Kaka

A new character that is quite interesting and you want to know more about them. However, if it weren't for the last 5 seconds at the end, it could have easily got five stars.

The fourth episode is dominated by a confusing and intricately arranged unravelling of the main plot. There is little action, that is rather for effect and with a very TV feel. The chemistry of the central duo is just on the edge between comedy, satire and a serious note.

A bit too much Punisher in a non-Punisher way, that is, if you don't count the hulking Desert Eagle behind his waist and a bit too little of the wit and irony that pleasantly refreshed the previous two episodes. Even so, the story puzzle works well so far and the slow reveal of pieces on the chessboard makes sense.

Halfway between Shaft and The Punisher. A well balanced dose of humour and rough action, and good chemistry between the protagonists. The second episode certainly doesn’t put the first one to shame.

What a crazy opening. The series' Reacher is far more physically faithful to the source material, and yet he's not nearly the plank-wielding colossus he seems in the first few minutes at the beginning. The creators manage to conjure up a solid atmosphere of a macho detective story, optimally balancing clever catchphrases with funny ones and spicing it up with good fights at the end. Carry on.

If the world of Batman that Christopher Nolan created didn't exist, Matt Reeves's The Batman would be a more than worthy upgrade to the old Burton films, because the main assets of the original films, i.e. the gothic sets, the dark atmosphere and the intense orchestral music, are solidly restored, modernised and upgraded for the contemporary viewer. However, the "higher scale" that Nolan imprinted on the main character with his unmistakable signature is not worked with here. So while you can check all the boxes in Batman Begins, the reboot is really just a convoluted, dark noir detective story with an interesting narrative and a number of well-written characters. But watching this 176-minute colossus, in which every other shot, gesture and look is 3 times longer than it should be (and yes, even the car chase is insanely long and unimaginative), is a real chore.

Elite Squad wants to shock and awe, but it lacks the better expressive devices, emotion and directorial virtuosity of the makers of City of God – which it so closely resembles at first glance with its volatile cinematography, raw tone and choppy editing. Unfortunately, the story is about nothing and the characters don't win you over one bit, after an hour you're actually just waiting for everyone to get shot in a shouted and eclectic jumble to keep the peace.

A cold and ultra-carefully shot crime procedural for demanding viewers who this time don’t need any major twists, but are rather content with being presented very small pieces that fit unobtrusively into a large mosaic.

The second season has a very similar concept and dynamics as the first. Likewise with its ills in the form of a few unnecessary episodes that only glue together the broader context of the story without any greater impact. Even so, it is a very careful procedural about a very interesting subject with several now perhaps iconic scenes (Manson). The ending tends to suggest that we'll see another season, but so far it doesn't look like it.

The final episode is good, brilliantly acted, ambiguous, seemingly incomplete. I suppose from a factual point of view it's a no-brainer, it wouldn't be Fincher and co. if it were to be otherwise, and there's a strong feeling that a lover of the genre has done their homework to a tee. Some of the story detours are not fully explained, some are not fully finished and concluded, but I would still like to go to the next season.