Remedy

A very worthy example of how to rehabilitate the unsuccessful conclusion of an otherwise utterly delectable series and how to "wrap up" the whole Dexter story. Dexter's character hasn't lost a shred of his charisma in all these years and is still just as fascinatingly ambiguous, easily (im)penetrable, and morally confrontational. The main villain can boldly rank alongside the most distinctive villains from the entire original series. It's remarkable that even today, this exceptionally punchy sequel ranks among the absolute top of the crime series field. [85%]

I'm glad I saw this and can't say I didn't like it. At the very least, though, it's fair to mention that the longer version (The Bootleg Cut) is unnecessarily drawn out in places (especially in the exposition and at the end). Plus, the film just isn't good enough to keep you unreservedly entertained for the entire two and a half hours. It certainly works as an appealing type of generational statement, and hardcore fans of classic rock will definitely enjoy it, but despite the feel-good vibe of the whole thing I couldn't help feeling that the filmmaking craft here was only slightly above average at best. Even in terms of emotion, it wasn't as strong as I thought it would be. Definitely an enjoyable feel-good film, but that's about it. [65%]

Except for the bigoted and aspiring fascist chocopapa, it was actually pretty good. Four stars might be a bit much, but I just love these boilerplate "from zero to (black) hero" stories. I had a bit of a problem with what the film was actually trying to convey. The experience is mostly taken care of by the story itself, which is a kind of maybe even a slightly fairy tale sports drama. Then again – Will Smith really makes an effort here, and he screams for that bent-backed Oscar until it's not pretty (and he’ll probably get it, too). While there's more than a healthy dose of pathos (not the good kind, unfortunately), there are still a few passages where the whole thing manages to be properly punchy and suitably epic. It's certainly not the film of the year for me, but those considerable Oscar ambitions are understandable given the current social discourse. Yes, there are much stronger films in this genre, and it probably wouldn't stand a chance in a closer Oscar competition (it's not particularly great in terms of craftsmanship or screenwriting). But when I think about it after almost two and a half hours, I actually liked it quite a lot. I'll admit that Jon Bernthal had something to do with that; he's absolutely divine here. [80%]

A great comedy, an even better satire, and unfortunately a pretty unpleasant drama that mercilessly weaves in perhaps all the current global ills of a post-factual and "over-digitized" society. Luxurious casting (with the exception of Jonah Hill, who is absolutely awful), awesome gags, and together with the still unsurpassed The Big Short perhaps the best of Adam McKay. [80%]

The best possible combo of a spectacular blockbuster, a nostalgic reminiscence of days gone by, and the predictable but still considerable emotions. Adding to that almost remarkable consistency is a great script that, despite the fragmentation of the plot, holds together most of the time in an exemplary way (by Marvel blockbuster standards). It didn't tug at my heartstrings as much as I imagined, but the tug on the nostalgia string is so strong in places that I simply can't give it less than 5 stars (just barely, but still). One of the films of the year!

Despite operating on an ideological level that is adorably banal and ultimately extreme in its pathos, it works in an unbelievable way. Dolph Lundgren only says about 10 words total throughout the entire film, yet his portrayal of the (not-so-)bad guy is absolutely iconic (the most divine is when he throws the comrade out of the ring). Without a doubt one of the highlights of the entire franchise. [85%]

Rocky and his mild PTSD in action. It's pretty weak until Apollo comes on the scene (the "fight" with Hulk Hogan is absolutely dreadful), then when Rocky gets back into shape and the training sequences with the amazing music kick in, it's much better. This drop in quality after two almost perfect installments is redeemed, fortunately, by the iconic fourth. [60%]

While I did expect something a bit better, still I can't help rating the second Ridley Scott film this year with anything other than a high score. Essentially, it's a brilliant conversation film with a slight thriller edge that benefits from a mega-awesome cast and the firm hand of one of the greatest contemporary directing legends. It's a really great 4-star film that’s only lacking some ultra-powerful moment to sway me towards that fifth one. However, the storytelling style, the fatefulness, and the incredible stylishness (represented by the ubiquitous extravagance) make this saga about the Gucci family one of the best I've seen this year.

At its core, it's brutally formulaic and maximally predictable. Yet therein lies its greatest strength. You get exactly what you expect, but everything in maximum harmony up until one of the most amazing movie finales ever. Stallone has created without a doubt one of the most interesting characters in film history. A wonderful "from Zero to Hero" story that oozes nostalgia of years gone by in an incredible way, and still manages to evoke very strong emotions almost half a century later.

If you're not familiar with the Danish original and were lured in by Jake, you'll probably enjoy this. For those familiar with the original film, it's a complete waste of time that, with complete (and totally irrelevant to the plot) exceptions, just dully copies the excellent original. Unfortunately, Jake Gyllenhaal overacts at times and falls far short of his highest acting qualities as in Prisoners or Zodiac. [55%]