Kaka

Detailed and elaborate work with character development and motivation at the expense of story dynamics, which, considering the styling of Tokyo Vice, is not surprising. The major cliffhangers and big story twists will probably come a little later. Great big city atmosphere and exemplary Japanese production design.

An old-school detective series that seems to honour the classic narrative of the straight crime story, but is shot with the modern technology that we love so much about Mann, and he has been experimenting with it successfully for about 15 years. That is, a welcome amount of authentic handheld camerawork and a concrete/neon big city atmosphere. Last but not least, we can probably look forward to the bad guys, as is also customary in the master's work.

A unique achievement. A minimalist, evocative, authentic probe into the heart of a toxic relationship, the distorted emotions and warped personal values of the two leads. Scenes from a Marriage is not only notable for its naturalistically staged emotional scenes and impassioned dialogue, but above all for the fact that it tactfully and subtly takes neither side of the protagonists. Both of them are naked (sometimes literally) in front of the camera, fully displaying their emotional fragility and anger, tears and laughter, love and hate. From a third-person perspective, disarmingly rewarding and true to life. Sometimes it's extremely difficult to "just let go" and Hagai Levi's miniseries tells that story as exquisitely as few. Emotional hell to the sound of monotonous music and static shots of the snowy front yard. Piece of art.

A conclusion that directly, and in various hints, explains the vicious circle of a toxic relationship and the whole absurdity around it. The last piece in a phenomenal mosaic. More conciliatory and not as expressive as the previous episode, but still suggestive and full of emotion.

An all-out emotional inferno that picks up a fiendish pace at the beginning and just when it looks like it's going to keep it up for the whole episode, giving the viewer no room to breathe, the creators kick it up another gear for the second half. Breathtaking, phenomenal, unique achievement are some ways to describe it. One of the most complex hour-long relationship dramas ever made.

Still a breathtaking palette of emotions and situations written by life itself. The third episode is less intensive than the second, but it remains an experience and an acting masterclass.

It's billed as a low-budget indie, but it’s packed with interesting acting names that don't disappoint. The straightforward story about wild football fans is entertaining, brisk and properly raw, helped by a good setting and decently filmed brawls. It doesn't have a deeper meaning and the ending is clichéd, but Hooligans does have a certain power of the moment at times. As a directorial debut, OK.

A mix of Independence Day and 2012, but it can’t hold a candle to either. Sure, this is primarily light entertainment, or classic Emmerich, if you will, though even lighter than usual because it’s worse than even Godzilla in character work, dialogue and level of stupidity, and that's saying a hell of a lot. Surprisingly, even the visual effects flourishes don't dazzle to any extreme, and the once so inventive wizard has fallen into the average green screen, where he greases up one unimaginative make-up scene after another. What would Elon do? I'm sure he wouldn't have made this occasionally funny travesty.

Breathtaking dialogue improvisation in the director's tightly grasped concept of analysing the breakdown of a relationship. Precisely delivered by both leads, the emotions bubble non-stop and when it gets to be too much, Hagai Levi intersperses it with some brief camera shots of a snowy cold Boston, enhanced by a depressingly cut single-note musical theme. Purist, simple, maximally effective.

If the script of the third Kingsman was a bit better than horrible, it could have been a solid ride, because Vaughn is able to reflect the contemporary political situation through his specific craft, he wittily alternates recent history and is not afraid to use subtle and daring humour and a distinctive directorial style to appeal to a wide range of audiences. In this respect, it’s perfect, but we want more from a film like this than ironed-out visuals with a plethora of familiar faces in the breakneck action scenes, which are good and some even fantastic.