Kaka

Visually the most robust and opulent Bond film in a very long time, considering that today's trend is economical, raw, and down-to-earth filmmaking. The hazy digital effects can be survived, there aren't so many of them, but overall, it's occasionally too over the top. Pierce Brosnan delivers his lines decently and the Bond girls are a good. A number exotic locations, great action, and a loaded technical side, but it lacks charm, tension and atmosphere. A wild ride and a culmination of one decade of filmmaking.

After several big flops, this is the latest thrilling and truly action-packed Steven Seagal flick. Even though it's not old school anymore and instead of Japanese flutes, we have the atmosphere colored by African Americans, it has something to it. Andrzej Bartkowiak surprisingly manages to seamlessly combine two such different things: old fox Steven and the modern edge of hi-tech action popcorn. Other surprises are the unusually high-quality action scenes (the shootout in the offices) and above all DMX. This non-actor plays a likable character, from whom you would wish a visit to any car showroom. Surprisingly action-packed and lightly humorous entertainment that stands out from the master's filmography not only for its stylish direction and strongly American motifs but also for the unorthodox approach to the main hero's story (an outsider).

If we overlook the fact that this story of a heroic president (and former soldier) is very far-fetched and spiced up with a proper dose of patriotism and heroism, it is a relatively high-quality film with exceptionally realistic action scenes. Harrison Ford doesn’t strain himself too much in his role, but Gary Oldman had his rough Russian accent intricately polished – unbelievably so. And it was precisely him who dominated the acting. It is entertaining and thrilling as well, just needs to be taken with a grain of salt.

With the passage of time, it's not nearly the same. Technically, the film is quite inconsistent, the scenes are sometimes half-hearted, and only the creatively dynamic execution, several high-quality action scenes, and the two protagonists save the honor. The second one is much more lively and enduring. It's noticeable that Stephen Norrington is not a top-notch director and that there were budget constraints. It's a quality B-movie, but it can't be compared to the brutal nature of the second one. And this is true even though the plot is slightly denser here.

Godzilla is a hit, but a slightly questionable one. It can never be taken seriously, even a little bit. Unfortunately, sometimes it seems that way (the music, the script), but if you consider the cast and the overall atmosphere, it is clear that they all had a great time on set. Technically, it is very variable, with almost perfect static shots of Godzilla in the city alternated with striking computer-generated scenes of fast chases between skyscrapers. Logically, the movie is very silly (Godzilla moving in underground tunnels?), but as an entertaining break and a showcase of all possible and impossible effects, why not? Is not that often that you see a devastated Manhattan. Roland Emmerich wanted to entertain, not frighten.

Basically, this is where the Aikido master buried his career, or rather, it's best to stop. On Deadly Ground is really bad, soft, and fake for effect. Steven Seagal as an eco-warrior is unbelievable and doesn't do it from the heart, and although he's essentially right in what he says at the end, the style in which he presents it is not the best. In his previous movies, it usually was about revenge or sorting things out, the plot was always something personal for the hero. This time it's different, and for the first time, you could say “he's not the same old tough Steven anymore.” Technically, On Deadly Ground is surprisingly very bad considering the budget (obvious decorations and miniatures) – and that crazy dream scene. The scenes with Eskimos are the worst in the whole movie. There are several action scenes that are passable, as usual, but there aren't many of them. The final fireworks are boring.

The Specialist is not to be fussed over too much, it is a film that sometimes appears very serious, but it should not be taken too seriously. Those who understand this will enjoy a great explosive entertainment. Sylvester Stallone is cool in a black suit, he doesn't talk much, but he is well compensated by the polar opposite James Woods, whose character as an ex-CIA expert is absolutely brilliant, and I laughed out loud at several of his expressions, lines, and remarks (must be seen in the original). Even Sharon Stone is captivating, and the role seems to have been written specifically for her. The explosions are great, the Florida setting is intoxicating, and the parties of the wealthy accompanied by slow jazz are captivating. It's almost tangible through the television screen, which is not often seen.

An interesting addition for fans of pure action movies. William Friedkin has basically given up on any narrative structure and the story races forward like a runaway train in the most simple and linear way possible. But what they did pay attention to is the rawness and coldness of the setting, the absolute minimization of visual effects, and the overall very austere and ordinary style of direction, in which the elemental combat technique krav maga stands out. The fights are incredible and unusually clearly filmed for Friedkin. If we overlook the initial staged and unrealistic action in Bosnia, the viewer who doesn't expect too much will not be unrewarded.

A wonderfully crafted ghost story with excellent atmosphere and subtle hints that enhance the experience of the unique ending. Essentially flawless in its script and devoid of any unnecessary scenes. Unfortunately, some scenes lacked drive and had a too slow pace. Additionally, the portrayal of Haley Joel Osment as the patient seemed too smart for a nine-year-old child. His speaking style and behavior did not correspond to his age. Bruce Willis surprisingly portrayed a sensitive and non-cliché action hero. Arguably Shyamalan's best film.

It's a completely stupid affair, but Van Damme tends to act deadly serious in all of his action films. It's hard to say whether it was the writers or the director who pushed him towards the opposite, but surprisingly, it works. In combination with the completely contrasting Mickey Rourke, whose character I almost like the most in his filmography, it can't be anything but average. I've seen better action in the filmography of the Belgian and the technical intricacies won't impress that much.