Kaka

If Chris Hemsworth is the successor to 1990s Sly and Arnold, I say yes, thumbs up, because that is exactly how straightforward Extraction 2 is. And that's why it is subjectively a notch higher than the overly mythological and monumental John Wick: Chapter 4. Hemsworth gets his hands dirty, bleeds, burns, shoots down helicopters, kills with a screwdriver, and at least half of it is in one take with no cuts. Anyone whining about the bad visual effects should realize that this is not an A-list blockbuster going into theaters and costing 150-200 million, but it’s made for TV and costing barely a third of that. 9 times out of 10 there are more breathtaking scenes than most genre films will allow you to dream of, in fact I haven't seen anything this intense in a very long time – this is how The Grey Man should have looked like! An exemplary tribute to the craft of action, a masterful work of cinematography, editing and fight choreography. Come on, let’s have a threequel because Hemsworth is king.

You can see with Sheridan that he has a positive relationship with what he is filming and talking about. He gives Yellowstone a specific touch, keeping an eye on the details, the various cowboy traditions and rituals, respectful of this particular way of life, but also cinematically sweeping and complex. The first season had a simple task: to outline the main plot and introduce characters that are so complex and internally torn that those 9 episodes are hardly enough.

A balanced episode that doesn't look like the last one, probably because it wasn't planned to be the last one from the beginning. Everything is relatively calm heading into the finale, which remains open and ready for the second season. Rip is once again the darling of the crowds and the cowboy vibe permeates this episode all around.

Rip and his past are the main domain of this season, his character is very well written and brilliantly acted. It's also interesting to watch Beth, whose schemes seem believable and realistic within limits, which is a nice change from most of the others. And to make matters worse, the son and father have a little squabble. All the character work is top-notch, it's just that the accidents and killing are maybe too much in the context of the nature of the series.

An adventure episode with some typical western elements, a magnificent bear, Japanese tourists and one exceptionally gritty scene. Gradually, it seems that each episode reveals the secrets of one of the characters. Here we start to get under Rip's skin and it is quite possible that he will be a big favourite for many fans of the series.

The original and formally less attractive version of Vanilla Sky, which,, though less mainstream and appealing at first, is very suggestive and original – proof that Spanish cinema has nothing to be ashasmed of. Compared to the American remake, the budget here is much smaller, the main male star is absent, and yet it's a well-crafted film full of distinctive moments and mindfuck scenes. If it was darker, psychologically stronger and with a bigger pull, I would rate it as positively as Vanilla Sky, where I was carried away by the New York set design rather than the originality of the story.

A French suburb, racial issues, riots, street fights and protests, black and white handheld camera. Hate may have ambitions to offer a complex viewpoint like, for instance, In the Name of the Father in the UK, but in the process the viewer finds that it actually skims the surface and remains merely shocking, without a broader dimension, like, for instance, Romper Stomper. It's not that the theme and its handling have no value or meaning, but one day of assholes fooling around in a concrete jungle with a few raw moments does not a legend make.

Fast and Furious wants to be like other big and successful franchises, for example, Marvel or Mission Impossible. It aims to put together its own universe with its own rules, audience favourite characters and, most importantly, make billions of dollars. The quality, however, has extreme fluctuations from one episode to the next, and in the case of the tenth it’s for the worse. And yet it looks so promising in the first minutes, with a brief recap and alternation of the legendary fifth episode. But this sequel is bad in pretty much every aspect. There isn't much humour, the action is trivial, the visual effects are extremely poorly done and if all this can be forgiven because of your favourites, the protagonists (with the exception of Jason Momoa) don't even have any juice. Perhaps the biggest filmmaking failure for me is the blatant attempt to rip off the best moments of other films and use them in a worse way, without having the same added value, or at least the desired effect. There are a lot of trademarks and fragments of other episodes in the franchise, and also from Face Off, Mission Impossible, Mad Max, etc. This franchise has turned into a billion-dollar colossus, but the last two episodes bring it back to the quality level of the third and fourth entries (if not worse), which hardly anyone remembers, let alone appreciates nowadays after all those excesses.

This episode brings that moment when you are no longer very much looking forward to what will happen next, but then you see your favourite characters trying to get out of a major predicament. Apparently that's the key to what elevates a good series to a unique one.

Another acting tour-de-force by Kelly Reilly. I haven't seen mental anguish played so brilliantly in a long time, but you believe Beth in every gesture. The best scene is the interrogation, of course.