talent and visual sensibility here and imprints the film with his unique directorial style. The action is fantastic, raw and “realistic”. Similarly, the characters are unusually dense and well-developed for this type of sci-fi. The Marine commando is one cool gang, dropping one-liners faster than the bullets from their machine guns. Finally, we get to see the feared monster in all its beauty and power, and it's no longer just “a guy in a costume”. Sigourney Weaver is even more likeable, and her transformation from a timid advisor to a seasoned warrior is brilliant. The minimalist soundtrack and the android Bishop have become legendary. Together with Blade Runner, clearly the best sci-fi films of the 1980s.

Ridley Scott cannot be denied his directorial skill and sense for a unique creepy atmosphere, but after so many years, it doesn't have quite the same level of horror as it did ten or twenty years ago. The original screenplay, the great cast, and the excellent direction, along with the depressive music and fantastic devilish atmosphere, are all positives, But I still give preference to the militant Cameron.

James Cameron always gets his way and when he sets his mind to something, everything just falls into place. From the filming system, the set construction, the casting, down to the tiniest decorations and details. He is a brilliant director and when it comes to potential, there is hardly any competition in Hollywood. The Abyss, above all, has an immense power in the ending and the duo of Ed Harris – Elizabeth Mastrantonio is so perfectly chosen that it's hard to believe. The presence of complex visual effects doesn't overwhelm, and everything is exactly as it should be.

Joel Schumacher is truly a unique person, he can make crap like Batman & Robin, but he can also make gems like Falling Down or 8mm. This project, Phone Booth, is considered the pinnacle of his filmography because it has everything a film in this genre should have: a great main hero, a devilish villain, captivating atmosphere, excellent camera work, and solid music. That's why it is one of the best thrillers of the year.

Too simple, flat, and in the second half also hardly believable, but Fuqua knows when the limit of pathos is exhausted and thankfully keeps the tough soldiers in check and avoids playing a hysterical drama about the redemption of hearts and the desire to help the innocent at the cost of one's own life – it can indeed be done without the drama. It is a pity for the unbelievably constructed action scenes at the end. Besides the excellent performance by Willis, the cleansing of the village and especially the portrayal of the military unit are good – their communication, behavior, actions. In one of the few war films where emphasis is placed on these attributes and it all looks highly realistic.

Scorsese is back! Personally, one of the peaks of the historical genre for me, with great sets and Daniel Day-Lewis. It's not fast, it's not aggressive, I wouldn't hesitate to call it a tribute to classics. It is slow storytelling with emphasis on characters, with minimal visual effects, accompanied by period music. An impressive fresco.

As an average contribution to the war drama genre, it is quite solid. It has solidly shot war sequences that are raw and dynamic enough to draw the viewer into the story. Some moments are interesting, but unfortunately, the war theme itself fails to captivate on a deeper level, resulting in an average film where you can enjoy explosions and shootouts but will not be shocked by the horrors of war – except for a few shots like the face slicing, there is no such element. The excessive dosage of pathos, which awaits us towards the end (the slow-motion shots are very annoying), is also disappointing. Without any deeper thoughts, the whole thing is too superficial.

So I guess I got a taste for it the second time around. It's awesome, there's nothing else to say. Matt Damon is incredibly cool as an agent and above all, it's the realism that emanates from him that people like the most. The music adds incredible nuances, the cold atmosphere is more than good. For my taste, maybe not the most precise action, which is occasionally spoiled by a few sloppy cuts, but in terms of content, it's a ride. Maybe even better than The Bourne Supremacy.

Chicago one of those films that you might not necessarily dislike, let alone throw away, but doesn’t offer practically anything new or innovative, and you will probably to avoid a feeling of boredom during the screening. The captivatingly shot dance scenes in the cabarets do not make up for the rather dismal screenplay and main plot. The performances are excellent, and above all, the actors are the engine of the whole film, without whom it would suffer from the boredom syndrome even a little more than it should be healthy.