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The sixth film was almost able to convince me that Luke Evans is the worst actor in the world if I didn't know him from his many great roles. But Fast & Furious is a genre unto itself, and can only raise the credit of certain actors. The likes of Gal Gadot got three films in the series as a patch for not getting noticed in Quantum of Solace, and over the years she's made it from debutante Miss to someone Disney pays homage to in Ralph Breaks the Internet. That's not bad at all.

Gal Gadot entered the Fast & Furious franchise with this installment, and that's about the only reason to wade through this silly mess. These formerly simple action films used to feature second-rate beauties such as Jordana Brewster and Michelle Rodriguez, but only Gadot has made it to Wonder Woman.

With the announcement of the second film for this year's Halloween season, I wanted to see what this Disney Hocus Pocus was all about. The witches' convention is coming up rather soon, so this worked out just right. And indeed, Hocus Pocus is an enjoyable family film with a creepy fetish and a great trio of leading witches - Bette Midler is the vain baddie, Sarah Jessica Parker is fun and sexy, and Kathy Najimy is the cute and funny one. I'm not worried about the second film.

Red Notice is a pure genre film for sure. Netflix didn't take any chances and simply offered a trio of action movie veterans another (joint) project. It follows a basic pattern, Reynolds has plenty of one-liners, Gadot is sexy, and Johnson uses his muscles. I don't think anyone will be surprised if more sequels are made. We also get the nice pairing of Gadot and Cleopatra, another of which we got in Death on the Nile, and next year she'll hopefully be playing her in a really no-frills big budget narrative film.

This is once again more for kids than previous projects, but it's still nice that the Addams Family is still going. The script of the animated second film is more or less like the 1973 Hanna-Barbera series, with the family traveling around the United States and having a great time. Moreover, the dubbing loses the charm of the original cast (Bette Midler as Granny is perfect, while Snoop Dogg as Cousin It is terrible). But they did a good job reaching the finish line, and we can keep up with the family in the Wednesday series coming to Netflix this year.

From that original idea of Perfect Strangers, an unexpected series of linguistic versions and cultural adaptations was created. So far, I can only compare the German and Czech-Slovak versions and our version is a classic Czech-style comedy, with a mix of popular actors, unnecessary pushing of the envelope by setting the whole story on New Year's Eve, and unfortunately, overall, it is a very timid solution to all deadlock situations and gives us a very negative message about what we should and should not worry about. Perhaps how we will be better off if we sweep everything under the rug. Even though we are in the comedy genre, the neighboring German version The Perfect Secret is a much more mature film in every way, it is better acted, and it conveys a message about a much more mature society that can name reality, learn from it, and move on to the next days with a clean slate. Czechs still have a lot to learn.

All these sci-fi films that take place in the near future are getting more interesting as the years go by. Demolition Man is an entertaining vision of the year 2032 that isn't quite as out there as it might have seemed back when it premiered. From the classic formula of Stallone's films, an entertaining critique of society with a dash of late 20th-century fetish has emerged. One nice bonus here is the ever-smiling Sandra Bullock.

Along with the evil queens from Snow White and Alice in Wonderland, Cruella is one of the top villainous female characters from the Disney Kingdom, along with Maleficent and Ursula. Moreover, she is one of the cherished ones whose films were made during Disney's lifetime. As far as feature remakes go, only Maleficent has had her own films so far, and there have been two updated Alice in Wonderland films, with a new Snow White and The Little Mermaid in the pipeline. Few would have guessed, therefore, that a standalone Cruella would be much more reminiscent of I, Tonya in terms of style (including Paul Walter Hauser) than anything else. Craig Gillespie was a great choice and signed off on a prequel to 101 Dalmatians that would even get Dodie Smith out of his chair. The result is an experience I will definitely not deny myself for future reruns. It’s also the first movie where I don't mind Emma Stone after all the flat and uninteresting futile girl characters.

Comparing the two adaptations of Nightmare Alley is fascinating. While the modern version is enveloped in the style of opulent art deco and is gritty and mystical even for today's standards, the 1940s version is seemingly identical, yet laced with the Hays Codex without any significant stylistic elements. We never see the dreaded monster, major twists are dispensed with even without the murders, the relationships between the characters are different, and we get to see that juggling act more often. Starring Fox star Tyrone Power, who exceptionally played the villain, as Zeena the already slightly fading girl Joan Blondell, while the rest of the ensemble is routine.

A film with a somewhat overlong runtime, but otherwise an excellent affair. The ideal is Nelson Eddy, the main protagonist is the exceptional tap-dancing wonder Eleanor Powell, and among the Hollywood debutantes, we find a Hungarian esprit with the name Ilona Massey. In the next film Balalaika, Ilona replaced Nelson's main partner. She was obviously universally liked. Rosalie is otherwise based on the musical operetta by George Gershwin and Sigmund Romberg, which in 1928 was embellished with lyrics by Ira Gershwin and P.G. Wodehouse, with all of the material significantly reworked for the film by Cole Porter, and therefore we get something truly lavish to enjoy.