My DVD collection

Very dark, dirty (not to say 'sleazy', in a sexual way), cold (with some 'hot' moments as well), and ambitious - as for sci-fi field - picture of the divine director, Terry Gilliam. Acting of a very high hallmark (Madeleine Stowe, Brad Pitt, Christopher Plummer, and, to be remembered, best for years Bruce Willis. My Oscar for scene in which he's crying to an old song heard on car radio). Absolute a must-see (if not a must-have) for all my people.

Boyle's zombie movie is the best British horror in decades. Actually zombies are not regular zombies (in Romero's way) - they move much faster and are much more aggressive but still not too bright. 28 reminds of The Virus, with an idea of epidemy, quarantine and military in charge. The cast pulls together the young, promising ones (Cillian Murphy, Naomie Harris) and the established actors (Christopher Eccleston, Brendan Gleeson). The exposition with abandoned London is very impressive but one of my favourite bits is the scene of rescuing Selena - so violent yet, well, romantic.

According to modern standards in sci-fi, 2001 may be very slow-paced, or even boring. But it's first/final sequence are absolutely remarkable. Kubrick has succeed again, proving that (another) movie genre is not a mystery for him (anymore). Most of technical solutions during making of the movie were revolutionary, leaving passage for Lucas and many others. Further films based on Philip C. Clarke's Space Odyssey series were completely unnecessary.

Another friendly-aliens fairy-tale with the untouched status caused by sentiment. The production of The Abyss was of epic proportions since almost entire film was shot underwater. Bathyscaphes, ROV's and lots of other hardware (Cameron's trademark) with few people trapped in it under pressure of rush events and the disturbingly deep ocean depth. A suggestive background for solid portion of first-class SFX.

Dumb as wallpaper with butterflies... Used to enjoy it, but that was quite long time ago.

No wonder Mr Carrey had declared that if he had played Ace Ventura for the third time, he'd have committed suicide. This bloke should be really grateful to his agent for hiding (?) this, and few similiar roles, in his portfolio being submitted to Peter Weir or Milos Forman.

My girlfriend, and I believe many orthodox fans of original TV series, didn't like much big screen version - but luckily (?) for me I haven't got the privilege of watching The Addams on telly. The cast is just superb (Raul Julia, Christopher Lloyd, Anjelica Houston, and Christina Ricci performing her best role at age of thirteen), and Barry Sonnenfeld is artisan efficient enough to handle, for the second time, such exceptional material as The Addams.

First and original of (still) unique series, sci-fi/horror masterpiece with most sublime hints and stuffy air of gothic castle somewhere in space. Also best cast ever concerning Alien quadrilogy (Alien Vs. Predator is a crossover, doesn't count). Fine introduction of one of the most hideous creatures in cinema/sci-fi universe.

James Cameron, as reliable craftsman, had made profitable sequel in plural. Military part guarantees plenty of angry Xenomorphs vs. bored marines who would kill for kill. Not many big names in crew but (obviously) Sigourney, Michael Biehn and Lance Henriksen as Bishop. Mother - unforgettable.

As years were passing by, I'd found out that third part is at least as good as the first one, of course from different reasons. It has to do with the person of David Fincher, but not only. Great script (abandoned prison-planet, criminals' sect, new abilities of Alien) provided great movie. Even stop motion shots don't bother (for the first time most of shots required a man in costume, new 'edition' of Xeno needed a model).

What hit me about Alien Resurrection is that French director made most Hollywoodish part from all Aliens. However, this is great entertainment. Also, as rather severe sci-fi spectator, I was fully satisfied with plot's solution (Ripley died in previous, to be last part). Gore level recompensates CG (for the first time) Xenomothers, and new breed kicks ass (it's mother's even more than that). Proper, neat volume in quadrilogy with tiny gateway at the end.

The climate of Berkeley in the late 60's, experiments on people with exotic psychedelics/sensory deprivation, great acting (Hurt), and overwhelming SFX - what more can you want?

Seemingly Amadeus had been nominated for fifty-three awards and eventually has won fifty-three of them (including four Golden Globes, four BAFTA's and eight Oscars). And I wonder how come it hasn't got those thirteen left. (By the way: generally award-winning is bollocks but you've got the idea of my appreciation.)

Remember times when good o'le Mickey was cute pretty boy (even when 'bit chunky, as playing Angel) before booze and professional box fighters had fixed him to real life Marv from Sin City? Well, his boyish look is one but lets not forget about Rourke's solid acting, too. Would you believe that young Lisa Bonet was given official permission from TV station bosses and Bill Cosby himself to take a part in new Parker's project, even if known it's going to be controversial? Helluva good performance of Robert De Niro places this movie as the pearl on my 'satanic' shelf. Great shots & lights, and dense climate of Brooklyn/New Orlean in '55. Heavy stuff but I love it.

Before Pythons have united and created the immortal BBC series, they'd been involved in various comedy programs within the TV station. And this DVD gives brief look at some of their (Cleese, Chapman, Jones, Palin) previous work. For MP fans mostly.

