Kaka

A wild phone call and a transformation, or rather the discovery that a weak Charles can easily become a strong Charles, politically sophisticated, charismatic and revolutionary in his ideas.

The Croats know how to make films! Murina is a sensitive, raw drama about a dysfunctional family triangle that is disrupted by the planned visit of an old acquaintance, a casually difficult millionaire, who stirs up old unspoken wrongs in an otherwise mediocre fishing family during a sunny weekend as expertly as he stirs up new uncharted emotions. The brilliant performances of all involved, the plastic, well-written characters and the minimalist setting of the Croatian rocks will do the trick. Adequate running time and an above par viewing experience in a pleasant European low-budget film.

An episode that focuses solely on the issue of royal family relationships, this time completely away from Diana. On a reminiscent and pleasantly nostalgic note, the final reconciliation of the two sisters seems to bring a sense of closure. Of course, after the previous episode, they stepped on the brakes, but it had to be done.

Subjectively, the best episode of the whole series so far, which is almost entirely dedicated to the tireless visionary Mohammed Al Fayed. In one episode there is a great summary of the key moments of his life, the most important transactions that he managed, for example, the brilliantly staged scene with the purchase of the Ritz hotel and the Harrods shopping mall. At the same time, the episode focuses on his complicated relationship with his son and interestingly portrays his special bond with his butler. A slumlord billionaire who managed to build himself up and influence the movements on the chessboard of the English elite of the time. The dating scene with Diana is fantastically acted, light-hearted and fun. Cherry on top.

A bit weaker than the first episode. While the first episode was all about getting to know the new cast and outlining the supporting themes for season five, the second sort of dabbles in the uninteresting subject of Diana's memoir writing and the process of recording interviews.

The fifth season is facing the same problems as the third, i.e. the change of cast. This time, however, I feel that the shock is a little less, especially as far as the lead actress is concerned, and the transition from Olivia Colman to Imelda Staunton doesn't hurt nearly as much as it did when the incomparable Claire Foy, with all her feminine fragility, strength and elegance, left us. The affairs of the Crown in the 1990s are more comparable to a tabloid, so it will be quite a challenge for the creators. It can end interestingly, or it can end in disaster; what matters is how some of the key junctures of the story are grasped.

A first-class social satire that takes on high society, influencers, models and the like in a subtle and sometimes wholesomely irreverent way. An alternative to Tarantino's masterfully pitched scenes, only without a splatter finale, although there are still various liquids splashing all over the place in the middle of the film. It's a shame that the most effective moments aren't distributed steadily, the second half is considerably less compact, not as entertaining, and basically you are only waiting for the finale. But the first half is so refreshing and so rounded in what it deals with that it is impossible not to admire it. A showcase of the inventive creativity of the makers of this low budget gem.

If this were a raw last confession of a lost human soul without any pretensions and all sorts of gimmicks, it would be an absolute blast. The Whale shouldn't have been made by the master of allegories, Aronofsky, who combines uncompromising depression with religious motifs, art literature, and strange human creatures that might not be there at all – I was just waiting for parallel universes and other dimensions to appear. Two stars for the phenomenal Brendan Fraser and the moments when the film is exactly the coherent genre composition it should be for the entire runtime and not just a few fragments.

A deft mix of hipster, gay friendly teen comedy with a few surprising dramatic moments on top. A club of shelved super-smart teenagers who most of the time behave like adults, if not better, but that fits the overall feel good vibe of the film. You could say there's no pure essence of perfection, but there's no shit either, and hand on heart, when David Bowie comes on full blast in that one fateful scene, that's the fourth star. We are infinite.

The fourth season is considerably better than the third. It is, of course, shot in an almost identical, i.e. functional, style and is therefore still the same balanced cocktail. But its set a decade later and it addresses stronger and more intense themes and issues. Namely the "reign" of the Iron Lady and, of course, the swelling problems surrounding Prince Charles and his controversial love life.