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A claustrophobic, catastrophic sci-fi about a bio-form in a cryogenic box. Bewitching visuals, thrilling conversations with the sleazy voice of Mathieu Amalrica and relatively surprising plot twists are among the main attractions of Oxygen. It turns out that Aja doesn’t restrict himself to blood baths, but he also has a talent for storytelling. Want some sedative?

An interestingly sketched world by which Mark Millar pays tribute to Moore’s Watchmen. This new series from Netflix is pleasing in its bloodiness, ambition and mediation over a (super hero) kid’s education. It contains moral dilemmas, betrayal and also relevance to the this day and age, where bored youths desperately seek their place in the shadow of their parents who have lived longer and so know everything better. The best plot line is of course looking back at the year 1929. The financial crisis and the birth of super heroes – a bunch of disparate prima donas sets out on a journey which turns their lives inside out. The potential for the new series is massive. Josh Duhamel in the role of his life.

This old-fashioned Stark’s detective story set in the present works quite well on the level of revenge on principle, but it starts creaking with the digression toward JLo. Statham was good as always in a familiar role, the action is solid and the beautiful Florida locations save the day.

Rianda and Rowe didn’t want to wait for an adaptation of "Robocalypse" and so they put together this cartoon brimming with invention about a technological bugaboo gone wrong and father and a daughter trying to understand each other. All thanks to Miller and Lord and their humor shines to every direction from the screen. The visuals mix two and three-dimensional animation, Tron-style neon lights and a dog with googly eyes who reminds me more of a pig or a loaf of bread. Great family dynamics, a very nice message.

Falcon and Manta play Mortal Kombat in a story about virtual infidelity. It makes you wonder what all those that play with female avatars are thinking.

A movie about loving one’s trade, bullying and family traumas. The bit about selling human meat is just a catalyst for a sea change for two wrecks of men. Jensen masterfully steers the story through unexplored alleys to be able to serve up chicken delight in the finale. Lie Kaas and Mikkelsen are simply excellent. It was an accident. You just sold his thigh, dumbass!

It couldn’t have turned out any better with this bunch. The main story of Sub Zero and Scorpion is very well done, the fights are solid, likewise the effects. I was delighted with the appearance of my favourite Kabal.

Maybe if this were a two-hour special of Days of Our Lives, Ava could be seen as a success. Unlikeable characters with illogical motivations wander through a sort of reality that is reminiscent of life and poor actors who probably only received the script at the door when they arrived for the shoot. This cold-blooded assassin constantly emotionally hounded by an old family trauma looks deep into her memories which she supposedly isn’t interested in, because she wants to steal her sister’s husband and disappear? So Common plays a complete jerk and Colin Farrell a slippery HR manager who is just solving a problem with the staff. ‘Cause business rules... The whole of the funny finale when the heroine is on the brink of suicide until a baddie who wants to kill her breaks into her apartment and so she fights for her dear life with him sounds like something from a screenwriter who didn’t read what came before so he could follow on from that. A miserable movie, with pretty good action.

BLM. A pleasant watch. That’s right, it is strange that he got inside and even survived take off, but otherwise this is a lovely, stylish space exercise. The visually captivating space rope climbing sequence is definitely the high point of the movie. The actors are fine - a decent Netflix offering.

Action isn’t everything. I’m willing to turn a blind eye to a very poor story rewritten from bioterrorist threat to non-Covid running around Prague, but not to the amateurish directing. I often didn’t understand how the scenes followed each other, who is where and why they do what they do. Mackie is transformed from the likeable Falcon into an unlikeable moralist and unfortunately the writers change him too quickly, sometime in the gap between the last two episodes. Much more interesting is the genesis of U.S. Agent. Bucky’s transformation into a good guy revolves around someone’s grandpa and a notebook with a list of crossed out names. And the formerly excellent Zemo becomes a comic book caricature again. Better screenwriters, better directors. They also need some help with the action scenes: the actors and special effects can’t do it alone. P.S.: GRC is a really dumb abbreviation.