Kaka

A space romance where there is little space and a lot of romance, which is often quite forced and out of place, but it has to be there. Unfortunately, the plot around the spaceship is very simple and just a sort of binder in the concept of a story about a couple's relationship and life in a rocket. It's not bad, the production design is impressive, full of neon and cutting-edge gadgets, but underneath the polished shell, it's a generic, fairly uninteresting relationship drama.

The only X-Man to get what all the previous ones lacked, an overlay of raw reality and mortality. It is also the first film where the audience suspects quite vehemently from the beginning that not all the characters will live to see the end, but the primary question is whether or not they deserve a dignified ending. I would be sparing with further superlatives, though, the R-rating is fine, the action is clear and properly bloody, there is no shortage of great screenwriting ideas, or good lightweight filler in the style of the main protagonists' bickering. Logan offers a unflinching look at our favorite heroes, and this lethargic shock causes extremely high ratings. It is good, but for a ninety percent rating, it’s a film that is not layered enough, dealing with too few things. It's basically "just" a road movie about the search for oneself and the unrecognized warmth of home. The claws certainly don't make a net class difference.

The first one was fine, but Stahelski was too much of a stuntman and some elementary elements were missing. The sequel is better, masculine, palpably raw and hard, at the same time filmed for a relative pittance and yet stylish, like a TV commercial for a new model of Mercedes-Benz. The scenes in Italy or in the glass maze speak for themselves. It also works as a full-fledged action film whose mythology is a level up from the first installment, the plot is more layered and the shootouts even juicier, and the action itself is an element that is brought to perfection. Rarely will you see such combos, so much shooting, and most importantly, such incredibly clear, and manly powerfully filmed fight scenes, many of them without editing or camera movement. So it's clear that Keanu Reeves worked his ass off, but more importantly, he's living it and loving it. The cast is almost unquestionably evenly distributed, with great cameos by Franco Nero, Peter Stormare and Laurence Fishburn, and a brilliant Common in the role of a tough bodyguard. In general, the fights between Reeves and Common are some of the best ever filmed, only The Raid can compete. If it continues to build up like this, we have a lot to look forward to in the third chapter.

I guess I need a bit more than just an hour and a half of the nomadic life in the UK with all that entails, including theft, extortion, etc. It's superbly raw, and Michael Fassbender and Brendan Gleeson are amazing, but there's hardly anything going on. It’s basically ninety minutes of the protagonist pondering wether he has to do “it” or not. And that’s also where it ends.

For a while it looks like an advanced version of Batman Begins, followed by a certain touch of Inception, and it ends very awkwardly, like every Marvel flick where the world is saved, at least until the sequel. Thumbs up that this time they are not destroying skyscrapers, or even entire cities, and are doing it smartly, through casual humour. One cannot but praise the casting and the dynamic music of Giacchino, who has done these fast-paced compositions quite successfully a few times before. The juiciest, however, is definitely Benedict Cumberbatch's character. I don't mean the slightly clichéd transformation into a saviour, but especially in the first half his arrogant and self-centred doctor is very entertaining and wholesome. An alternative, lighter, less bellicose addition to the comic universe, something similar to what Ant Man attempted.

Woody Allen is still making the same thing, but in an increasingly heady and mature way, and in an increasingly refined formal package. Another accurate and perfectly shot relationship drama from the 1930-40s in the irresistible glitter of the bygone glory of the old party cabarets, frills and refinement of the elite of the time. It's a film that is all the more powerful the more times you find yourself in the various relationship and emotional breakdowns of the main characters. Someday Woody will be remembered a lot, as he was able to extract a bunch of stuff from life and put it on film with refinement and insight, yet crystal clear truth like few filmmakers, and in an original and typically quirky way that has become his own and he applies it as his signature trendy trademark.

Formally stylized, it is a bold and confident B-movie, well acted, straightforward enough, with a simple plot outline. Conquering the floors of a mega-building like in The Raid, only in the American way, is a rewarding variation in the action genre. And just when you think it's over, a reference to Blade Runner subtly winks at you.

Several plot lines running independently of each other that intersect at fateful moments seemingly by chance. How many times have we seen that? It started with 21 Grams and it continues through all the other imitations and big city romance films. Here, instead of the USA, it's London; instead of alternative dreamers and philosophers, there's Idris Elba and Gemma Arterton playing typical high society, and although these two would seem to dominate, in the end their story is the least fleshed out, and that's a shame, because they are more or less among the acting first class, or at least the broader top. It doesn't have bad moments, it has emotions and a few touching or at least suspenseful scenes, but unfortunately it is poor and uninteresting script-wise.

With exaggeration and in big quotation marks it’s Nocturnal Animals for the lower middle-class or country people. It's slow, weaving and painful (in the spirit of Eastwood's films), playing out several plot levels and exposing painful life events and decisions, or the inability to cope with them, but it is more oversimplified and easier to read. The most interesting thing about it is that it is paradoxically so direct and non-cinematic, because half of the scenes are without music and with so much authenticity and energy that it feels like your next-door neighbour is living the story. A cinematic event, no doubt, just not for everyone and it will have to mature a bit more, but a must-see for film scholars.

A gauntlet thrown down to the American and British often extremely overdone aristocratic tea parties of yesteryear. Although there are about twenty or so shots that alternate the brooding twenty-second glances of the two main characters, fortunately it’s not that bad. Whether the nobility actually practiced such body language in the past is hard to say, but it is extremely negative for the viewer's attention. In A Royal Affair, the European directorial signature is apparent very early on. It's a lush, suitably flamboyant piece with costumes and sets, the pace of which is linearly escalating as the running time draws to a close. The last five minutes are pure directorial magic and the story of the false accusation of a member of the court takes a fantastic turn, almost to the point of tragedy of gigantic proportions. The history of Denmark isn't well known, but this film makes you want to devour it from A to Z. This is where Alicia Vikander's incredible talent was apparently discovered. It's not 100 percent there yet, like The Danish Girl or The Light Between Oceans, but the potential cannot be denied.