Kaka

Practically incomparable with the older films. This one is much faster, more colorful, and even more childish by the most part. For a modern viewer, let alone someone not interested in the original series, it will be a fantastically flashy popcorn movie full of amazing visual effects and excellently filmed battles. The best part is, of course, at the end and I dare say that we won't find a better one in the entire Star Wars saga. The demonic aspect is further enhanced by the genius musical score by John Williams. Jar Jar is embarrassing, just like most scenes with the Gungans. Why the director incorporated such a fool into this fateful story is a mystery to me, but there is no other option than to accept it. Let's dig in with gusto.

An epic old-school love story with a slightly theatrical feel and absolutely brilliant visuals. A stunning spectacle, but slightly fragmented in terms of themes and dramaturgy.

This is not a good movie, as accurately depicted in the opening coffee sequence by John Travolta. However, the visuals are so great that it doesn't completely deserve to be written off. It's a typically far-fetched story without a shred of realism, which unfortunately is also lacking in the most important moments, the computer manipulations. Paul Oakenfold sounds beautiful, the yellowish filters look good, and the action flows pleasantly. Add to that the classy outfits and impressive visual effects, and it becomes a treat with a big screen and a proper sound system. Otherwise, it's probably quite difficult to watch.

A casual viewer will hardly appreciate David Fincher's brilliant camerawork and the subtle noir atmosphere of the entire film. The script is indeed simple, but the main characters are brilliantly portrayed and the settings of the large villa, bad weather, and Jodie Foster's believable acting contribute a lot. For fans of the genre and Fincher's films, it is truly an exceptional work. For most others, however, it will likely be just an average cat and mouse game with a slightly exaggerated ending.

Definitely the most exotic slimy adventure in the entire series. Far from being as mysterious as the first one, militant as the second one, or depressive as the third, the fourth Alien is something in between comedy (excellent wisecracks), horror (lots of slime everywhere you look, and the failed clones), and classic sci-fi, full of high-tech devices and robots. Jean-Pierre Jeunet's touch is beautifully evident, especially in the camera movements and the composition of certain scenes. Technically, it is of course brilliant and the underwater scenes are awesome. Surprisingly, Sigourney Weaver still has charisma.

The first time in this cult franchise we have two key elements playing the main role. The first one is undoubtedly the Alien itself, and the second is the depressing and oppressive setting along with the morality and psychological profiles of the convicts – serial killers, violent criminals, pedophiles. David Fincher doesn't waste anything in his debut and his camera escapades (the Alien’s POV) are already a signature. Unfortunately, the monster is again only one and also annoyingly computer-generated when shown in full. Compared to the second installment, there is a slight downgrade, but the atmosphere is brilliantly depressing, and the play with lights is amazing. For example, the lighting of the background during the autopsy is worth mentioning. The emphasized faces alternating with short shots of the scalpel's sharp macro details are incredibly suggestive. Likewise, the prisoners have very well written characters, and the ending, as presented by Fincher, is not particularly surprising. Definitely a progressive and the most peculiar Alien.

Hands down the best installment of this famous franchise. James Cameron confirms his incredible talent and visual sensibility here and imprints the film with his unique directorial style. The action is fantastic, raw and “realistic”. Similarly, the characters are unusually dense and well-developed for this type of sci-fi. The Marine commando is one cool gang, dropping one-liners faster than the bullets from their machine guns. Finally, we get to see the feared monster in all its beauty and power, and it's no longer just “a guy in a costume”. Sigourney Weaver is even more likeable, and her transformation from a timid advisor to a seasoned warrior is brilliant. The minimalist soundtrack and the android Bishop have become legendary. Together with Blade Runner, clearly the best sci-fi films of the 1980s.

Ridley Scott cannot be denied his directorial skill and sense for a unique creepy atmosphere, but after so many years, it doesn't have quite the same level of horror as it did ten or twenty years ago. The original screenplay, the great cast, and the excellent direction, along with the depressive music and fantastic devilish atmosphere, are all positives, But I still give preference to the militant Cameron.

James Cameron always gets his way and when he sets his mind to something, everything just falls into place. From the filming system, the set construction, the casting, down to the tiniest decorations and details. He is a brilliant director and when it comes to potential, there is hardly any competition in Hollywood. The Abyss, above all, has an immense power in the ending and the duo of Ed Harris – Elizabeth Mastrantonio is so perfectly chosen that it's hard to believe. The presence of complex visual effects doesn't overwhelm, and everything is exactly as it should be.

Joel Schumacher is truly a unique person, he can make crap like Batman & Robin, but he can also make gems like Falling Down or 8mm. This project, Phone Booth, is considered the pinnacle of his filmography because it has everything a film in this genre should have: a great main hero, a devilish villain, captivating atmosphere, excellent camera work, and solid music. That's why it is one of the best thrillers of the year.