Kaka

Arguably the best modern pirate film. Likeable, compact, with plenty of humor and self-parody, it definitely does not bring shame to the genre and easily surpasses the highly acclaimed Pirates of the Caribbean in practically every aspect. Perhaps Renny Harlin softened a bit and Cutthroat Island is not as striking and bloody as his previous films, but this does not change the fact that the action scenes are still solid, perfectly staged, and appropriately dynamic. Geena Davis is fine, and Frank Langella is absolutely brilliant, his lines are unforgettable. The final part is made up of a unique musical score, definitely one of the gems of film music. If you have a sense of perspective, a good mood, and aren’t critical, you can thoroughly enjoy this film.

Arguably the best action film of the “golden era” of the nineties. John Woo partially refers to his Asian influences while maintaining a typical Western fragrance and grandeur – precisely to captivate the widest range of audience. The action is practically flawless and incredibly captivating. The idea of ​​a face swap is quite original, which is further enhanced by the relatively “realistic” execution. Both Nicolas Cage and John Travolta are well cast and definitely do not embarrass their characters. Face/Off is simply a different film than most others in the action genre. A tribute to Hollywood blockbusters and probably John Woo's best film.

A spectacular and stunning film, visually precise, as is usual for Ridley Scott. A lavish production design, awesome cinematography, brutal action scenes, with blood splashing onto the camera. It's just a shame it didn't take home any Oscars, it definitely deserved one for the cinematography, production design, or music at least.

A very good psychological war drama. The flashbacks were well dosed and not a moment was boring. I enjoyed Captain Walden, I mean Meg Ryan.

Don't Say a Word is a brilliant thriller whose greatest strengths are undoubtedly the excellent performances of the main cast: Michael Douglas, Brittany Murphy, Sean Bean. Fast pace, excellent atmosphere, various shots, slow-motion, flashbacks, simply excellent. It's just a shame about the ending.

I'm honestly a little disappointed. I've seen the previous Ryan films and I have to say that both Patriot Games and  The Hunt for Red October were much better.

Only on a second screening and with a few years' distance, it's truly a fantastically ethereal experience that breaks a person into pieces. It's not so much the convoluted plot, but above all the captivating performances of Tom Cruise and Penélope Cruz that will be remembered for a long time. Cameron Crowe did exactly what was expected of him: an intellectually and uniquely analysis of the soul that is simple as a slap in the face from the inside. And it works brilliantly.

The beginning is engaging, the portrayal of the characters is good, the production quality is high, and Mel Gibson's facial expressions are traditionally precise. Jason Isaacs plays the villain with skill, and the initial clearance of twenty redcoats is unforgettable. But those are the only highlights of the film and then it only goes downhill. The fight scenes are not as dynamic and the mass scenes do not work well for Roland Emmerich. The cinematography is confusing and unclear, and the raw war atmosphere is clearly lacking. It's hard to fault Patriot for its pathos, but Gibson alone with his array of alternating angry, furious, and sad looks cannot win the war.

A thrilling and brilliantly directed thriller with a fantastic concept: two men on opposite sides of the law, in the middle of a claustrophobic hospital, where many lives are at stake. Excellent screenplay, dialogue, action, and sound. Andy Garcia plays a caring father with phenomenal expertise, and Michael Keaton as the main antagonist also doesn't disappoint. The direction is surprisingly skillful, and the music is impressive.

Armageddon destroyed this fragile alternative in 1998 with absolute dominance. And how could it not, with Michael Bay's brilliant action scenes, lavish marketing, and meticulous visuals – the classically edited and sensitive Deep Impact simply had no chance on a global scale. But it still has its qualities. Excellently portrayed characters, believable moments of chaos, confusion and mass hysteria, and last but not least, the magnificent and moving James Horner from the back rows with his typically grandiose musical compositions and a strong main theme.