3DD!3

Sly is back and he is really enjoying it. Tulsa King has a likeable half-hour format that keeps me from falling asleep before the end, plus there's always something going on. Sheridan took care of the opening and the ending, and those parts are admittedly among the best. Especially the arrival in Tulsa and getting established in the new setting works out great. The acting is very good, FBI agent Andrea Savage, in particular, is impressive.. There are a few mistakes, shortcuts and strange decisions, but overall a very good project. I’m looking forward to the next season.

An unexpectedly funny comedy. Some of the final twists are cheesy and predictable, but the charisma of the Miller family still pulls it through to a more than satisfying conclusion. Cynical quips, Sudeikis is excellent, so is Jennifer Aniston, and the strip with the final wink is unexpectedly cool.

A refreshing social horror film that at times pretends to be something more, but in the end doesn't want to be anything else. We like ordinary things and therein lies the twist! Black humour and revenge for the emptiness caused by empty people + the captivating Anya Taylor-Joy are the best ingredients of this culinary treat. It wasn’t completely flawless, but sometimes striving for perfection is enough.

Hugo Weaving's niece in a swimsuit, with a kitchen knife or a shotgun, take your pick. A horror take on Home Alone with a dash of Satanism. The opening with the nanny that every boy (and not just boys) dreams of having sets the right tone and then spills over into the bloody destruction of the beautiful blonde's evil plans. It's often overwrought and McG seems to have ditched consistency and drama, but I enjoyed it unexpectedly a lot.

A great noir-heist film with a devastating twist. The non-linear narrative that was a huge influence on Tarantino's Reservoir Dogs is something unheard of in a 1960s film, but then so was Stanley Kubrick. The portrayal of the characters is austere but sufficient, the actors are great and the dialogues are brilliant. There’s brutal black humour in unexpected places, and the ending is great.

Tommy Wirkola combined the story of a Santa who lost his faith in Christmas with Die Hard. A rich family is gathered in their well-guarded mansion for the holidays when they are attacked by evil kidnappers just as Santa is eating cookies from one of the few good girls there. David Harbour is initially profiled as a pudgy drunk who wants to quit his job, but when glimpses into the past reveal his origins, he takes on an almost mythical dimension. Then, when he picks up a sledgehammer in a shed and goes to rescue the little girl, things get intense, with mashed-up heads, dismembered kidnappers and ground-up soldiers. The action is not blurred and it’s also innovative in a Christmas way. The jokes ooze with cynicism, the references to Home Alone are downright brutal. It’s just a little slow at times, you need some patience at first, but most of the time it's great fun.

Gibson is unfortunately the only one worth anything in this movie. The direction is awful and the script is toe-curling. It lacks tension and action, and other than a few unexpected twists (I really wasn’t expecting that), it’s mediocre. I considered three stars, but that ending was too much.

Rian Johnson is boss! Glass Onion successfully continues to revive the rules of the old school of detective fiction, and Daniel Craig is still enjoying Benoît Blanc immensely. Naturally, you expect a moment of surprise and therefore anticipate some of the betrayals. The cast is interesting, but it’s certainly not as good as in the first film. Edward Norton revels in these roles and Kate Hudson is entertaining, the others rather support the well-written script. The Greek island setting, enlivened by hig-tech gimmicks and amenities (the non-smoking garden) and artwork, is as impressive as the Glass Onion itself.

The best part is the passage with the ride on the burning sleigh, otherwise, it's classic jumping and yipping. The songs aren’t as good as in the films, but for the little ones it’ll be enough. And they’ll also learn something about traditions.

A cynical satire that cuts to the heart. Östlund shuffles the demons of today's society in an incredible way, dealing them out like cards to the each protagonist, but , above all, he entertains and is full of wit even in the most tense moments. The relatively little-known ensemble cast performs the best this year has to offer. Whether it's the king of shit Zlatko Burić, the capitalist Marxist Woody Harrelson or the downright modern couple Harris Dickinson and Charlbi Dean (God rest her soul). Taking away people's social status and shuffling the cards of importance is especially refreshing to watch these days. The film of the year will probably remain Top Gun: Maverick, but Triangle of Sadness is a close second, at least for me. It could even get an Oscar for Best Picture, it meets all the necessary requirements, though I’m not sure if any of the characters was non-binary, maybe the one that couldn’t speak...