Kaka

Probably the worst action scenes in the modern history of high-budget action films. I have never seen anything so unbelievably unbelievable and half-assed this decade. It's even more disappointing that it's from one of the best, Ridley Scott. I'm referring, of course, to the only real action scene with live ammunition at the end. The training is interesting, cool, and exciting, Demi Moore's companions are the right animals, and Masterchief Viggo Mortensen is a brutal tough guy.

One of the most beautiful and poetic films of all time. Plus, there's Robin Wright, whom I have become outrageously fond of through this film, a brilliant Tom Hanks, and excellent music. A film full of philosophy and ideas.

Compared to the first films, the director turned it into nothing more than a funny farce with good visual effects and a star-studded cast. The atmosphere is gone and so is the darkness. The plot is laughable, but on the other hand, George Clooney is okay, Chris O'Donnell fits the role of Robin, and there is also the beautiful female duo of Uma Thurman and Alicia Silverstone. But Joel Schumacher almost killed the Batman franchise.

Dynamic direction, an action-packed story, devilishly fast pace, beautiful old-fashioned atmosphere, excellent costumes and sets, incredibly well-shot fights and action scenes, superbly mixed sound, graceful camera work, evocative and atmospheric music by James Horner, beautiful romance, mature appearance, lightning-fast editing, a charismatic Antonio Banderas, an uncompromising antagonist in Stuart Wilson, the embodiment of beauty Catherine Zeta-Jones, and on top of that, the great Anthony Hopkins himself, whom I happen to admire the most. Should I continue? It is precisely that stunning Hollywood entertainment of the 1990s that has forever grown close to my heart.

There are fewer stupid dialogues and more proper adrenaline action with a drive that will plaster the viewer to their seats. The Battle for Zion is brilliantly shot, the greenish camera filters and the typical visual style of the Wachowskis are not missing. Don Davis does a flawless job and composes his best musical score. It is difficult to compare Revolutions any deeper with the previous parts, which only served as a support for the final installment. The biggest, the most monstrous and the most ambitious of the entire trilogy. A grand finale as it should be.

The strength and the vision of a dark future is irreversibly gone, but to say that Jonathan Mostow messed it up, that's also a bit of a stretch. After all, there’s still have fantastically shot action, a likeable old T800 played by Arnold Schwarzenegger, and a killing machine in the guise of Kristanna Loken – she was probably my favorite part of the whole film. Edward Furlong is missing, but Nick Stahl is a fairly decent replacement. The whole film is carried in an action-comedy tone, sometimes it benefits from it, sometimes not. But it's not as tragic as expected. The only truly atmospheric thing is the ending.

A tired topic, but I have a weakness for Andrew Davis because of The Fugitive. The setting is exotic and Schwarzenegger is decent. Moreover, it is evident that no expense was spared on the technical side, so if not from the inside, the film can be appreciated from the outside.

Atmospheric, artsy and relatively cold. Or a gangster flick according to Professor Sam Mendes.

A love story almost without words in the middle of the universe, reminiscent of 2001: Space Odyssey with its ships in the middle of nowhere. It’s watchable, but you have to be in the right mood.

A brutal and incredibly animalistic film, dominated by the excellent acoustic and rhythmic music and a phenomenal sex scene between Eminem and Brittany Murphy, who delivers an Oscar-worthy performance here, and surprisingly, even the good guy “Rabbit” is not bad at all in his acting debut. Curtis Hanson directs cunningly and thank God for him. The harsh and dirty backside of Detroit, depressing grayness, and tough guys. This is no family cliché, 8 Mile is a mature film about a person's struggle with their own inner self, about the desire to prove that there is something more. It’s the Rocky of the new millennium, but more effective, more stimulating, more dynamic, more aware, and in a few decades it will be equally nostalgic. Almost a perfect score.