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A western from a period when public interest in the genre was waning, with the production of classic westerns shifting to Europe, giving rise to the phenomenon of so-called spaghetti westerns. In the USA, significantly fewer films were made than a decade earlier. However, they stopped being so formulaic, and there were attempts at innovation and new perspectives on the "Wild West" phenomenon. Bandolero! has a traditional form, but the characters are more nuanced and not just black-and-white. Another positive aspect is the decent acting performances. Overall impression: 50%, but genre enthusiasts can safely add another 10-20%.

This thriller is elevated to the category of slightly above-average thanks to the participation of Al Pacino, who delivers his traditionally strong performance as an aging, washed-up assistant to big media stars, adding 20% to the film's appeal. Among the other actors, Téa Leoni stands out as the decadent film starlet. Unfortunately, the script is not very original, and I've seen at least a dozen films with a similar theme. Overall impression: 60%.

A glimpse into the lives of people involved in the showbiz scene in L.A. A pleasant and intelligent comedy about how you can't outrun aging, and you can't step into the same river twice. It's a mosaic of human destinies that, despite the multitude of motifs, works surprisingly well. Beverly D'Angelo is simply charming as the sexually "ravenous" millionaire. The film's aesthetics clearly set it apart from the usual productions of major American studios. Overall impression: 85%.

A very zany adaptation of a well-known French comic, full of lighthearted humor that, surprisingly, I didn't mind much in this case, with a few exceptions. The film is suitable as relaxation after exhausting mental work. It's comic book exaggerated, full of directorial ideas and jokes of various kinds. Gérard Depardieu and Christian Clavier deliver their traditionally reliable performances, and Monica Bellucci is certainly more attractive and skilled than her predecessor in the first film. The humor of the original comic is somewhat more sophisticated, not as straightforward and coarse, so true comic fans might react hesitantly. Overall impression: 55%.

One of the best films of French cinema in the 90s, and certainly Isabelle Adjani's best performance. An expensive costume epic set during the religious wars between the Huguenots and Catholics in the 16th century. This historical drama is full of intrigue and plot twists, with high-quality cinematography, well-chosen locations, and sets. Although historically somewhat inaccurate and romanticized, most viewers won't mind. The scenes of the St. Bartholomew's Day massacre are vivid and fascinating. Adjani is irresistible in a Renaissance gown, but Daniel Auteuil and dozens of other top actors also excel. Overall impression: 95%.

A below-average action thriller, whose mediocrity stands out in comparison to Forsyth's literary original and the excellent British-French adaptation from the 70s. The script is foolish, the performances are lackluster, and in the case of Richard Gere, downright pathetic. The direction resembles an attempt at parody, and the pinnacle of it all is the unethical elevation of a terrorist killer to the role of a fighter against a colleague who doesn't fight for ideals but for money. The artistic value is nil, and the craftsmanship is poor. Overall impression: 20%.

An excellent adaptation of Agatha Christie's notoriously famous play, filmed in the enchanting scenery of a luxurious villa on the Black Sea coast. It relies on a superb cast and a quality script that successfully transfers the atmosphere of mystery, hopelessness, fear, and irrationality from the original to the film. For fans of classic detective stories, it's a great choice. Overall impression: 90%.

The film works as a standalone piece, though fans of the original series will naturally appreciate the development of certain motifs and will find it easier to follow the story. The world in which Serenity operates is distinctly different from the most famous space opera, Star Trek. It's rawer, less polished, and not as sterile. However, while Star Trek and its spin-offs are family-friendly viewing from ages 9 to 99, Serenity clearly targets teenagers, evident from the choice of characters, language, and relationships among the heroes. Joss Whedon remains a teenager at heart, writing for and understanding them. If you enjoyed Buffy or Angel, there's a good chance you'll also like Serenity. I'm almost certain that if I were 15, I would thoroughly enjoy both the film and the series. But having stumbled into middle age, I've mentally and intellectually distanced myself from Whedon's world. Despite the millions invested, the film still exudes a certain television-like quality. Overall impression: 40%.

Considering the limited budget and Mark Pavia's lack of directorial experience, this is a very decent film that benefits from the quality literary source by S. King. It's one of the few cases where the horror master doesn't have to be ashamed of the adaptation of his work. Due to the limited scope of the story, the creators had to develop the plot more, and in the confrontation of both media, the film even comes out a little better for me.  Miguel Ferrer's excellent performance as a heartless tabloid journalist adds 20% to the film. By using very banal and cheap props (a pile of dirt under the plane, sounds from a telephone receiver), a feeling of oppressive atmosphere and evil premonition is evoked and maintained. My overall impression is just below the 70% mark.

If Michael Radford thought that setting the story in an attractive strip bar environment and hiring a few well-known beautiful actresses would be enough to ensure the success of the film, he was mistaken. The film may not come across as cheaply exploitative as Showgirls, which at least offers some eroticism, whereas Dancing at the Blue Iguana mainly offers boredom. There are actually two levels of deceit going on here. Firstly, the film's "packaging" creates the impression of an erotically stimulating spectacle. The girls do try to twist around the pole and expose themselves as their profession demands, but the erotic atmosphere in the film is about as exciting as in a dentist's waiting room. Secondly, and far more fundamentally, the film deceives the audience when it pretends to be a subtle psychological drama. It lacks greater convincingness in portraying the characters and the environment, and above all, a dramatic storyline. It has been a long time since I have felt such a feeble sense of connection with the fate of a film's characters. In reality, the director presents kitsch to the audience when he attempts to evoke sympathy for the fate of the girls with their unfulfilled dreams. Everyone - even the outwardly rough hooker Jennifer Tilly - is actually very good at heart under her cynical exterior, they help each other, comfort each other, and the biggest drama is when they argue about a chair after returning from the "stage"... The bar owner occasionally barks at his little sheep about punctuality, but he doesn't mean it because he understands the girls, he parties with them and maybe brings a gift for the birthday girl... He probably doesn't enjoy it much either and would rather run an art cinema... Overall impression: 35%.