3DD!3

I felt a bit as if I was watching the second episode of a series. The beginning feels somewhat rushed and hurried, and the human dimension disappears from the whole Water Journey, as all the important protagonists are already blue (and they call humans Ape). Everyone is family with everyone, and humans are a threat symbolized only by technology destroying Pandora's natural resources. Cameron keeps the pace and narrates with clarity, but the characters often behave illogically, which I rationalised by the fact that they are aliens and when they are not they are assholes. The digressions into nowhere stretch out the runtime, and while it's clear that is Kira script-armoured to support future episodes, it takes away from the main point, which is fooling around with the Pandora equivalent of Willy and diving and exploring the water world and stuff. Each Sully kid has a story to tell at the expense of Sully and Mrs. Sully. Ironically the most interesting character is the Colonel exploring new physical possibilities. There are some scenes that are breathtaking, like crushing one's own skull, the spearmen, even making friends with a whale, but overall it's terribly long and I see more naive nerds than cunning heroes in the leads. Let's hope they wise up and that it will be back to a full rating in the third one. P.S: Horner is very much missed, RIP. There’s no nice new musical theme, just a variation of the old one.

The Banshees of Inisherin begins as a tale of inflated ego, but grows into an otherworldly tale of kindness and vanity. Farrell and Gleeson excel again under the direction of McDonagh. The superb dialogue, the search for the reason for it all and the very slowly escalating conflict are absorbing and, apart from a minor slower passage in the middle, it is an excellent piece of work. Burwell's minimalist music fits beautifully.

Quality. Some of the episodes of this season are among the best of the series as a whole. The first place is proudly held by the one about dishwashing and the nocturnal family.

Aronofsky is undeniable. The initial machismo turns into gloomy depression and the need to accept death, because that’s all you can do. Hemsworth and his brood are perfect for this documentary excess. A stable, contented person who has seemingly everything, but like almost everyone is afraid of old age and death. Well, as it's fashionable nowadays, he wants to be prescribed something for prevention. The first episodes are more about fun, surfing in icy water and testing the limits, but the ending with aging and death strikes the right chord. A really good documentary series.

A Norwegian woman tries to stop a troll that was awakened by railway workers digging a new tunnel. This take on Emmerich's Godzilla-style American disaster romp knows how to poke fun at itself, but it also goes a little more serious at times, which creates a strange contradiction that some viewers may not be able to stomach. Uthaug is a skilled director, not entirely distinctive, but he knows his craft. The effects are decent, the action is good, almost unexpected for the Norwegians, and the jokes are often lethal.

The best reality show I’ve ever come across on TV. Thrilling groundwork, breathtaking challenges and a historical excursion at the end. Some of the things those people put together in the final phase are truly beautiful.

Gibson's depressive and gloomy atmosphere is perfectly conveyed, and I like this nice concept showing time travel in a new and refreshing way. Nolan's precise Westworld-esque visuals and production design in general are unmistakable. The cast of supporting characters is often downright scrumptious. Moretz is excellent as a modern country girl who knows how to play games, and she's pretty decent as a killer. Her scenes with her brother Reynor have great chemistry. There are plenty of Gibson’s wisecracks. The ending is a wee bit creaky, but after a little thought it makes sense if... and that's what season two will show, I've got it right. So, yes, I’m looking forward to the next season.

They try their best, but with a stupid and muddled script that even The Rock can’t move. Dwayne's dream project has finally arrived and it's not bad, but it's not very good either. It’s average, with an excellent Brosnan, whose Doctor Fate deserves his own film. On the other hand, the rest of the JSA team, or whatever it was, is rather crap, but someone has to do that job. Black Adam has a couple of great scenes where he slices up the bad guys, rips their arms off, and doesn't coddle them at all, but he gets to the gory action for strange reasons, often with no apparent motivation. Colett-Serra doesn't have a coherent story to fill out the Snyder-esque slow motion action, but he tries; it's not much fun, unfortunately. Now we need to pray that Gunn writes the script for the sequel and that Clark will by for more than a brief chat.

The Pogues over the Marvel logo instead of the theme song? Gunn is awesome! The holiday special is about fixing the spirit of Christmas for Star Lord, who apparently had it spoiled as a child. Drax a Mantis decide to get him a present and Kevin is home alone during the Holidays. A merry Christmas bag full of little winks, good mood, great music and hearts when your friends spin something for fun. P.S: The new, chubby Groot is looking more and more like Vin Diesel. "I guess all actors aren't complete pieces of shit."

Star Wars smart and adult; dirty and gritty, full of fear and oppression from tyrants. After the excellent Rogue One, Tony Gilroy outlines the two previous chapters that led to the creation of the rebelion, a grim time when the Empire is at its peak, pushing people in such a way that they've had enough. Andor is not your typical hero, especially by Disney standards today. He kills on sight and often sends his friends to the guillotine by his inaction, but thanks to his mother, he has something like a moral compass. Diego Luna grows through the role and adds a much more substantial dimension to his character. Stelan Skarsgärd, playing a puppet master and essentially the Emperor's counterpart, steals most of the show for himself (both politically and downright rebellious), as does Andy Serkis as the shift boss. His mini-story alone, with its cruel and unexpectedly realistic ending, shows how much better Andor is than anything Star Wars has offered so far. The end credit scene beautifully foreshadows what is to come, even though, thanks to the film, we know very well how things will end. Brilliant. "I'm damned for what I do. My anger, my ego, my unwillingness to yield, my eagerness to fight, has set me on a path from which there's no escape. I yearned to be a savior for injustice without contemplating the cost, and by the time I looked down there was no longer any ground beneath my feet. I'm condemned to use the tools of my enemy to defeat them. I burned my decency for someone else's future! I burned my life to make a sunrise that I know I'll never see.”