3DD!3

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.

A very peculiar type of fear served to the viewer on a silver platter. The terror in this series stems from ordinary, comprehensible situations that could happen right next door to you, or even to you (a search warrant issued too late). The last season was mainly about Kemper’s interviews with Ford, whereas McCallany’s Tench comes to the fore in the second season. The storyline about the baby on the cross, with the undertones of Hill’s decaying musical score, sometimes slow the pulse more than can be endured. It’s unpleasantly palpable and often overshadows the search for black children that is of key importance for the Atlanta police department. This time, interrogations are not the main focus of events, which means that the important ones are even more pithy. Manson’s solo is excellent, of course, but he certainly isn’t alone. Dressed up in Fincher's distinctive style, Mindhunter is the best crime series of the past several years.

With his cacophonous music, Hill underpins one of the most powerful scenes in the series. Great writing. Episode four is textbook-tight, preparing the ground for understanding the finale using just one narrative line. Andrew Dominik brings very strong emotions into Mindhunter. Full marks from me.

Season 1: An adaptation of Ennis’s excellent comic book, packed with ideas, in which superheroes are presented as psychopaths, degenerates or idiots and, at the same time, as prima donnas worshiped by the public who frequently require a rap across the knuckles. And the only one with the balls to do that is Billy Butcher and his gang. Understandably, the series is more restrained than the comic book, since otherwise nobody would have been able to handle it. This also means there is a lot of material left for more seasons. The episodes are managed excellently in terms of dramaturgy and work like a dream, with a hidden surprise for fans. The casting was spot on. Urban and Quaid are the attractions on the human side, while Starr and Moriarty are the superheroes. Most of all, Homelander is a juicy character and the ending leaves a lot of room for fantasy. Bring on season 2.

Shazam was made as a friendly treat for kids and it works well on that level. It's a sort of superhero version of the classic Big. But DC still suffers from lackluster screenplays and, despite potentially provocative hints of something better in store, the story is uninteresting and often illogical, even in the world in which it takes place. Not to mention all of the stupidity on the part of both the heroes and the villain (in his umpteenth role as a fiend, Strong has no surprises left). Levi isn’t very nice; he was much more bearable as a child. Some of the jokes work really well and were killed only by repetition. Even so, it’s worth watching. With any luck, Black Adam will have a more impressive production team. Let’s hope Johnson demands one.