Ediebalboa

In the 1990s, was having two ace actors enough to make up for a fairly banal script when arguably the most important work of Zimmer's career was winning you over as a bonus? You bet it was.

A tale of one smart and two dumber small-towners who can't resist the temptation to get rich quick in a beautiful winter landscape straight out of Fargo – But that's the end of any connection to the famous brand. Instead of cynical humour, there’s a real-life story about unfulfilled dreams, old wrongs and faith in a better tomorrow, accompanied by trite wisdoms of the type “less is sometimes more”, but they are delivered with such casualness and taste that they can be forgiven. The initially flat characters develop into full-fledged individuals whose fate will matter a lot in the finale. And Billy Bob Thornton is superb.

That’s so gross. I assumed it would be a carnage, but I wasn’t expecting such a level from Peter Jackson, even in my worst dreams. The imaginative cutting up of the human body and the creation of disgustingly bizarre scenes make the film a rarity that makes you wonder how it was ever released. In that respect, this is an unforgettable cinematic event, surely. Otherwise, however, in terms of humour and story, the film offers little more than escalating carnage, and I personally (unfortunately) am not one of those people who could properly enjoy it.

Passengers is a good film. A pleasant ride through the universe with a likeable couple, accompanied by calm music and nice visuals, which you will like to come back to from time to time. Morten Tyldum did a good job, and that’s it. The Norwegian director clearly has his qualities, but he lacks any greater cinematic ambition to push the envelope a bit more. As a result, the love plot doesn't work as well as it might in other hands (I'd rather not imagine what James Cameron could have done with the same material); it’s not worth talking about it. At least the ship includes the brilliant Michael Sheen, who never gives a half-assed performance.

A year ago it was Spielberg, this year it’s Gibson. Once again, we get a film from the last century, where the director of Braveheart definitely does not disappoint. By the time you land on Okinawa, you're thinking, "Yeah, I've seen this many times before." But then comes the carnage... ugly, harsh, repulsive for some, but for others it's amazingly technical and detailed. On a small battlefield, all hell breaks loose, surpassing in its realism the vast majority of what has ever been seen on the screen. You'll be glad for a master who has a few more miracles up his sleeve, because Hacksaw Ridge is mainly a film about heroism.

Hurrah! For once, we have a documentary that was not made as a posthumous tribute to the deceased or as a tribute to those who were neglected during their lives. Supersonic is a probe into the years when saying anything about anything in music or anywhere else didn't automatically mean finality. And those who provide the narration stick to it to this day, which is undoubtedly the film’s greatest asset. To have the story of the band told by Liam and Noel themselves, and then by family members and friends, that’s priceless. There’s also the fact that, together with the home videos, it is not disappointing fun, thanks to their insights you will learn much more about what it was like to be Oasis than you will ever read from the internet. It's just rock 'n' roll.

You can only call Batman v Superman mediocre once you take into account its huge potential, which was more or less buried by unnecessary mistakes. Starting with Snyder's routine direction and ending with a rudimentary script without proper emotions, characters and twists, the film is a bore that naively understands darkness as more black on the screen. But rudimentary thinking is also connected with the two main characters. Instead of the chosen guardians of order, we get two little brats fighting over a toy in the sandbox. The only consolation is that Affleck's battered Batman at least looks far more natural during the dull beatings than if Bale was running around in the same costume. DC is floundering and it's only a matter of time before it puts itself out of the game for good.

The financial crisis, a few years old event, unpopular, either because of its impact or because no one can explain it properly to this day. But that’s no problem for Adam McKay. He brings us the collapse of 2008 not only in a comprehensible but also entertaining form, where you don't have to be an economy genius to understand how things went wrong. Accompanied by the perpetually pissed Carell and a select few others, the story follows the events from multiple sides. Thanks to that, the plot never stands still and it's interesting to watch several characters of different personalities deal with the situation. Of course, with all this I stick to the basic skeleton of the plot. For a deeper understanding, the film is a tough nut to crack and it takes several viewings to understand everything. But it would have been impossible to present it in a simpler way. At least it doesn't get more attractive than Margot Robbie explaining the mortgage system to you in a bathtub.

A team-up like in The Avengers with the lingering spirit of The Winter Soldier. And that’s good. The fights still hurt just the same, and their intensity grows to new dimensions as more members of the universe join. The years of work with the individual characters, thanks to which most of us know them, are fully appreciated, so there’s no reason to introduce them at any length. Moreover, their entrances to the scene are effective and in many cases very comical, but without the film losing any of its fatefulness. Inadvertently, the stories of some of the heroes are coming to a close because of this, but I'm all the more excited to see what new faces will present themselves in the future.

So even ski jumping has its own "Rudy". The funny and determined Eddie Egerton and his moustache will grow on you from his first childhood attempts to win an Olympic medal. The first priority here is fun, the filmmakers correctly understood that trying to push the dramatic envelope with a storyline where the protagonist breaks funny records all the time would not be the happiest way to go. Thanks to this, the film has a drive that doesn't lose even towards the end. Featuring a central musical motif from the early Zimmer days when Eddie entertained the world at the Olympics, it will entertain you just as well today.