Kaka

A little-known, yet absolutely essential film about the USAF experimental pilots and the struggle to conquer space in the 1960s. 200 minutes of heroic dudes, odes to the USA, some healthy humour and self-parody in places, and dramatic scenes brilliantly shot for their time, with an emphasis on realism and historical accuracy. Until Apollo 13, probably the best space conquest film with a legendary ensemble cast that you can only get in the Avengers movies these days.

A tame and routine staging of one big trial and the associated string-pulling outside the courtroom. It has a stellar cast featuring Gene Hackman and Dustin Hoffman, but lacks in emphasis, more sophisticated grip and memorable scenes. Purely average, a nineties movie shot a decade too late.

Finally, someone found the balls to film GTA in all its glory and put together some healthy sophisticated romance onto it with nonchalant elegance. A great portion of fun, which is a bit hurt by the dodgy visuals and uneven pace, but it is reliably compensated by a well of great directorial ideas and the traditionally fun Reynolds.

A heavyweight Bond flick. Long, plot-heavy, appropriately robust, with a great performance by Craig. One can't help but feel a certain similarity to the previous Spectre, especially in terms of pacing and formal opulence, but Mendes's directorial prowess and flair for scene-setting is replaced by the industrious Fukunaga, who doesn't shy away from overlong running time, another 00-seven on set, or the spectacular layering of motifs in an ingeniously pieced-together narrative mosaic. This time it's not an action Bond, but a flesh-and-blood hero full of emotion and anguish.

Decent craftsmanship. It doesn't have the improvisation and disjointed rhythm of the best in the genre (The Raid, John Wick, Atomic Blonde), but there are a few solidly filmed set-pieces for the discerning action connoisseur. Thumbs up for having the most impressive action scene directed by a 70 year old grandpa with a samurai sword. The story is about nothing, but the neon lights and the unique atmosphere of Tokyo at night with the help of decent production design and cinematography does its job. Winstead is really good.

Medieval mind-fuck ART version of Indiana Jones. Much harder to grasp, but with an existential dimension.

Who doesn't love these legendary tales of machismo and roaring engines? Sure, the Schumacher documentary is primarily an emotional tribute to a legend, rather than the surgically precise and detailed analysis of genius that the Senna documentary provides. But there are none of those ambitions, this is more an easygoing documentary for the whole family than an analysis of the mind of a racecar driver. Some of the facts are abbreviated, or too much to the point, but it is certainly impossible to deny the fact that they show Schumacher as a fine guy with properly aligned values and total discipline, and very probably that is exactly what he was/is in reality.

A nicely civil detective story with a hero who surprisingly doesn't fight, shoot, or make cool jokes, and yet for two hours the viewer is quite entertained by a solid plot, good actors, and a decent script. A smart crime drama with an easy-to-grasp plot premise where someone has done something in an unassuming small town and an uninvited guest in the form of Eric Bana must find out who, what, how among the old-timers – something like Prisoners, mixed Hell or High Water. Similarly grounded and relatively raw, but unlike the two aforementioned hits, here the individual props and directorial handwriting are not quite up to scratch.

100 percent Malick. Slow, thoughtful, philosophical. The way of the warrior without fighting – well, at least outwardly. A spiritual film that is harmed in places by over-exposure and appalling length, but it's another one of Terrence Mallck's messages that are certainly not for everyone, but it will find its fans. A film where there are more nature sounds than movie noises.

Guardians of the Galaxy had more heart, better jokes, and a story that went somewhere and fit into its universe, Suicide Squad is a bunch of weirdos who don't fit in anywhere. Yes, it can’t be taken seriously, and some of the jokes and winks are exceedingly subtle, but it won't suit everyone. If someone had told me it was Guy Ritchie's side-kick on drugs, I might have believed them, but it wouldn't have changed my rating at all.