3DD!3

An ideal pre-sleep watch. Nighttime versions of us who do what we don’t want to is a concept taken to perfection. And it’s all crowned by a wild action sequence flirting with parody. One of the best episodes. Who wants a six-pack like that?!

Oliver Stone looks at the Vietnam War for a third time, this time through the eyes of civilians in the cross-fire. Inspired by the true story of a Vietnamese refugee leads the viewer through all of the lying that attempts to justify needless provocation by one or the other side of the conflict. The closing scene where the excellent Tommy Lee Jones comes sauntering in shows the real face of war. Arms trafficking, money and territory - what else is war about? And it’s nobody’s and at the same time everybody’s fault. Both sides of any conflict represent evil. That’s food for thought, especially right now.

Brutally meta. And maybe so much so, that most people won’t get it. And the target audience is tiny. In terms of style, Chip 'n' Dale: Rescue Rangers follows on from Who Killed Roger Rabbit, but modernizes it, turns it upside down and draws on Mickey’s wide pallet of characters. It contains millions of nods (Roger’s quattro-cameo is just psycho) and funny references. Just the situation reigning at the beginning, where Dale is a defunct series star, Chip is a postman, Monty Jack is just a junkie with debts and Zip and Gadget hump with no condom so often that they have 12 kids already, sets the bar very high. An unexpected surprise.

A rather shaky B-movie, where the pretty poor screenplay is saved by lively action and some great ideas. Foxx is enjoying himself, but that’s about it; the role of a pool cleaner is terribly hackneyed. Even Dave Franco has more interesting character development (stops peeing himself). Just another lukewarm offering from Netflix. One of the few things that I liked were the Hawaiian shirts.

Zemeckis’ retelling of the Disney classic has its moments, but overall it comes across a little half-assed, both in the modernization as against the original and in the visual approach. Pinocchio tries to warn kids against the evil of influencers and the dangers of showbiz, but while doing so he turns formerly enchanting moments in the story into a breakneck blurt. There are maybe too many songs for my liking, but my daughter liked that, so I have no complaints. The way they brought the wooden puppet to life was fantastic. Hanks was really affected, maybe over-acting. Silvestri’s music is great. P.S.: Maybe they threw Pinocchio out of school because he put the apple for teacher next to the horse dung and the race bit was just an excuse. Maybe...

Physical movie carriers are almost dead and one of the few reasons for spending money on them is if you are a collector and desire something extra, a desire for bonuses and documentaries. But now Disney+ and Assembled are making even this reason redundant. The formally well-made "the making of" documentaries about movies and series beginning with WandaVision vary in quality even according to the filmmakers who made the movies in question. Nobody does better than the genius look at Loki, but Bruce Campbell and his witty interjections regarding the Multiverse of Madness was also very entertaining. Let’s see what they come up with next.

Perhaps I liked this even more than Orient Express. Branagh is excellent as Poirot and his black and white flashback is the most powerful scene of the entire movie. Although your can hear the paper rustling as for the detective crime plot, the acting ensemble gets the very most out of it. Emma Mackey is just fantastic. And we get to see Armie the Cannibal in his last role as well. Really, really good.

A girl’s emotional explosion about her transformation into a red panda, combined with her desire to go see a boyband concert really isn’t my cup of tea. It will certainly achieve greater success with younger viewers than it did with me. But the Godzilla-style finale is a just so bizarre that I was gobsmacked with what that Mouse was trying to do. Certainly original, but I don’t feel the need to watch it again.

I am Manbat! Jared Leto in a strange variation on a dime-a-dozen Spiderman baddie & unknown Batman baddie is seriously bad. The senseless decisions, unclear motives and questionable rules for the functioning of this entire newly created universe are pitiful. The idiotic screenplay manages even to kill any potentially intriguing storylines and the nicely set up hero/baddie relationship is destroyed unexpectedly amateurishly. The obviously heavily cut ending with the footage of Keaton indicates that Morbius is for teenagers and movie consumers who don’t like to use their minds.

A well-made reimagination of Gaiman’s great comic book which is much more faithful to the original than I expected. Sturridge is perfect in the role of Dream and you can see how much Holbrook is enjoying himself as The Corinthian. The only downside is the casting of some of the supporting roles, which actively disturb the viewing experience. Lucifer, Death and Rose Walker simply do not live up to the potential of the comic book... Because Death was meant to be a likeable Goth that everybody ends up looking forward to meeting before the end comes.