POMO

A depraved, vulgar, hyper-destructive fetish for “modern audiences”, filmed with a retarded screenplay on the table and ecstasy on the brain. Bad Boys II is funnier and more electrifying than Bad Boys, but it’s also dirtier, more hectic and more chaotic. That includes the action scenes, which are far from the elegance of those in The Rock, with the exception of the car chase on the bridges of Miami, which is one of the best in the genre. Joe Pantoliano cuts the most comical figure, though he is unfortunately given very little space. It’s also a shame about the unused potential of the Russian slimeball played by Peter Stormare. The main bad guy is OK. Overall, Bad Boys II is VERY funny and brisk in some places, and utterly dumb and dull entertainment in other places. Michael Bay unleashed and stripped of any sense of proportion. Woosa! Three and a half stars.

Fun entertainment with an excellent subject and intelligent execution. The effects are perfect.

The Family Man is 100% positive, slightly sentimental American entertainment for the whole family. It doesn’t have even the slightest fault, but there isn’t the slightest reason to watch it again.

An intelligent movie treat in which everyone goes full throttle, but its extraordinary subject still seems to be not fully developed in the end. It stumbles somewhere along the way, but it’s hard to say where exactly.

Twister is an intelligent, lively and brisk adventure with a very likable central duo of characters (and actors). It’s just a matter of who to praise for it. Probably everyone involved to an equal extent. Steven Spielberg’s production signature drips from every pore of the film. Director Jan de Bont makes good use of the cinematographer’s skills and the visual-effects team creates beautiful tornadoes. After all, those are the film’s main characters!

An excellent idea translated into a not very imaginative screenplay and directed by the then still dynamic and technically gifted Jan de Bont. The actors are fine and the action is great. If the characters had been better developed, Speed would have been worthy of five stars.

A chaotically edited and muddled tangle of intrigues and electrifying, larger-than-life and technically brilliant action. A lot of original scenes, often quoted in the later films. A stylish spy orgy. A delight for the eyes and ears, and a needlessly overwrought brain teaser.

The first 20 minutes are great and very promising. But after the cards are dealt, the screenwriter doesn’t know what’s an ace and what’s a jack. And the director, Harold Ramis, is a bit bored. The actors are outstanding; Robert De Niro excels again. A few of the jokes are worth seeing and hearing, but overall the film is half a star weaker than the original Analyze This.

The Hours for a younger audience. Pump Up the Volume is pertinent, distinctive and superbly acted. Moyle directs as if he still has fresh wounds from his youth. There’s pleasant chemistry between Christian Slater and Samantha Mathis. And it’s nice to know that they also got along off-camera, as evidenced by the reprise of their flirtation in Broken Arrow.

A film that you can’t be angry with, because it means well. But also a film that you won’t enjoy at all.