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Twists and turns like in Czech politics, a mangled penis and Rachel Leigh Cook's bouncing breasts. No one paid much attention to the logic, but the above, together with the endearing naivety with which this sort of story is put together, doesn't allow me to go below an average 3*. The sex scene in the graveyard is awesome.

Brilliant! Terry Gilliam is known for his original and specific work, and with 12 Monkeys he brings it to absolute perfection. It's not every day that a film is so imaginatively and brilliantly directed from start to finish, and that the imagery and, above all, the plot are so varied and sophisticated that you can't help but pop the DVD back into the player and immerse yourself in the cinematic poetry with even greater intensity. It’s is not a groundbreaking work like Kubrick's Odyssey and its nowadays routine visuals won’t lift viewers from their seats, but thanks to its literally timeless story, the great performances and the endless imagination of one film crew, it’s definitely one of the gems of world filmography.

One of the greatest legends of animation, it has the rare quality of finding something new and even funnier with each viewing. I confess that whenever I have my moment and start quoting movie catchphrases to my friends over a beer, sooner or later, I always end up with the 12 tasks: the Island of Delights, where they have no boars; the enchanter; the one Asterix turns into a wild boar; the monster that tasted good...... It's too much, genius is synonymous with the name of this smart gem. 100%

A very suggestive and unpleasant film, which probably cannot be faulted too much within the director's vision. There were moments when I was bored, and overall, 127 Hours didn't blow me away, but at least for the final act, for James Franco and for the very original and bold execution I can't go below 4*...

A clear victory of form over content, I've never seen such a brilliantly shot and edited action flick in French cinema. Now that I think about it, the script was actually nothing more than a bunch of clichés about a group of gangsters, a stolen bomb and saving the city, but what director Morel was able to do with it deserves great admiration. The first half hour was incredible and there was no end to the chases on balconies, the gunfights or the awesome fight choreographies. The second half hour was almost comparable, the story still flowed like water and there was something to watch even with clogged ears. The mild disappointment came at the end, which didn't spoil the overall impression, but after that relentless five-star entertainment I expected a bit more from it. In any case, an excellent action ride, though visibly harmed by the attempt to tell a story, especially at the end. 85%

Michael Bay is a commercial filmmaker with a great grasp of basic genre scales and practices, but he cannot naturalise all the events, including the action sequences, and give them a fatal, physically painful feel. 13 Hours is a prototype of a good action flick, but it desperately lacks any innovative impulse that would elevate it to the category of excellent – the protagonist is presented using the most profane clichés and his only motivation is traditionally to return to his wife and small daughters, while the other players in the story are nothing but passer-bys, hard to tell from one another thanks to identical physical parameters in the action turmoil. The basic plot is plumped up by the annoying figure of the irrational boss, who only acts expediently to further escalate the situation, and finally the action itself doesn't make you completely surrender to it and forget everything else. We can praise the fast pace, thanks to which the runtime doesn't feel excessive, and the opening documentary passage and the related depiction of Benghazi as a real hell on earth, where killing is the order of the day. It's a more sincere and effective film than the disparate Pearl Harbor, but still too contrived and lacking in intensity, a stale looser compared to Black Hawk Down. 60%

A slightly above average whodunit that badly wants to be psychologically sophisticated, but in the end, with all its drastic twists and turns, is as unbelievable as an angry Andrew Garfield. The actors are very good and convincing, the pace is pleasant, and the twists and turns themselves are surprising, but delivered rather poorly and blandly, which is mainly related to the emotional detachment of Marvans inspector Čadek, who serves as an informational intermediary between the fable and the storyline. The potential was certainly higher.

A bit of a naive ghost story, the kind of which there have been many. And even though John Cusack is playing for dear life and all that fear is palpable, my adrenaline level didn't rise an inch during his growing madness. Besides, the filmmakers didn't know where to go and resorted to more and more obvious twists and turns, almost crossing the boundary of kitsch several times. On the other hand, they came up with a very interesting ending, which was certainly not very shocking, but it surprised me. A decent 3* for the effort, the actors and the decent atmosphere.

I don't understand why I let this film slip through my fingers for so long. It’s an amazing experience, the likes of which you just don't see. Ridley is an incredibly complex and perfectionist filmmaker able to caress you with literally every shot and can present even a seemingly boring and verbose passage in a spectacular and captivating way. Here he is greatly assisted by the great Depardieu, who was perfect for the role of Columbus, and also by Vangelis at the peak of his career, who spits out one beautiful musical motif after another. The slow pace suits Ridley and he knows how to work with it perfectly, the beautiful setting and the production design are pleasing to the eye of every viewer, and the big theme of the clash of ideas with a completely different world adds to the monumentality and epicness of the film as a whole. Two and a half hours is a pretty brutal runtime, but I enjoyed it as much as any other director (and composer) could have with this story. 85%

When an ordinary mortal encounters a clearly pissed off and big white shark with a full set of teeth while surfing, they are instantly done for. But when such a shark encounters Blake Lively, an American who can expertly sew up a laceration with her own bracelet and is a warrior for her late mother, we suddenly have a wide-open and quite dynamic battle for survival. But as much as I initially enjoyed the rather cinematic story, and as much as Serra repeatedly satisfied me with quick but clear editing, solid pacing, and a lot of iconic shots of the beautiful Blake's semi-naked body, the depleted thematic well gradually began to show its negative effects, leading to a riveting but heavily exaggerated finale that doesn't even reach the tip of the back fin of Jaws. At home, thanks to Beltrami's unobtrusive (and wonderfully escalated) soundtrack it was alright, but I wouldn't go to the cinema to see something so blatantly digital.