3DD!3

This hammy romp about a deaf and dumb killer who has to overthrow a totalitarian regime spares no expense with absurd scenes, black humour and incredible action that combines the best of The Raid with childish imagination and naivety. The self-parody sequences where the protagonist tells the story in a video game voice, doesn't understand a mumbling comrade or sees things that can't exist in the real world get a heavy kick in the balls at the end. The film delivers not one but two switcheroos and becomes a heavy existential drama that turns the previous course on its head. An original fun flick with a great Bill Skarsgård and a godlike Sharlto Copley that bends the rules of the genre, clumsily, but enough to push them in the right direction. The best weapon is the grater, and macaroons are the food of the gods. P.S: Yayan Ruhian reprises the bloody finale from The Raid 2.

The story from an unreliable narrator, a double agent, full of deceit and uncertainty. Hoa Xuande is the discovery of the year, an utterly convincing performance from a chameleon you root for despite his moral failings. He's overshadowed only by the multi-role Robert Downey Jr. and he's a little different every time, though as the oddball CIA agent, he's clearly the best. Cynical humour, apt similes and the wrongs of life in both a democratic and communist country. The absolutely superb immersive opening is replaced by slightly erratic passages, but the whole is still a powerful experience thanks to Park Chan-wook's precise direction. P.S: The best episode, though, is the one of the war film where the Vietnamese refugees have to say communist lines like the Viet Cong.

An excellent flashback to Fury Road. It lacks Max Rockatansky, it lacks the frenetic pace, but the story is more substantial. Furiosa explains the laws of the imagined world. George Miller seems to realize that he skipped over a lot of things and presented them as fact without showing them. He describes a fragile symbiosis that is disrupted by Chris Hemsworth's Dementus, one of the best creations of his career. If it's true that the previous Mad Max was mostly about Furiosa then Furiosa is mostly about the foxy Dementus. He's the one who shows the world turning into an oil-soaked desert. Anya Taylor-Joy is good, but the little girl who plays her when she was young is even better. Weaker music and slightly worse visual effects. Still, very good.

A relaxing ride for a good mood. Guy Ritchie watched Quentin Tarantino's Inglorious Basterds and thought he could make something cool like that too. Well, it's not that good, but it's fun to watch. A stylish wartime flick with a western score, a great Henry Cavill and Alan Ritchson as the ultimate killing machine; it doesn't get boring and is shot so casually that it lacks any fatality or major tension. The best action falls in the first half of the film, where they liberate Apple. The passages without the main party are not much fun even though Eiza González is very good at it. This should have gone to the cinema, the ending is at night and the spurting blood is hard to see.

An adventure fairytale with decent production design but terrible visual effects, and infamous for Arnold Schwarzenegger's fight with Jackie Chan. Aside from the much-publicized fight in the trailers, there's not much of either Jackie or Arnold, and the story is about everything but them. A princess, a witch, a dragon, an iron-masked tsar, and a cartographer of sorts meet on the Great Wall of China and then have a pow-wow. The fight between the princess and the fake princess is terribly messy, yes because they look exactly the same... And the wicked minions seem to have fallen out of the Big Trouble in Little China. Average, with one bonus star for that fight.

A delightful B-movie with a demented script by Kurt Wimmer, with extreme and bloody action. I don't understand who consulted and explained to the filmmakers the general workings of computers, how phishing takes place, what the lairs look like, where the millions disappear from the retirement accounts of American pensioners, but the result presented here is so over the top that I suspect Wimmer and David Ayer of making a satire of sorts. And Jason Statham is something of a force of nature. A hurricane that takes out the amoral call center fuckers, while looking like my dad watching cycling on TV. Ayer and Gabriel Beristain keep the visuals in check, and that's what makes the film look great. Josh Hutcherson, unfortunately, is not ugly enough as the vile perpetrator of all evil. He tries, but you just don't believe the self-absorbed prick. Jeremy Irons has virtually nothing to work with. And that security guard at the end, that's something. But what I enjoyed the most was the role of the FBI agent, a stay-at-home dad who figures out how to get out of work and all of Statham's destruction, only to have his stupid partner (Emmy Raver-Lampman) drag him into the hardest shit, only to change her mind about the whole thing. Maybe it's not even a B, it's a C. It's terribly bad, but I had a royal good time in places. Guilty pleasure? To bee or not to be?

Apes strong together... With Caesar's passing came the necessary long exposure. The new hero Noah, the new heroine Nova, and of course family and friends. Funny sequences about the foul odors of human females alternate with themes of artificial evolution. Knowledge and technology vs symbiosis with nature is beautifully sketched out and could use more elaboration, but there's no time. Wes Ball is building the fertile ground for a new trilogy and succeeds in presenting an interesting world that I want to know more about. A world that nature has taken back from humans and where the Legend of Caesar takes on a life of its own and is subjected to new interpretations. The apes, as a product of our failure, slowly tread our path, but have the ruins of our triumphs in their sights, which they want for themselves. I wonder where they'll take it. I'm sorry the smart people haven't disappeared. I'm waiting for the astronauts to arrive and visit New York. But this is missing the point.

Better than Dune! Excellent, imaginative, romantic comedy with polished action and filmed with incredible flair. David Leitch reminisces about his stunt years and inspires lots of little kids to get punched, smashed and knocked down, then deepfake them into the star of the film. Ryan Gosling in The Nice Guys mode and Emily Blunt in superwoman mode are having an incredible time, and the chemistry is conjuring unicorns before your eyes.

The now classic that introduced Asterix and Obelix to the television screen. It's not as elaborate and there's less subversive humour compared to the comics. It certainly doesn't have the quality of later sequels, but it's still solid entertainment where the simple antics of the Romans will keep the kids reliably amused.

The decline of male role models in fairy tales is sad, but what scares me here is more the overcomplication of motives leading to possession by evil. Yet the primary one - not fulfilling all wishes - is not satisfactorily explained. The attempt at realism thus comes up empty, and the kids just won't get it. Otherwise, the European Union, America and Russia's approach to government are mixed together in one fairy tale. Disney adds songs, animals and beautiful visuals. It's all quite mechanical, but in trying to be original it forgets that every good fairy tale needs heart rather than weird half-truths. Encanto was much better