POMO

The Blair Witch Project is one of the most innovative and sophisticated films in its genre, without any inkling at the time of its creation that it would become just that. If you like HORROR and you WANT to be scared, that’s exactly what you’ll get.

Along with Memento, this is probably the most original Hollywood movie of the 1990s. The idea behind it is brilliant, executed in a perfect symbiosis of depth of thought with tremendous emotions. I admire The Truman Show for absolutely every component of it. I understand that it may not captivate everyone, just as the supposedly brilliant American Beauty, for example, didn’t captivate me.

It’s a shame that this comedy is so needlessly long. Thanks to the pleasant last quarter of an hour, I would be more forgiving toward it. Kate Hudson are Matthew McConaughey are very good in it.

For an audience interested in such things, this is the most wonderful bedtime story.

Con Air is just as entertaining and explosive an action flick as The Rock, but it’s less predictable and doesn’t take itself seriously. And whereas in The Rock the main bad guy was a charismatic general of good character, which hurt the film, in Con Air we have a plane full of bad guys – the most cold-blooded (John Malkovich), the most brutal (Danny Trejo) and the creepiest (Steve Buscemi) all at the same time! John Cusack is likable as the U.S. Marshall, Nicolas Cage is heroic and Trevor Rabin’s soundtrack rocks. In my opinion, this is the second best purebred action movie of the ’90s after Face/Off.

Dreamcatcher is one of those films that you don’t believe the filmmakers could have intended seriously. It insults your intelligence and your wallet. It’s not a completed film, but Hollywood bullshit of the highest (or rather lowest) calibre that resembles a rough cut of a cross between a psychological thriller and Outbreak. I’m giving it one star solely for the promising first half-hour.

Beautiful production design and the luscious Milla Jovovich with an irresistible orange bob cut. Luc Besson has an admirable imagination. In terms of content, however, the film left me absolutely cold. Even as light entertainment.

The Transporter is an exemplary case of a dumb screenplay transported into a deliciously effective form. Whereas this combination is usually maddening in a Hollywood movie, in a French film it induces a kind of pleasant relaxation thanks to the typical French sense of detachment. The unconventional use of music adds to the film’s distinctiveness. And Jason Statham is good throughout.

Crimson Tide is a Hollywood attempt at cinematic psychology between characters that won’t insult your intelligence and you will be delighted by the spectacular visuals (Tony Scott’s typical camera filters) and Hans Zimmer’s brilliant music, as well as by the excellent actors.

A cliché seen a hundred times before, dressed up in slightly more elegant garb and played by a more likable pair of comedians. But it’s still basically just a run-of-the-mill action flick.