Kaka

The most artistic Helgeland I've seen yet. A film where everything works exactly according to the contours clearly laid out at the beginning – you expect everything to come, including the happy ending. Harrison Ford is a proper right-man owner, Chadwick Boseman is a straight black player, and the emotional high point doesn't quite come from all the right things (except perhaps the film's best scene – the smashing of the bat). It's not even the down-to-earth, suggestively progressive flick that Moneyball is, but it's lovely to watch, because it's all meticulously detailed and utterly mesmerizingly positive.

A bit of journalism propaganda, but why not, I actually believed that national hero. The unusually personal relationship between the two main characters – thumbs up. The stuff Renny Harlin can film for 20 million – thumbs up again. It's not as grand and technically polished as other films with a bigger budget and similar theme, but within the indie style, it's a well-made thing, simple and straightforward. The basic things and values are said very clearly and without scruples. And the opening scene in the car is one of the best I've ever seen.

Unfortunately, a big disappointment. Kari Skogland doesn't know where to go and Sheridan is clearly not too interested. The attempt at a raw performance is nothing special, and the chaotic action like in Blade 2 is not enough. The issue of IRA is presented as it suits the creators, as a secondary framework of the film, not the main theme. This is unfortunately directed at the fairly solid Jim Sturgess.

A fresh and new approach to the material with excellent casting. The two main virtues of this interestingly presented and positive comedy, where the wave of seriousness and sometimes bitterly cynical undertones resonate perfectly with the archetypal premise of all romantic films, are love and everything around it. Webb got it right, it's from life, and while it seems mature and adult at times, it's actually a teen issue in every way.

Finally, a film about very serious matters, presented in an accurate, balanced optic oscillating exactly between serious drama and black-humored dirty comedy, beautifully showing that even a serious illness can be treated in a different way than with tears and a feeling of helplessness. There are no clichéd platitudes or pathetic emotions, this film is dominated by common sense and a lot of brilliantly staged passages of everyday life. Joseph Gordon-Levitt has great talent and a knack for choosing roles, and Seth Rogen does what he knows best, portraying a clumsy, good-hearted, vulgar schmuck.

Terrorist one-off trying to hide the fact that it's actually just a fast-paced and intellectually unpretentious SAS action flick with a plethora of more or less interesting characters in various military-political roles, thanks to wannabe deep and dramatically powerful scenes that don't work (Strong's phone call at the end, etc.). The running time doesn’t leave room for anything else, but the action is quite believable, with a good period setting and without any extra heroism or pathos, so OK. The flip side of the coin of Spielberg's long and more ambitious Munich.

Michael Bay off the rails. Despite all the glitz and impressive action, it lacks the refinement and cool style that we loved him for in the 1990s and at the turn of the millennium. Probably an attempt to go with the times, which in this case was way off the mark.

60 Seconds is exactly as dumb as you can expect from a brainless action flick from the turn of the millennium. Lots of testosterone, hot cars, a hard to get female element in the form of Angelina Jolie, whose spontaneous looks evokes the uninhibitedness of the late nineties, and a few almost mystical scenes of Nic Cage vs Shelby – or a car like any other. it's a pity that Dominic Sena kept silent for a good number of years after this film, because his visuals are fantastic, his music is even better, and thanks to that his have an action-packed pace and a spine-tingling spirit. This one was missing a more meaningful screenplay and sometimes it could use more logic (see Memphis and his jump on the bridge), but it can be endured as a way to unwind. The soundtrack is badass, and thanks to it, you can forgive these cars for their many faults.

It could have been a solid political-military thriller about freedom fighters, intelligence agencies, political leaders and a good reconstruction of an important event in history. It could hardly have turned into a melodrama or a love triangle, although I suppose that could have been playable too. The ending, however, is a mess; a flavourless carnage. The stellar cast doesn't have much room to play, a lot of supporting characters with potential are needlessly neglected, and by far the most interesting thing about the entire film takes place somewhere other than Entebbe, in Israel. A clear failure of the filmmakers, because to use such an interesting material, especially today, in such a mediocre, bland way, is a real art. The final military raid interspersed with wtf dancing is a pure display of idiocy.

I can't believe how far Wesley Snipes has fallen, after begin an action hero, he has become the king of B-movies and dusty video rental shelves. 7 Seconds is a mediocre action film, struggling with deficiencies in the screenplay, confusing direction, and overacting. The action scenes are okay, but you can still see that it's a low-budget B-movie. A shameful waste of time. Tamzin Outhwaite kicks some butt, but otherwise, it's mostly routine.