3DD!3

There’s one rather unexpected twist, other than that, it's a compilation of situations seen elsewhere, nonsensical statements and hacked scenes. I'll admit I considered looking up the Snyder cut, since Snyder didn't bother to edit this film and I probably would have done better. There's a lot of stuff I don't understand why it's even there... like the unnecessary flight on Klofan. WTF? Maybe the ridiculous persuasion of that disparate bunch with the ear-splitting dialogue and odd behavior of most of the characters goes away in the edits. Maybe. I'm sorry about the weaker ship and weapon design and the sloppiness of the visual effects, an edit won't fix that. Sofia Boutella tries her best, Ed Skrein enjoys his sturmbannführer and nobody has much to show for it apart from the traditionally fine Charlie Hunnam. Hopefully the second part will be all about the slow motion action. Zack Snyder should leave the screenwriting to someone more capable. P.S: The best character is actually Anthony Hopkins's Jimmy, but they don't really take him on a road trip.

An old-fashioned action flick that relies on an interesting, albeit B-movie script and a skilled director. Jean-François Richet knows his craft, and Gerard Butler and Mike Colter have no trouble watching his back. The jungle running and contact bloody fights are crowned by a final shootout with a wonderful sniping with Filipinos flying a good three metres over the top of a car. Awesome!

This won't be a Christmas classic. John Woo made a variation of Death Wish as a silent film and that's about the only thing the film stands out for. The long exposition where Dad recovers, learns how to kill on YouTube and works out in the basement isn't very substantial and portrays him as a bit (a lot) of a selfish asshole. The action is properly gory, but compared to the likes of John Wick, it's not second league, but third league. It's just not interesting enough anymore. Luckily there are older pieces like Hard Boiled or Killer that the uninitiated can use to fix their appetite.

The number of weaker bits is somehow increasing, Roiland's improvisation is sorely lacking, and even though the voice actors are good, the heart is missing. It's still pleasantly paced, but it's more like a retread of humor that has worked in the past. They’re playing it safe and not trying anything new.

A formally brilliantly filmed investigation of a strange wellness facility in Tampa, Florida for war veterans. It confronts the unfair practices of pharmaceutical companies with thought-provoking ideas. If it works, what's wrong with it? Who's the hypocrite here? Bobby Cannavale is great, his smarmy executive is engaging even over the phone. Julia Roberts, though she is a first rate star and does a very good job doesn't really fit here for me. I think the first draft of the script should have gone for a younger girl out of school and with no experience rather than an older lady, but this one, as Geist would say, sells it better. The spark between her and a medicated 20 year old soldier would have been more believable. Still, Sam Esmail is a master of the form and his projects always make sense. Hopefully we will see more projects from him soon.

Sam Esmail serves up a slow platter of nervs with no easy answers. It will annoy everyone, but I always liked these questions and stories. A depressing drama with a satirical patina. The three-pronged attack is a very interesting theme. You'd think Europe would be entering the first phase, so good luck with that. A formally brilliant exercise, with great performances. Though they might as well have left the drunken dancing Julia Roberts on the cutting room floor. Since Netflix likes it long. P.S: A must for fans of Friends and Matthew Perry's death as a thoughtful marketing ploy? A joke worthy of Chandler.

Short. Scott's a stud, but he might as well have made Napoleon a trilogy instead of skipping through his life like a rushed history lesson. Phoenix is great, his Napoleon oscillates between aspiring strategist and lovelorn naif. But Kirby doesn't have enough space, so she comes across as weird. The leap from infatuation to divorce is very rushed. The battles, Toulon, Austerlitz and Waterloo, are exquisite, though. There's black humour, poking fun at politicians and their lies. Also, that brute force and tactics are above all, but are useless when it rains. P.S.: Almost on the anniversary of the Battle of Austerlitz.

A very pleasant surprise that does not put The Boys to shame. Solid performances and a great story that uses a classic college campus setting to unleash a carnage of unbelievable proportions.

A heavy downer, exactly in the style of Fassbender's classic film work. There is no celebration of success, jut toil, frustration and unsatisfactory results despite all the energy, focus and sacrifice put into it. The harsh realities and realization that top racing really isn't for everyone and and amazing advice – just turn off the emotions – that can save a lot of lives in the finale. The nightmare of making the racing you look forward to seem like the hardest job in the world to enjoy. And when it almost looks like a happy ending and Fassbender is running his best times, comes a hard blow and a lesson, just not the one the viewer originally expected.

Brilliant. To capture the current social state of the world so perfectly. Apt one-liners the hold the truth lying dormant, and the decline of civilization hidden in the inability to fix the hinges of an electric oven. A frighteningly funny vision where Cartman is transported to a parallel universe populated exclusively by black lesbians and Kathleen Kennedy instead of patriarchal white men. The point about laziness is not without merit. Disney is now thinking.