Cameras to the people, cameras to the people right on! Awesome (...) is a must-have for any Beastie Boys fan, but that's quite obvious. Only couple of movies make me realize how much I need (decent) home cinema speakers system. Just can't sit on my ass while watching Awesome. Careful with extras, they're bit disappointing (especially this weird short movie with Nathaniel Hornblower - painfully unfunny stuff).

I remember shivers even whilst watching few seconds of Batman on telly (the shortest/worst teasers in my life!). So watching it for the first time (I might've been 8-10 years old) was quite a thrill. Unlike most of comic books I was quite familiar with Batman, since Batman was my favourite hero. So at the right time some right people have met together in the right place and set very high standard for such seemingly trivial thing as screened comic books. I mean, Jack Nicholson playing the Joker? Come on!

I think I've made myself clear about Schumacher's abortive Bats but I use the opportunity again and state: up to now there are three cinematic parts (soon four) of Batman: Burton's and Nolan's. British director brought very accurate quality to Batman film, so visible in Insomnia or The Prestige. Also choice of Christian Bale was very right, all cast is exceptional (for a comic flick). Ninjas, hallucinogens, the introduction of the Scarecrow (Cillian Murphy), ill as hell, revamped Batmobi, sweet (but wooden) Katie and moderately rewarding plot - all bathed in dark sepia. Can't wait to see The Dark Knight (25/07, UK)!

Only the very few was able to achieve such a difficult goal as shooting sequel which is good at least as much as the first part. In most cases such achievement demands comparable cast and crew, the condition executed in this one. Somehow Batman Returns seems to be darker, but - what's more important - consequent in many ways. Everlasting respect for that, Mr Burton.

Why Alec Baldwin? Why, why, why? For me he has spoiled most of the movie, only by his presence (eventually Baldwin himself wasn't very happy to participate in Beetlejuice. Twat. And a lousy actor, too).I treat Beetlejuice as Burton's stretching exercise before his further productions. Still enjoyable (Keaton, Jones).

This movie had no chance to be done wrong. Talented director (Spike Jonze's cinema debut) and great actors (Diaz, Keener, Cusack, Malkovich) are one thing but absolutely remarkable smartness of screenwriter (Charlie Kaufman) cannot be underestimated, especially in this case. Fantastic movie.

I haven't seen such affectionate film, without feeling embarrassed, for a long time. Big Fish, a story about the least easy of relations (father-son), the power of imagination and (the art of) passing away. This is far the most personal movie of Tim Burton (the realization of BF converged with the death of the director's father). McGregor and others are good, but outshined by Albert Finney's remarkable performance.

Unappreciated by critics, but loved by me and many I know (even many more I don't know. I unite with you all, dudes & dudettes!). Packed with twisted humour, hilarious dialogues and f-words. Goodman, who appears constantly in Coens' pictures, has made his best performance in years. Great supporting roles, just can't find any flaws in this movie. Man.

Special units, choppers (flight to mission scene is awesome), explosions, guns and difficulties of every caliber and extreme hostility of the natives (Somalia '93). Reliably produced piece of military action, based on real events, with bunch of famous names (Eric Bana, Tom Sizemore, Ewan McGregor, Sam Shepard and many more). I say OK.

This is ultimate sci-fi classic, a fairy tale about robots, and as someone wrote, the film about the will of life. Scott's another (after Alien) succesful trial with such difficult genre, as sci-fi is, combined with some film-noir elements. I 'm not the biggest admirer of Vangelis but his soundtrack is just great. Indisputably five star picture.

The Blues Brothers is unique because of its historic all-star cast, and I don't mean just moviestars (Cab Calloway, Ray Charles, John Lee Hooker, Aretha Franklin, James Brown and the musicians, members of the real Blues Brothers band). There is number of cameo appearances (Frank Oz, Steven Spielberg, Carrie Fisher, young Paul Reubens) but of course you cannot forget about the immortal, unbreakable Blues Bros duo. Chicago, "the largest Polish city", is not only background for action or impressive car chases (including fantastically ridiculous amounts of cars to be crashed) but also hero itself. However the first and major thing in this movie is music, nevermind the genre, adequately flavoured with the right (Brothers'), black and white sense of humour.

Arthur Penn's classic from 1967 about most wanted couple of bank robbers from the Great Depression era. The real characters were far less beautiful (oh, Faye) and far more thick but eventually this is not a document. Anarchy, childish fooling around with machine guns, sublimation in least sublimed way (Clyde really suffered from impotence) and extremely violent, crushing climax. The pantheon of gangster movie genre.

Singleton's debut is actually his best film. Maybe because it's that personal, based on his own experience (Singleton was raised in this part of Los Angeles), or because nobody has ever taken voice about this huge social problem, unfortunately still present and escalating. Breakthrough role for Cuba Gooding Jr., with "straight outta Compton" gangsta rap star, Ice Cube.

History about quiet midlife crisis (Murray repeating himself a bit after Lost In Translation), the blast from the past, embarrassing confrontations and loneliness. The score is delightful (thanks for Mulatu Astatke, Jim), the ending - funny and miserable at the same time.

An absolute must-see for every fan of Parker-Stone duo. Shpadoinkle flick, whether you'd like it or not. Great songs.

How to write a review to such film as Casablanca? I haven't got the slightest idea. All I know is that I honestly like the plot, without its historical and political issues.