3DD!3

A job with fishermen, family ties and some stolen drugs. Brian Helgeland used to be a guarantee of quality, but he hasn't been doing so well lately. This story about two stepbrothers, breaking the rules, and the price to pay has no traction. The first hour, which is purely about fishing + camaraderie/brotherhood with no substantial plot, could use a better driving force than the yowling Toby Wallace. The quirky dialogue and odd behaviour are realistic but quite boring. Then Tommy Lee Jones comes on the scene and saves the whole thing with his brooding fisherman who tosses in a bit of wisdom here and there and finally gives the film a satisfying point.

I found it more entertaining than the first one. I'm going to slightly overrate, because after the delays, the reshoots and the Amber Heard shit, it could have been a lot worse. James Wan delivers an entertaining romp that paces well, looks good, and that gave up any larger ambitions by the time it went to the editing room. Global warming being the fault of a black man with his head in a fishbowl and input from the UN it’s something I can’t consider ambitious, but a subversive attempt at comedy. The scenes with the baby, the cheeseburger and the cockroach, or the jogging are very good and make up for the over-seriousness that bothered me in the first one. Jason Momoa relishes the role and squeezes the most out of it. DC actually didn't end up doing too badly. “I am Aquaman!”

The visuals are top-notch, not only for a Czech film, but on a world scale. The shots of the futuristic Prague must warm the heart of every Czech. Awesome cinematography by Filip Marek, plus a dramatic score that mimics a weaker Zimmer, and a pretty decent story that makes sense and is coherent. Unfortunately, though, to its detriment, the film is overcomplicated, terribly talky and doesn't bring much that's revolutionary, plus the twists are like from a film school. It’s like a crime TV-show but set in the future. The uneven cast and the little action show the limits that should be the focus for next time. Robert Hloz, however, did an incredible job and hats off to him for making it. Ironically, the "terrorists" were the most interesting.

Solid craftsmanship, wonderful story. Robert Zemeckis' now classic intellectual sci-fi film about whether we are alone in the universe features an excellent Jodie Foster, ably seconded by a young Matthew McConaughey. The gradual narrative doesn't forget the broad scale, showing humanity in all its gullible and skeptical scope. On reflection, the three-body problem is a dark answer to the questions raised in Contact. It fits together beautifully for me now.

An atmospheric relationship drama with interesting performances. Unfortunately, the script is as dodgy as the leading lady's memory. Spending an hour and a half portraying the world and having the interesting, supporting stuff taken away in a moment is the most frustrating part. The motifs of the relationship between men and women in contemporary society are stripped away, killed without proper context. The behaviour of some of the characters is downright baffling. Chris Pine and his departure was supposed to mean what? But Florence Pugh does a great job, and even the bumbling Harry Styles is a sight to behold. Olivia Wilde's brilliant direction saves much of the film, but the crumbling story at the ending trip her up. The visuals are great, though. A more assured script next time and it'll work out. John Powell's score is superb.

An entertaining amoral comedy about gambling and memory loss. The best gambler in the world trips, falls off a cliff and remembers nothing. Chow Yun-Fat turns from a confident gambler into an infantile kid who only wants his chocolate, and two second-rate thieves want to use his skills to enrich themselves. Funny incidents, lighthearted scenes and growing camaraderie are then interspersed with bloody carnage and brutal shootouts. It's horribly paced and has questionable drama, but it's very original.

At first, it looked promising, and the mystery line involving the search for the father served as an interesting bond between flashbacks to the past and the founding of the Monarch organization. Mythology Building. The monsters were sparse, but given the budget, that's understandable. Kurt Russell was a draw, but his escape from the retirement home and trip to Alaska foreshadowed a brutal quality downgrade. The drawn-out relationship friction, the odd and unwarranted changes in character behavior, and the LGBT pandering kill the solid foundation of the first episodes. Series co-creator Matt Fraction went on to put together a decent skeleton, but the middle three episodes almost sent the entire series into a tailspin. The ending is pretty good despite the logical lapses and clichéd twists, but it's a shame Monarch isn't shorter and there could have been more monsters for the money they saved. All in all, a very awkward journey to grandma that doesn't deserve a sequel.

The cooking madness continues. This time, however, they need to build some of the good stuff to make things work, so we get a dream restaurant and Clairebear. Jeremy Allen White is going all out and about halfway through the Christmas episode, he gets such a cast of sidekicks that it will make all the hairs in your body stand up. Surprisingly, though, this isn't the best episode, the one right after it wraps up the most fucked up character's story arc, which Ebon Moss-Bachrach handles it with aplomb. The ending in the freezer is disarming though, it takes all the joy and leaves it on ice. I can't wait for the next season.

Michael Mann chose to film a period in Enzo's life that would have made most people into quivering, weeping wrecks in bed. He starts by outlining a relationship situation, a value scale, and lets someone die. Masterful exposition with an absolutely spot-on Adam Driver and a terrifying Penélope Cruz. A story strong in detail. A harrowing family drama of a disaster-stricken factory worker, interspersed with an equally gripping racing inferno that, if you don't know what was going on in the Mille Miglia at the time, will chew you up with a minor detour into the life of an Italian family. Erik Messerschmidt pulls you right in between the roaring cars, Mann also keeps an eye on the sound so the engines roar and the sheet metal squeals like a cowpoke. Add to this Enzo's brilliant tactics – lying and twisting reality, tailor-made for each of the racers. The attention to detail shows the strength of Mann's filmmaking, and I hope we won't have to wait as long as we did for Ferrari for another such tidbit.

Great. Old-school attitude and Mads Mikkelsen's stubborn expression in a solid film with a great script that grabs you by the heart. Danish moors and beautiful shots of the rugged landscape. And, of course, there's one motherfucker you wish the worst for, wondering the whole time why the captain didn't put a bullet through his head right from the start. A great story with a strong conclusion and a worthwhile point.