3DD!3

The scenes with Hopkins are excellent, but compared to the book this movie is rather disappointing. The "Low Men in Yellow Coats" (as the original title of the novella reads) are now FBI agents and this movie completely ignores any connection with the "Dark Tower" saga. All that remains is a skeleton of this about growing up which, while it works quite well, it doesn’t enthrall.

If it weren’t for the over-rushed ended, this could have been perfect once again. But Pixar is stopping making things for kids. Soul is a grown-up, complex, in places almost a horror movie and I would say that half-pints just won’t understand it. But still, this is first class work. A beautiful world and loads of imagination.

Nick Cage on the lively history of dicks, bitches, shit and good old damn. Professional interpretations by linguists alternate with comedians, all rude and some homosexual. Each word is interesting/entertaining to varying degrees, so weak episodes alternate with great ones.

A great drama focused on the concept of somehow controlled alcoholism. Vinterberg again captures important details which he dresses in a plot about real problems of our age. The acting is top-notch, Mads is cleverly hidden away at first, only to become the powerhouse of the movie in the finale. Alcohol as a friend and as a destructive power. A picture about weaknesses.

I was looking forward to a bold, purely female comic book movie with a strong heroine, fearless in her emancipation from the pernicious Justice League. But I was seriously disappointed. I don’t mind so much the weird way they keep hitting each other, or how naively (= eighties style) Wonder Woman is approached; it’s the message that bothers me. It’s been a long time since I saw such a dumb, illogical story offending women, men, children and human intelligence in general. The lesson is literally terrifying - dreams are bad, make good with what you already have - and seriously modern. Gal Gadot still looks fabulous and Pine strangely enjoys being in his role. Wiig isn’t comfortable in her role in any position and, after his praise-worthy performance in The Mandalorian, poor old Pedro Pascal really hits bottom in his role of megalomaniacal loser who (doesn’t) want to be with his son. And it looks like Star Wars: Rogue Squadron is way up shit creek, lacking the proverbial paddle in the hands of Patty Jenkins. P.S. The explanation of Linda Carter’s tiny cameo is really annoying. Now the Yanks have their very own Carry On Doctor.

There are a couple of decent jokes, but otherwise it’s boring. You could take it as a weak variation of Who is America. In the end, it's just a few jokes at Trump and Johnson's expense, with the Corona boogeyman surprisingly in the background.

An excellent idea, but they didn’t make the most of it. The premise, a spoiled kid who puts a hit on Santa for giving him coal in his stocking is all very well, but the result is feeble and the action is at best average. So the best bits are the pieces of bonus information that complete the overall picture. Santa making weapons for the army to be able to feed his elves, his disappointment at the aggressive kids and the fact that he has an Afro-American (or Afro-Canadian) wife. Gibson’s acting is convincing and the frustration his job gives him is infectious. Goggins’ assassin is a typical adult kid who is just interested in his pay packet. A great movie snack, nothing more, nothing less.

A good movie to complete this year’s Christmas atmosphere. A coronavirus wipes out the human race and the only hope is a newly discovered moon orbiting Jupiter. A cancer-ridden Clooney simply has to get to an antenna to contact a crew that is just returning from the moon, to tell them to return there. His journey through the frozen wasteland is pretty well filmed. The bits in space are also nicely filmed, but they are dumb as anything you could think of. The way they sing songs while flying through unmapped zones and sending the pregnant woman into space is an offense to all true sci-fi fans. The lesson at the end may be good, but could be expected. The ending wants to seem full of hope, but when you think about what the future holds for the rest of the protagonists, slash human kind, you’ll want to cry.

Childish crap that wants to be Kindergarten Cop for another muscleman, but it isn’t. The agent who set Diesel up must've been high, he’s never been so bad.

The Mandalorian retains its allure and also manages to go deeper into the individual characters. Through slow and gradual revelation, Favreau raises the bar so high that the end faithful fans may well find themselves with a dislocated jaw. The special effects are comparable to ones in the world of movies, in a good way and a bad way. Some of the episodes are pure fan service, featuring favorites like Boba and Ashok. The powerhouse of the series is the silent Grog and I wonder what The Mandalorian will be like when he leaves the series.