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This packs a good punch. It grabs you from the very first sigh and doesn’t let go. Crowe is captivating. In-depth knowledge of business and human nature plays the central role here. This is certainly no The Newsroom, that was utopia, this is real life.

Coppola’s Apocalypse Now in a sci-fi guise, with the same structure and the same orientation points. Gray’s tribute to the master. The same as the book by Conrad that it’s based on, this is a story of the essence of man and our role in the environment in which we live. The result isn’t the same, but that doesn’t matter. The journey to find your father is more important than the destination. There is no lack of action scenes and Hoyte van Hoytema outdoes himself again. Visually, it is like manna for the eyes. Pitt’s voiceover as the guide with a mental state of stoic calm, who doesn’t like people, works excellently. As does the father figure veiled in secrets, played by Tommy Lee Jones. The universality of this story about loneliness is made more intense by the emptiness of space. The laws of physics are not too important here. Despite all the big scenes, it’s an extremely low-key movie. A meditative masterpiece that isn’t for everybody, but few people will walk away completely unsatisfied.

Those modern western values involving strong women are quite weird in an Arabian fairy-tale, but here we are. Ritchie’s visually captivating version of the classic Disney movie moves along nicely, and the only weak point is the songs, which are more numerous than even in the animated original. Smith is great, Aladdin is quite a nice guy and Jasmine is a fox. P.S. Was the controversy because Will played the slave or or because the slave was blue?

The reason that the book It was so exceptional was that it linked the past and the present and their simultaneous build-up, which is logically missing in the movies. A miniseries would be the right medium for an adaptation. But if I have to evaluate how the adult Losers did the second time around, it wasn’t so bad. That the cast is excellent is obvious from the outset in the restaurant scene, where everyone thinks back to their young selves. The problem begins with the approaching climax and the compromises in relation to the book (they make a mush out of it), but they make sense from a visual point of view. The change in the origin of the evil that the clown represents is probably the most painful. And the spider should look like a spider – it’s scarier that way. But the biggest problem is the length, because even though the movie is dreadfully long, a couple more minutes would have been fine… It should have been a miniseries.

A solid, old-school-style spy thriller. The director, Lawrence, knows what he’s doing, everything looks great and the big budget is obvious, but the pace is very slow and sometimes unnecessary twists drain the movie's power. Jennifer is appropriately stiff or even machine-like (so much that you wonder how much she’s just acting), but at the same time incredibly unattractive – nobody would want to get in her bed. The controversial nude scene really is superfluous and the movie could have done without it. Howard’s music is great. And Schoenaerts really does look a bit like Putin.

A weird pastiche with nice visuals, but unfortunately the directing is uninventive. It’s strange that there is no chemistry at all between the central actor duo, while their chemistry together in the last Thor movie was so great. A weak screenplay. Try an R-rated restart in a couple of years’ time.

A suspenseful thriller with certain very clever twists. Douglas is boss and masterfully manipulates events, but life is a bitch. Wonderfully filmed, the acting confident. Gwyneth is fragile, but cunning, and Viggo is horribly slippery. An original ending.

A bloody masterpiece with several powerful scenes. In my opinion, stealing the weapons from the train is slightly better than simply a destructive finale. The setting, shortly before the outbreak of the world war, gives it the necessary feeling of the end of the Wild West as we know it, and the beginning of a new era.

Starts brilliantly, with the Wall Street Crash and the essential introduction of various plot lines. Tommy’s appearance in Parliament and the interview with the journalist are super. A powerful ending with the son full of hatred. No, I'm not God. Not yet.

With its amazing screenplay, Parasite is an entertaining and intelligent social probe that makes fun of class differences, while at other times chilling the blood. The genre transition from black comedy to an almost horror thriller is textbook filmmaking, building up the suspense with each new twist. Precise in terms of acting and very, very contemporary.