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Fassbender as a three-eyed Hellraiser-style monster has a one-to-one with Superman and Dominic Purcell! The occult plot reeks of B-movie and the screenplay has as many holes as the Nazi ideology, but it does have its moments.

The last episode of this series has to reveal that all this is happening in virtual reality or as the fantasy of a crippled racer, otherwise I don’t know how else to explain these crazy antics defying the laws of physics. Toretto is washing his dirty laundry in public with the result you might expect. The absence of Brian is explained by some huge lie about him and the kids being in a safe place (being dead means you’re safe now?); we get cars flying through space and, yes, electromagnets too. P.S.: Cena made leaps and bounds in his career this year, but his Peacemaker yesterday was much more powerful.

Yum, yum. This Suicide Squad adaptation was excellently done and yes, it’s all thanks to the errant director, James Gunn, whose brief dismissal from Disney was a real godsend for Warner Bros. The guy who phoned Gunn back then should get a fat bonus, a new Ferrari and a beach house too. The mission to the island of Corto Maltese is presented non-linearly (but still consistently) with dispassion, humor and with respect for the comic book original. The new team with just a few familiar faces is bristling with diverse characters (but I can do anything that they can!) and each of them gets their moment to shine. Harley plays the princess (flowers and all) and Idris as a replacement for Will ends up destroying him in a rough punch-up. John Cena rocks even with that toilet on his head and so I’m really looking forward to his solo series. But the heart of the movie is the King Shark and Ratcatcher 2 duo. It’s easy to make a man-eating shark in shorts into the cutest of them all - just give him the mentality of a two-year-old. I look forward to watching it again.

A typically bizarre comedy where the best actor is, paradoxically, a musclebound guy from Brussels. The plot is full of holes and is clearly made to measure with various clever moments, some of which work (obsession with Scarface) and others (most) which don’t. Van Damme switches costumes and stunt men in (rather unimpressive) action scenes where there is a lot of cutting and somehow you can sense when it isn’t the star himself performing.  I fell asleep, but still I was intrigued to find out how it ended. Mediocre.

A big farewell party with all the trimmings. The investigation of a case of arson and the death of a little girl connected with it are the catalysts for Bosch’s rage at a game full of compromises. The fact that there are fewer episodes gives the series far greater pace. The Maddie storyline, consistently great, down to earth and captivating, with precise acting performances, is still the best thing in the whole series. Setting of the series right before the Covid bogyman raised his head was a nice move. I can’t wait for the next season.

The problem with The Falcon and The Winter Soldier has always been in the fact that it tried to cover too many topics at once resulting in a diverse mixture of individual testimonies that are unfinished and which the director failed to string together properly. Either there should be more space dedicated to them, or they should be left for the next series. And the fact that Captain America is black? So what? If you aren’t a racist, you won’t even notice. Steve gave the shield to a decent man of sound mind. When you start digging into history and exploitation, you encourage racist reaction again and, what’s worse, you protect villains preferred for their skin color. It would have been enough to develop on this one topic, maybe with a flashback to Isaiah Bradley. They should have concentrated on this alone without jumping over to the white troublemakers led by an innocent looking girl. And the actors reeling off the stiff and unnatural dialogs waste everything the movies had built for them. Especially Zemo and Carter. Overall, this is disappointing and wasted potential. The mishmash of topics works only due to the perfect action scenes.

A sad artsy movie about memories of a life camouflaged as a culinary detective story in which a stubbly Nick Cage searches for his pig he uses to look for truffles. Sarnoski doesn’t push unnecessarily hard and uncovers the character of the main ragged hero through hints and so even at the end he still leaves a lot unsaid. Cage is excellent, the role fits him perfectly, so he does his best and wins back lost credibility. P.S.: I’ve never seen nicer looking pig.

The way Hiddleston tells us about the entire voyage framed by times full of memories, good memories, sells the whole series perfectly. Definitely the best episode of this entire documentary series. The whole cast obviously had lots of fun shooting Loki and, if not, then they are doing a great job keeping it secret.

A fun little romp that grows in importance at the end. There's plenty of humour, the effects are very good and the acting is great. Excellent.

Never trust doomsayers. A true blue Marvel movie, targeted at ladies, but not at all dumb. The introduction is awesome, dark and uncompromising, then it gets into the old rut, but the second half is more than just good too. Infantile humor made at the expense of Harvey Weinstein and tops it all with a family-flavor sauce made by Disney. The ending is strangely cut short (it lacks elimination of Ross or an explanation of whether or not it was Kapo who helped), but due it being set during the Civil War, that is more or less understandable. The biggest surprise the Widow holds is David Harbour and the whole over-the-top prison escape. We want a series spin-off with Crimson Dynamo! And Florence Pugh steals the whole show in the end. Such a poser.