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Action (action) is a genre of film art that illustrates the well-known thesis: "Goodness must have fists." The main character faces evil. Not finding the possibility of a peaceful solution to the situation, he resorts to violence, as a result of which dozens and sometimes hundreds of villains are destroyed. "Happy end" is an indispensable attribute of an action movie, evil must be punished.

A characteristic feature of the artist's filmmaking is "actingversatility ", because breadthhis artistic range enables him to work brilliantly indifferent genres:to a police fighter ("Panic inNeedle Park", "Serpico", "Sea of ​​Love", "Clash andetc.);psychological dramawith elements of mysticism ("Lawyerthe devil") ; a gangster film(" I'm with a facescar", "Carlito's Way", etc.),drama ("Scarecrow", "Bobby Deerfield" (screen adaptationE. M. Remarque's novel "Lifein debt"), melodramas with elements of comedy ("Author ! Author!","Francis and Johnny") and others.In all theirsAl Pacino's works demonstrate the highest level of acting professionalism.Every movie is from himparticipation is artistica perfect work that always inspires admirationviewersHowever, the most significant creative achievements ofAl Pacino's film production is primarily associated withtrilogy by F. F. Coppola "The Godfather", in which the actor created the image of the head of the mafiaMichael Corleone's clan, and the film "The Scent of a Woman" directed by M. Brest – deeplypsychological film entertainment aboutthe adventures of a blind colonel of the American army, for whichthe artist was awarded the highest prize of the American Film Academy - goldstatuettesOscar.

The cinema of independent Ukraine becomes the object of research by I. Zubavina. It must be said that the author set himself a difficult task: the material, one might say, is still pulsating, having "not stood up" in numerous studies. But the author decently overcomes these difficulties, singling out the most noticeable and expressive tendencies manifested in film productions created at domestic studios. I. Zubavina observes how the breath of time changes the aesthetics of national cinema, how painfully these changes sometimes occur, but the author does not doubt their regularity and necessity.