3DD!3

An atmospheric relationship drama with interesting performances. Unfortunately, the script is as dodgy as the leading lady's memory. Spending an hour and a half portraying the world and having the interesting, supporting stuff taken away in a moment is the most frustrating part. The motifs of the relationship between men and women in contemporary society are stripped away, killed without proper context. The behaviour of some of the characters is downright baffling. Chris Pine and his departure was supposed to mean what? But Florence Pugh does a great job, and even the bumbling Harry Styles is a sight to behold. Olivia Wilde's brilliant direction saves much of the film, but the crumbling story at the ending trip her up. The visuals are great, though. A more assured script next time and it'll work out. John Powell's score is superb.

An entertaining amoral comedy about gambling and memory loss. The best gambler in the world trips, falls off a cliff and remembers nothing. Chow Yun-Fat turns from a confident gambler into an infantile kid who only wants his chocolate, and two second-rate thieves want to use his skills to enrich themselves. Funny incidents, lighthearted scenes and growing camaraderie are then interspersed with bloody carnage and brutal shootouts. It's horribly paced and has questionable drama, but it's very original.

At first, it looked promising, and the mystery line involving the search for the father served as an interesting bond between flashbacks to the past and the founding of the Monarch organization. Mythology Building. The monsters were sparse, but given the budget, that's understandable. Kurt Russell was a draw, but his escape from the retirement home and trip to Alaska foreshadowed a brutal quality downgrade. The drawn-out relationship friction, the odd and unwarranted changes in character behavior, and the LGBT pandering kill the solid foundation of the first episodes. Series co-creator Matt Fraction went on to put together a decent skeleton, but the middle three episodes almost sent the entire series into a tailspin. The ending is pretty good despite the logical lapses and clichéd twists, but it's a shame Monarch isn't shorter and there could have been more monsters for the money they saved. All in all, a very awkward journey to grandma that doesn't deserve a sequel.

The cooking madness continues. This time, however, they need to build some of the good stuff to make things work, so we get a dream restaurant and Clairebear. Jeremy Allen White is going all out and about halfway through the Christmas episode, he gets such a cast of sidekicks that it will make all the hairs in your body stand up. Surprisingly, though, this isn't the best episode, the one right after it wraps up the most fucked up character's story arc, which Ebon Moss-Bachrach handles it with aplomb. The ending in the freezer is disarming though, it takes all the joy and leaves it on ice. I can't wait for the next season.

Michael Mann chose to film a period in Enzo's life that would have made most people into quivering, weeping wrecks in bed. He starts by outlining a relationship situation, a value scale, and lets someone die. Masterful exposition with an absolutely spot-on Adam Driver and a terrifying Penélope Cruz. A story strong in detail. A harrowing family drama of a disaster-stricken factory worker, interspersed with an equally gripping racing inferno that, if you don't know what was going on in the Mille Miglia at the time, will chew you up with a minor detour into the life of an Italian family. Erik Messerschmidt pulls you right in between the roaring cars, Mann also keeps an eye on the sound so the engines roar and the sheet metal squeals like a cowpoke. Add to this Enzo's brilliant tactics – lying and twisting reality, tailor-made for each of the racers. The attention to detail shows the strength of Mann's filmmaking, and I hope we won't have to wait as long as we did for Ferrari for another such tidbit.

Great. Old-school attitude and Mads Mikkelsen's stubborn expression in a solid film with a great script that grabs you by the heart. Danish moors and beautiful shots of the rugged landscape. And, of course, there's one motherfucker you wish the worst for, wondering the whole time why the captain didn't put a bullet through his head right from the start. A great story with a strong conclusion and a worthwhile point.

A juicy cowboy film with a great unconventional script about justice, hanging and morality. Clint Eastwood is awesome and the opening lynching scene is very surprising. The final shootout is quite unusual as is the ending and the romance line isn't exactly conventional either. Just a very original take on the western. The presentation of a public hanging where beer and pretzels are sold is second to none. The music doesn't quite fit but it’s not completely useless.

I love Bachman's novella and maybe that's why I avoided the film, which has nothing much in common with the book except the basic concept. The direction is lousy, but the 2017 dystopian future atmosphere has its charms and I completely understand its cult status. Arnold is in great form. The witty wisecracks and off-color humor may trump the message and turn it into brutal entertainment, but who gives a damn. Now, however, it might be the time to adapt it properly, according to the book, and in a way that makes the audience shudder at the end.

In the second season, the creators were not afraid to go off the rails. There interesting digressions that at the end lead to a total mayhem where almost everyone shows up. I liked the continuity of the final episodes.

A beautiful Slovak fairy tale. Maybe even the best. Fantastic poetics, beautiful locations. Jakubisko skillfully mixes mystical and progressive motifs and adds a wisecracking hero who is afraid of nothing and kicks death's ass.