Kaka

A top-notch episode working primarily with the chapter beyond the Narrow Sea this time, which is compelling in its intensity and naturalism. At the same time, you can feel that things are getting darker and big twists are coming.

Amazing episode. Breathtaking scenes of the Erie with the visual opulence of classic big movies, a great duel of Stark vs Lannister and overall a very plot-dense episode where the pieces on the chessboard move forward at a very fast pace. Most of the story revolves around the troubles in the capital, the wilderness part doesn't get any space at all this time. A balanced and thick episode.

The dialogue filler continues, spiced up with a superb jousting tournament. A not very revelatory episode with stagnant pace and action.

Clearly the weakest episode of the first three without any dominant scene or plot twist. A rather pointless episode, then, which only creates a kind of connective tissue between the rest and brings crystallization rather than a shift in the plot.

Intrigues, scheming and moves on an imaginary chessboard. It slightly starts to catch the mores of classic series, i.e. to put the key twist in the last shot, but surprisingly it doesn't lose its pull and you want to know more about the characters.

The opening is gripping, then the pace slows down a bit. After all, the viewer needs to be put into an epic backdrop of all the nations with the main characters and territories. The mystical and gritty medieval atmosphere is excellent, the opening credits are amazing, the musical score is also impressive. It looks like a 150-million dollar swords and sandals film, but it’s a TV show.

A slow, thoughtful, hypnotic piece of nothing. While the film deals with the right and wrong decisions in life, instead of analysing the main characters and their transformations "before and after", the screenwriter cements it with religious agitprop. There is some creative potential, but it will probably take a few more years to mature. Dan Stevens is much more suited to a charming madman with an assault rifle in his hand, and Malin Akerman, who looks deliberately like a young old lady here, is also better suited to Watchmen.

The quality of the Fast and Furious movies can be assessed, for example, according to which you remember. The first one is memorable because it was relatively cheap, down-to-earth and original. Everyone remembers the fifth one because it brought a proper boost and a leap up in quality, plus a lot of great directorial ideas and audience draws (The Rock, etc.). The rest blends together with only the really great highlights being memorable, whether good or not. The eighth episode is no different and thus falls into the category of nothing exceptional. None of the action scenes are really climactic (CGI mess doesn't automatically mean awesome), Charlize Theron, Jason Statham and co. are fine, but with that kind of acting potential to piss on cars in two or three scenes, get run over by a submarine and that’s it? Where are the full contact fights like The Rock vs Diesel, or Rodriguez vs Carano? Those were the highlights in the action, this one has nothing of the sort. All the flashy gimmicks don't cover up the lack of creative ideas, and the 250 million dollar visuals aren't going to make this a macho action ride. The family feeling continues, okay, the main characters are old enough for that, but the best scenes are not the action ones, and that’s not quite okey.

One of the few films where nothing actually happens in its two hours of running time and it's a slightly overwrought advertisement for Jamie Dornan's muscles, his penthouse and his swaggering businessman role. All this is much more entertaining than a kind of pseudo plot or bickering in bed, without any eroticism as everything is basically just for effect and fake. One of the emptiest and most pointless sequels in the history of A-list Hollywood production.

Baran bo Odar watched Miami Vice, Kingdom and a few episodes of CSI on TV, then made this boring, unimaginative and stupid as hell B-movie and presents it as an action ride through Las Vegas at night, where Jamie Foxx wears a similar shirt and badge as when he was Colin Farrell's partner, not forgetting to take a very similar photo of him on the posters to attract the fans. On top of that, the exposition of the bar scene in the style of the opening scene of Michael Mann's film is explicit but lacking in the poetics of the digital camera and a sense of hard and uncompromising realism. It's an insult to the fans. If it wasn’t for the interesting cast and the short running time, it would be unwatchable. I don't understand how such a schematically outdated and hackneyed film can be made in 2017 and released with A-list actors.