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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.

Crushing. It’s good to see in the context of today's times when it appears that no one plays a fair game and those who do are suffering the most. It's not at all enjoyable to watch, in fact it can only be endured because of Scorsese’s masterful work with the actors and his obvious desire to tell an important story. De Niro and DiCaprio are both excellent, and Lily Gladstone is Oscar-worthy. Too bad the people who should see it won't be the ones who will, because they won't be comfortable with the company they'll spend those three and a half hours in, since the main characters are a lazy invalid slacker with a weak will, a naive (though mostly sick) rich wife, and an egomaniac convinced of the righteousness of his actions. The common denominator is, of course, money. Yeah, I like money, almost as much as I like my wife.

They shove the remnants of CIA agent Ryan Reynolds, tortured in action and leaving behind a wife and a hungry throat, into psychopathic tormentor Kevin Costner, who has a chunk of empty space in his brain. Then there's some hacker and a wonderful cast with Gary Oldman and Tommy Lee Jones, plus a lesser-known evil villain with a likeable motive to rid the world governments and finally bring order. A plot straight from the 1990s with fine action and a rampaging protagonist who doesn't hesitate to bash someone's head in with a lamp and massacre football fans for a means of transportation. A nicely paced old-fashioned story that can't be taken seriously, but will please fans of the good old days of The Rock or Face Off.

A great story with a decent patina of mystery at the end that lifts it up. Roald Dahl's writing is superb. Wes Anderson's production design is incredibly well thought out and doesn't become annoying due to the short running time. In a feature film, however, it would be exhausting.

An atmospheric whodunit/thriller with a Benicio Del Toro that will burrow under your skin, who, along with debut director Grant Singer, elevates this Netflix flick to at least the event of the month. An inscrutable tale that, once unraveled, is an admittedly much-seen classic. However, it's told so artfully and with such excellent performances from the supporting cast that it takes your breath away. The almost palpable insecurity is brilliantly rendered in Del Toro's performance, while not falling out of character as the stoic client. Often reminiscent of the very best crime stories by David Fincher, the director has a flair for image and narrative. The script is strong in detail and especially in realism, with the scenes with his wife (an awesome Alicia Silverstone) among my favorites.

It's not bad, definitely better than Obi Wan or The Book of Boba Fett. But Ashoka follows a lot on shows I've only heard of. It kind of goes about its business without thinking about the uncomprehending viewers who are happy with the action and the excellent visual effects but haven't done their homework. So it offers a lot of cool stuff, including zombie Stormtroopers or biting into the mystery of another galaxy. Personally, I was very bothered by some thoughtless details, with some things happening simply to get the characters where Filoni needs them to be. The fact that it doesn't quite make sense is a side thing. I'm definitely looking forward to the next season.

A great comedy that warns smart people what will happen if they don't have enough children or postpone them indefinitely, and shows stupid people the future of cinema - asses and farts. A US Army librarian becomes the smartest man on the planet in the year 2505 after a failed experiment. Stylistically, it's a mix of Planet of the Apes and The Running Man with ridiculous effects and occasionally really stupid humor, but quite deliberately stupid. Luke Wilson fits the average guy perfectly and President Terry Crews is a delight as well. I'd say a lot of the ideas sketched here inspired Rick & Morty or other similarly wacky shows.

An audiovisual feast... A beautiful setting in an underdeveloped Asia that is being destroyed by imperialist (American) scum with their ruthless missiles. Add to that a roaring Zimmer and maybe Radiohead. Unfortunately, though, with a stupid, unlikeable hero who doesn't know what he wants and betrays everyone who comes in contact with him. John David Washington is cruelly out of place here, and even the little girl is better than him, but that's the least of the problems. The narrative structure is fine, though I was expecting a more interesting twist, but the bigger problem is when some things contradict each other, failing to follow the given rules of the imagined world, which itself works rather oddly. They must have left a lot out in, and it often feels like stroking against the grain. There’s a good film buried in there somewhere, but Gareth Edwards has badly mishandled it and I can't work out if it was already on paper or later in the editing room.

Cheerful silliness for a good mood. It lacks the surprise moment of the first episode and the jokes are weaker, but that's what makes the crazy action and the level of luxury all the better. The whole intro makes it seem like the main stars have been spoiled by Netflix with new iPhones, beautiful dresses and an Indian dance they were the only ones who didn't have to learn choreography for. Sandler's a natural.

Each season gets more diluted. There are fewer and fewer great episodes, and for every great joke, there are two mediocre ones. The creators are afraid of interesting topics in these hyper-correct times and often just skim the surface. But that’s to be expected, since Futurama is just part of Disney now.