DaViD´82

There are some pictures for which even the maximum number of stars is too constricting. And Leone’s most personal work is just that type of movie. But it is hard to give it an adequate rating since even the four-hour version eventually released years later is still too short to be able to reveal all of the storylines that Sergio Leone had filmed. The result is that we are left with a lot of begun, but unfinished storylines (Frankie Joe, Pesci and Fat Moe, to name just a few). They should release the originally intended six-hour version. This way we are left with incredibly strong historical frescos that Leone guides extremely sensitively through three time periods, supported by Morricone’s music, superb actors, amazing technical effects and outstanding production design. The best part of this picture is the first third. This is where Leone’s storytelling is at its best and I dare say that this part is the very best thing that Leone created (the word “filmed" simply isn’t enough in this case) during his long career.

As an adaptation of the book by Ellroy, this deserves a full on left and right hook, but as a solid genre piece it isn’t all that bad. First we get a thorough introduction of characters and only then, around half way through, we happen to stumble upon the main storyline. It would be a mistake to confuse long-windedness with boredom. Here, the long inaugural exposition is just right, thanks to how the tension in the story builds up and climaxes.

Nolan’s low-budget feature-length debut, where he used a storytelling style similar to The Prestige. You can easily recognize the themes and means of expression that he eventually develops to absolute perfection in his later work. Following has a lot to offer even when you already know later, more famous movies from this director. It perfectly captures atmosphere of the London suburbs perfectly, has decent actors and, most importantly, a very well written and original screenplay. Jeremy Theobald is definitely worth mentioning, who already appeared in Nolan’s short, Doodlebug. It’s a terrible shame that, with exception of those two, he never appeared in anything else, because he is a really good actor, has charisma as well and his voice is specifically his, like few others.

Almost an undignified variation on (or copy of) Casablanca. Paradoxically, however, this film impressed me much more. Maybe because there isn't such an aura of "perfection" around it, and certainly because in my eyes the central couple has a more believable relationship. A pleasant movie that does not offer any new perspectives, but after watching, you will definitely not regret the time you spent with it.

A few months from the life of a womanizer, or a one-man show for Jude Law and his best acting performance so far. Unfortunately, I haven't seen the original version with Michael Caine yet, but given the quality of this film, I dare say it's a successful remake. The film also has excellent visuals and good pacing. A great advantage are Alfie's women, who are not just a "nameless herd", but each of them is unique and well played. It is a pleasant surprise that towards the end of the film, it does not turn into a classic romantic comedy, but remains faithful to its tone throughout. Nevertheless, because of the reformed Alfie, the second half isn't as great as the cynical first half of the film.

A film with no originality and a very predictable plot. And yet, it is a successful and solid genre film, of which there are not many anymore. Ideal for watching on TV.

A solid comedy with very good pacing, decent slapstick and Douglas clearly enjoying himself. It's from the genus of comedies like Analyze This or The Whole Nine Yards – here, too, a settled conservative doctor is drawn into a world where he sticks out like a sore thumb.

But He remains silent... The Seventh Seal is a film that will leave you with a lot of questions about the meaning of existence. You can ask yourself the same questions as the wandering crusader knight Antonius Block, but "I call out to Him in the darkness. But it’s as if no one was there". Don't expect anything more or less from it. However, it raises these questions in tremendously powerful scenes, so that even after multiple viewings, you will still be on the edge of your seat while watching Block's futile battle for life. A completely exceptional film that is rightly a classic and, together with Scorsese's The Last Temptation of Christ, the best "question asking" work.

I really like Hitchcock, but I never understood the enthusiasm around this film by the Master of Suspense. It's not one of his worst, but there are plenty (read dozens) of much better films in his oeuvre. The big problem is that technically it has become somewhat outdated - which wouldn't matter if it had an atmosphere to disguise it. Unfortunately, there is not a shred of it in The Birds; and in its essence, it is almost offensive to the ingenious chamber atmospheric original story (yes, I adore Daphne). And thus even the infinitely charming Tippi Hedren cannot save it.

Crank has a huge advantage in its frantic pace, thanks to which many flaws will whizz past you. It's a movie obviously tailored to Jason Statham, and although it's a debut, even for a small budget, the filmmakers really do amazing things within the ninety-minute running time. Everything is supposed to be terribly "cool"; but while sometimes it is really cool, it's often trying to be so "cool" that it's ridiculous. The creators definitely have great ideas (they probably (used to) play GTA quite a lot) and it’s clear that even within the B-movie category, there can still be originality.