3DD!3

Already a classic that you will gladly reach for when you’re feeling down. A great screenplay which borrows just enough, combines what we like from Aliens, Starship Trooper (more faithful to Heinlein’s book than the movie) or Groundhog Day. Amazing production design (reminds me of the Crysis videogame), it’s dirty as the sand on the beaches in Normandy (70th anniversary, hip-hip). Tom manages to get round both the yellow-bellied coward and the killer machine and Emily Blunt plays a tom-boy women’s hero in Ripley style, Paxton was pleasing. Clever, funny and mainly an entertaining blockbuster which suited me the most this season so far. Get up, you worm!

Flat like a week-open can of Bud. This time it isn’t Anderson’s fault alone. A screenwriter’s mishmash of Gladiator, Spartacus and Dante’s Peak suffers from inane dialogs and mostly predictable plot. Jon Snow is a bit stiff, but if he doesn’t attempt any romance, he’s bearable. Kiefer gets almost perverted enjoyment from playing the villain from the Reich, but that doesn’t make the end result much better. The only really good thing is Shorter’s music, the volcano action in the finale, and I was surprise that it was all over. Do you like sport?

The best comic book movie? No, seriously not. A character driven special effects picture that reflects fear of the future, plays around with historical facts to outrageous lengths, while not becoming any less entertaining, foreboding and, primarily, tense. And that’s quite rare. It’s been a long time since I actually feared for a character and every digression from the original timeline raised my eyebrows. The explanation of time travel is absolutely exemplary, mutation is a great way how. The cast is commanded by Fassbender and McAvoy (their scenes are flawless), Jackman too, even if his Wolverine stays a bit in the background. A perfect screenplay, sure direction and mainly a pure-blooded, intelligent blockbuster. Best scene: Pietro vs. bodyguards.

A pleasant crime movie that succeeds mainly due to the actors (we even see Damon Albarn in a small role) and an impressive finish. Carlyle excellent as usual.

Hogwash with no story, but with a nice duo of characters and the intriguing environment of the Google Empire. To tell the truth, I didn’t feel like switching off prematurely and was genuinely curious if he won in the end. P.S. The best scenes are the ones with the whores in the club.

A tribute to the original Godzillas. As a kid I used to gulp down this type of movie via satellite and it seems that Edwards had the same diet. But this more realistically conceived disaster movie is miles away from my popcorn chum of the 1990s. Tubby is presented here as the good guy and people appear only to be trampled or devoured. A big shame about the shaky screenplay that on the one hand deftly fills us in on the entire mythology very refreshingly, on the other it fails on a human level, where, also thanks to the appalling Aaron Taylor-Johnson, the viewer feels nothing towards the main protagonist and often curses human stupidity in general (in a way this is due faithfulness to the originals, but that’s unnecessary). Just Bryan Cranston squeezes the maximum from his character and is a passable foil to the monster. The effects are first-class, the ending a revue of eye pleasing shots that combine the modern filming style with the Japanese kaiju movie tradition. Change the people and bring on part 2!

Interesting topic, where the authors go right to the root of the problem alternated with continuous lineup of people. And then when the suffering is added to by an odd decision by the producers to make it more feature film like, it just end well. But you can still find a lot of information in the movie. You learn that: You learn that Harrison Ford wears an earring and was almost deported from Indonesia. Some people in Texas believe that God and the science are one and the same. Arnold Schwarzenegger had to say his famous catchphrase “I’ll be back" like forty times over.

The new Ryan does credit to the thrillers of twenty years ago. Which might of course be hard to digest for today’s viewer. Branagh has come up with a relatively untraditional way to destroy America which makes some sense, but those who didn’t graduate in economics won’t be care. It’s maybe a shame that the action scenes are so ordinary, but all is made up for by Keira Knightly’s huge, beautiful peepers. Costner makes the most of his comeback, Pine as Ryan super cool. Rattled or heroic – he’s on top of his role.

A great time-out which in a peculiarly way tries to combine a family comedy with an action thriller full of blood and dead bodies. Costner is excellent, literally the powerhouse of the movie. This cool hit man is just his cup of tea and it’s nice to see him coming back to the silver screen more and more often. It’s hard to take your eyes off Amber and, despite being annoying and dumb, the family doesn’t get on your nerves too much either. Besson’s story is amongst his best and a big bonus was getting McGho involved, who enjoys himself royally again. First-rate action, humor a bit corny, but you will laugh. If you’re willing to give it a try.

So the clock started ticking again after all and the authors briskly take you into the story. 8 days was too long, but everything is relatively well explained even for those who have only just jumped on the band wagon. This loaded twelve part series offers all that’s good (and bad) in the last series just with less stuffing. The terrorist mother is pretty familiar, but tries to offer something new from a drone’s point of view. Heller’s gang is back, after all they got a bit left out in the sixth series, but mainly Jack is back. Pissed and nasty. Just the way we like him. Tension is at breaking point in the last episodes stretching to the limits of endurance. The series is pretty creative in working with the viewer’s assumptions and deals him several surprises. The last episode is uncompromising and ends with a samurai sword and the ten minute epilog is a fine way to say farewell, with the ending that touches your heart. But only after the fadeout.