Kaka

American football a little differently? Why not, especially when Will Smith is so good at playing an antisocial and cutely African babbling doctor who wants to take on the empire and the money machine with the power of will. No need to address the veracity of the data and the figures, the message is clear, likeable and, even if not as dramatic in the end (or in the real world), certainly thought-provoking. The whole thing is presented for the viewer in a clear, concise manner and without unnecessary mind-numbing technicalities. The ending is rather reprehensible, but the dramatic line is solid. More or less a film about the lead actor on which it stands and falls, but it succeeds admirably.

For a moment you have the feeling that it will resemble the best of Minghella in its innocence and precise direction, sometimes the main trio's Atonement winks at us with its atmosphere and fatefulness, and in the end you will recognize only a modern, subtly made, sometimes emotional romance for not completely stupid viewers who want something more, but mainly nothing inventive, beyond their perception. A punishingly mediocre film, with an excellent performance by Saoirse Ronan, who is wasted here for such a normal story with such a lacklustre denouement.

A weird experiment and a mixture of all sorts of things with an impressive cinematography by Lubezki, whose exhibition is more entertaining and interesting than the the Woody Allen-like satirical story that lacks a touch of insight and lightness. The whole thing is overly theatrical, long, stuffy with allegorical overlays that often aren't even very readable and blur the core plot like hell. It has its positives besides the cinematography (almost all the actors), but it's hard to say, because now they are giving Oscars for something new instead of something really good.

This is what business is like. Not a time-hopping, broadly speaking, but serving up the initial hell of the business world live with the fabulous Jennifer Lawrence. Scene by scene, shot by shot, all the emotions are spot on and it has incredible energy. For those starting out on a similarly harrowing journey with their idea, it's doubly so. What is incomprehensible then is the initial bitterly Woody Allen-llike build-up, full of odd individuals and strange directorial devices – you have to wait about 30 minutes. But it gets better and clearer towards the end, as does the main character's life journey. Jennifer steals some scenes downright for herself – she should have got the Oscar rather than Brie Larson, but she was in a less commercial flick.

Cheap, economical and yet A-grade filmmaking, which is what Hollywood is all about. Spotlight isn't about emotions, it's about facts, hence the Oscars. A great thing and the biggest drawback for the viewer, as this two-hour procedural is a bit monotonous, tiresome and impersonal in places. On the other hand, the issues it covers and the testimonials it leaves are unprecedented, almost demonic, and a clear indication that the church is first class crap.

Unfortunately, it's the same thing again. Saving the world, an indestructible villain, some kind of magical energy, the right values. Not even the proven hitmaker Martin Campbell, otherwise known as a great innovator of established brands (Zorro, James Bond), can save this from boredom and mediocrity. Not that Reynolds isn't great, it's just that the insanely overblown space worlds set pieces are just a hair worse than the whole questionable mythology. So hats off to the visual effects artists, yes, but I wanted a better project, or better execution. The big advantage goes to Blake Lively, who could have easily just stood somewhere in an evening gown and everything would have been fine. But that's not enough for a cinematic experience, especially in a comic book adaptation, where the overkill is insane and destroying planets in the umpteenth way would already put off even a die-hard fan of the color green.

Ben Foster right on target, but otherwise too cold and detached a mosaic, which is shot in the style of Rush, i.e. semi-documentary/semi-fiction, but above all thrilling and energetic, but while aforementioned film, even with its sharp editing and abbreviated narrative at the expense of drama, is spectacular precisely in the way it manages to convey pure, deep emotions in a small space, The Program fails to do so. Lance Armstrong is too cold and inhuman, making it impossible to sympathize with him much or take one thing or another from him. As a documentary, then, it fails in its delivery, as it becomes increasingly cinematic as the minutes tick by. Still, I respect the people behind it, because the subject is quite unique and difficult to film

Exactly the same summer ride as in After the Sunset, only 12 years later with a more grizzled Pierce Brosnan, who is still very charismatic, and an ageless Salma Hayek, who leaves the 15 years younger Jessica Alba biting the dust. Instead of a heist comedy, what we have here is a lament about the life of a perpetual philanderer, which is actually fine at its core. Occasionally funny, but mostly absurdly far-fetched with zero plot build-up. A few sunny shots don't save it.

Marvel was almost a write-off after their sterile, same old superhero movies, Civil War is a hit and a significant step forward. It plays on a dark emotional chord within reason, opens up interesting questions of international security and laws, goes against itself, and introduces the viewer to new fighters in a very elegant and unobtrusive way. It's almost similarly entertaining to the first Avengers, it just took that tiny little half-step forward, because after all, in those four years we've seen at least five major comic book movies that were all still on the same page. There is of course the traditional stuff like riveting action – it has the clarity from the second, but even better – and the chemistry of the main characters, and even though it's still as simple and without digressions, it's very entertaining because you just don't see that many parametrically interesting and diverse characters on screen. However, by far the only most interesting and emotionally truly fleshed out character remains Bucky, the Winter Soldier.

Too bad about the last five minutes, they give various hints and bits and pieces from halfway through, and yes, it's a bummer. Otherwise, it would have been an unbelievable blast. Still, within the "American economy-real estate-hypothetical crisis" theme, it's still a bit better than The Big Short, which is unnecessarily layered, with a lot of angry superbrokers, verbose and complex for the layman with a lot of jumble of numbers. 99 Homes is an incredibly direct and raw film, where the crisis doesn't play out through numbers on paper, but through the stress and suffering on the street, right in the flesh, where poor people are losing their homes and the uncompromising Michael Shannon is just conducting his next demonic gala performance, this time as a materialistic stockbroker, from his new Range Rover. It’s so intense it gets under your skin. If it weren't for the ending, this would be one of the hardest films in a long time. And while the opposing sides are clearly laid out and you know who's the good guy and who's the bad guy, in some ways it's impossible not to understand both.