3DD!3

As far as songs go, it's weaker, but otherwise an excellent Sandler rom with a nice message. Leo is a tired old iguana living the quiet life of a school pet and suddenly becomes a mentor to all the kids after an unexpected change in class teacher. The kids are likeable, no jerks just a simple kids with normal problems that need someone to lean on.

A pretty fine comic-book flick. An old-school origin story that seems to have fallen out of a time twenty years ago. The protagonist is likeable, the villains are one-dimensionally evil, and the family element brings some unexpected chaos. It’s a bit of a blue Green Lantern with some Latino spice.

Dreamworks answer to Ant-Man combined with magic, cats and a big ad for a house and its accessories. I bought the Lego version of that house and I'm a hero, a god and my daughter loves me best. Mommy relegated to second place. He he.

No one is special. We are all mere aberrations, but otherwise we are all basically the same. Fincher's philosophizing assassin explains the importance of overcoming boredom and the benefits of diligence. I've never seen a more relaxed and serene opening. It's a balm to the soul and a throwback to the early days of Dexter. Fake smiles, at McDonald's or at an airport counter, Fassbender's emphasis on minimalist, spare and slow speech and a thoughtful, planned out life that goes out of whack at one key moment. Andrew Kevin Walker adapts a comic book about method and the importance of staying on top of things. Fincher chooses to repeat the rules, but they're often broken, to emphasize the hero's inner turmoil, but it doesn't affect his effectiveness. A melancholy quest for revenge seems to be the opposite of John Wick, yet it offers one of the most intense fights between two very different killers, supported by Reznor’s and Ross' restrained (as usual) soundtrack. Emotionless, yet absolutely precisely realised. It is the absence of emotion or some unexpected finesse that prevents The Killer from being anything more than a precise and cool study of people who simply, don't give a... Fuck!

I had serious doubts that Loki would get a satisfying ending, but hats off. Why the title character does what he does was a mystery to me. The transformation from self-centered asshole to multiverse hero is ease and... a few thousand years later... quick. Hiddleston enjoys Loki immensely, especially in this new position as a TVA agent and not a god, but he manages to switch from comic goofing off to the Norse myth of Yggdrasil just fine. Majors is a chameleon of an actor, but he's still at his best in the position from the end of the first season. Wilson, Quan and Di Martino are all excellent, and each gets their space, but the exchanges between the two leads just aren't there. The middle episodes may be filler, but they are very important to character development and anyone who doesn't get that can safely lump themselves in with the Disney+ heads who wanted more and recruited the wimps who are to blame for the recent crap in the quality department. Quality, not quantity. Loki Season 2 shows that it can be done. Especially when smart execs like Justin Benson and Aaron Moorhead take the reins.

On paper, it meets the quota. A girly Marvel movie with an unlikeable and downright repulsive villain packed with visual effects. There's no shortage of environmental overtones, even saving the sun at the end. The script connects series characters, but simply to somehow link them to what's happening on the silver screen. The biggest WTF is the Planet of the Songs, which is probably the thing my four-year-old daughter will like best. The secret invasion doesn't make sense after that (I guess it took place in another reality), and the cats save the day. Somehow. Pretty pointless episode defying physics, logic, but it goes by pretty quickly. Zawe Ashton is disgusting. Brie Larson is awfully nice, especially in a sports bra. Too bad she's not getting better scripts.

To the doctor on my deathbed and to the pharmacy not even for vitamin C... A decent Netflix movie filmed at an unexpected Wolf of Wall Street pace about the rise of a start-up pharmaceutical company and how market greed kills. The acting trio of Emily Blunt, Chris Evans, Andy Garcia revels in every scene, but it's Blunt who takes her complicated motivations that elevates Pain Hustlers a notch higher. Captain America, on the other hand, is unexpectedly understated, though handles very well the asshole salesman role who knows that's just the way things works. A nice surprise, especially for routine artist David Yates, who needed redemption after the wizards.

The press is supposed to serve the people, not the government... A prequel to Watergate and Wikileaks. Today's information overload, useless information and fabricated information that serves to confuse the public and prevents what matters from reaching the people. Spielberg shows the first victory, which started the spiral leading to today's confusion of the public by governments around the world. And he shows it playfully, clearly and with an emphasis on quality. Because quality and profitability go hand in hand. Or at least that's how it should be.

The stilted plot, the unnecessary story lines and the soporific pace cannot be saved even by the fantastic sets and expensive visual effects scenes. Cut it down to a two hour movie, remove the downright moronic dialogue between Galadriel and whoever, condense the hobbit line and remove half the elves. Big disappointment, please end it quickly in the second season.

I don’t mind the change in the voices! I was honestly worried about the arrival of Dan Stevens, but now I can't imagine Korvo not speaking with a British accent. In addition to the bombastic story from The Wall, we pick up the intergalactic adventure in Silver Cops, which devolves into Fast and Furious. The alien adventures are great, stronger episodes alternate with weaker ones. Pupa is a little overlooked. Coming of age, corporate interludes, turning into humans... good series.