Kaka

Original, interesting, and creative not only thanks to great directing but also the actors (Warren Beatty, Annette Bening) and the music, which is difficult to listen to on its own but works excellently and pleasantly enhances the film’s already outstanding atmosphere of the 1940s. The action scenes are skillfully executed, and overall, it lacks very little to be considered perfect. Perhaps only occasional dragging moments slightly spoil my overall very positive impression.

A mildly old-fashioned, well-made and told film about the power of the human spirit and sport as a symbol of humanity, solidarity, friendship, and homage to God. The content has depth, that can't be denied, it’s narrated in an old-fashioned way, but it has very little in common with reality.

Technically, it’s quite skillful (brutal action scenes), musically impressively minimalist, and in the second half the film is also suspenseful and entertaining, but the main problem of my criticism is probably in the direction. I'm not the type who drools over humor of the Coens, quite the opposite. It gets on my nerves and some scenes felt like a light rip-off of Tarantino's style.

An intimate, well-written and very minimalist action flick with stunning visuals that relies on a cohesive cinematic experience with a precisely blended mix of all the key ingredients.

Michael Mann is the type of director who creates his own story, characters, plot, and Ali is exactly the type of film (perhaps the only one in his filmography) where this is not possible.

To me, The Score feels like a light mix of Heat (certain plot elements, dialogues), The Italian Job (similar formal stylization), and a bit of Ocean's Eleven (show-off). Everything is kept running quite solidly thanks to the competent work of Frank Oz, with the assistance of Robert De Niro, his hand in the film is very noticeable, and he brings the necessary dose of at least partial realism and believability to the heist. Don't expect any big explosions and carnage like Roland Emmerich or Michael Bay, but rather a more intimate story with cleverly staged heist scenes, where the technical tricks used by the main characters will captivate you the most.

A rather uneventful film that benefits primarily from decent performances by the actors and the remarkable technical skill of the director and cinematographer. In terms of content, it is practically a routine affair, the screenplay lacks any sort of form, and its simplicity and straightforwardness is uncomfortably surprising.

A decent and gentle film that for the most part feels empty, and that is the main stumbling block. The form, on the other hand, is absolutely stunning, with excellent contrasting lighting, brilliant and beautifully colored cinematography (unusually detailed), costumes, production design, and even the simple musical motif appealed to me quite a bit.

From the outset, Oliver Stone shrugs off all the criticizing and moralizing that so grates on my nerves in some of his films, and delivers an evocative, haunting and emotionally charged story of a young woman in the midst of a raging war inferno. He puts great effort into depicting Vietnamese culture and customs and directs very sensitively and skillfully. The first hour is significantly better than the second.

In this age of ultrahigh-tech, when every other movie is packed with computer effects, Sydney Pollack's The Interpreter feels pleasantly old-fashioned. In order to like the film, it is probably important to understand Pollack, or rather, to develop a taste for his directing style. The pace is just right, no frantic editing, no wild camera orgies. Simply put: old school.