3DD!3

Impressive scale, a strong story that goes brutally against all modern trends and a young cast in top form (Austin Butler is demonic). It looks gorgeous, the polished design (a black and white planet!) where they paid attention to every detail surpasses the benchmark first film in places, and Hans Zimmer has taken the score to an even higher level. I liked the first part of Dune a bit more, though. It was more meditative and fresh. Here we're playing it safe and the cinemas are bursting at the seams. SPOILERS: It's interesting that a film about a colonizer who infiltrates a terrorist organization of religious fanatics and declares Jihad (it's interesting that they avoid that label) on the entire world order to avenge the death of his father gets this kind of space. Prophetic? We shall see. Denis Villeneuve has been mum about the third installment so far, and he's doing well because the leap to Savior is huge. Much more personal and the scale is smaller. The ending is bleak.

I hope I don't start having nightmares about Hanus now! I'm going to be generous in my rating, because for a Czech film it's not bad, but for a foreign one it has more crap than that messed up space loo. Adam Sandler is not a skinny little man and the final journey to the cloud from the beginning of the universe looks cheap, to put it politely. That wouldn't matter if his relationship with Lenka was worth something and didn't consist of trite, almost austere dialogue exchanges straight out of an old movie. The design and interiors of the ship match this. The creators of Chernobyl do not put themselves to shame. The music is nice, Sandler is mesmerizing.

Great cast, focused direction, old-fashioned sci-fi feel. Unfortunately, it's a bit bland in the end. It doesn't make use of the interesting themes it presents. There’s no catharsis, nothing. Adam Driver is woefully underused, and so is Sam Shepard. The comparisons to E.T. are spot on, but it doesn’t win your heart. Jeff Nichols seems unsure of what he wants to say.

I laughed till my stomach was in knots. Right at the beginning, I realized I didn't remember a thing from the first part. Well, maybe Jason Statham was singing that happy song... So I was surprised to see something being mined in some kind of thermal fissure... a trench that's home to giant squid and bloodthirsty... iguanas? A good half of the film consists of goofing around under pressure (Statham just needs to breathe properly and he won't implode!) and bantering with Jacky Woo for the delight of the Chinese audience. Then the final romp on Fun Island is thoroughbred bloody fun. Statham harpooning a helicopter rotor blade takes on an almost Conan-like mythos. He announces something about dolphins, the credits, the song. Good for me.

The writing is two levels worse than Pizzolatto. The unsatisfying ending and the stilted linking with the first series are actually more distracting than enjoyable. The creepy atmosphere is solid as well, and the final reveal is quite original. Unfortunately a lot of the motifs are just for show and have no justification other than to create that creepy atmosphere. Too bad. An environmental point driven to awkwardness the moment the creators decide not to reveal what was the cool thing the guys actually found there. Jodie Foster plays an unlikeable wannabe badass, Kali Reis is pretty cool, but those face piercings probably didn’t feel too nice in the freezing cold. The family relationships and trauma were almost useless, and if Night Country had been a movie unrelated to True Detective, they would have done better. I think I'll put Matthew and Woody back on to fix my appetite.

Such nice people. Such a nice movie. I last played football in high school and I'm about as good a player as Michael Fassbender, but still, Taika Waititi's laid-back comedy worked wonders for me. The bizarre episodes of exploring American Samoa and the training montages are topped, unsurprisingly, by the first game. Cool Runnings but with football. But the best and strongest thing Next Goal Wins is not the comedy. At the half-time speech, the film switches gears for a moment and, thanks to Fassbender's strong performance, also hits you incredibly hard; it brings out the darkness and unexpected cruelty of the world. The only way to combat this is by enjoying life and trying to have fun, not by spinning in a spiral of self-destruction. I think that's what Waititi meant.

A great plot with a tedious delivery and a few final lapses in the logic of the world – the ending in the taxi in particular doesn't make sense. It should have been a bit shorter and should have avoided the safe route. I'd really like to read the comic (not out here yet) because I liked Si Spencer's “Constantine” a lot also thanks to of the great wisecracks and interesting twists.

A poorly made monstrosity with terrible attempts at acting from a silly script. It's not funny, it's not good. The final twist is unexpected, but it doesn't matter because by that point I hated all the characters.

That was bullshit. The plot doesn't make any sense, the effects are lousy in places, and the weird slow-motion spoils all the action. Tarzan comes across as bland to the point of being unlikeable, but it's not so much Alexander Skarsgård's fault as it is David Yates' dull direction that trips him up. The weird tree-running is eye-poppingly digital, as are the animals, and unfortunately not even Margot Robbie, who quite illogically spends her days in the Congo wearing a dress that doesn't even shine in the water, can save the day. Christoph Waltz as the villain is incredibly dull. I'm afraid Tarzan will be off the market for a long time.

An uninteresting visit to Oklahoma without any supporting idea, and it’s essentially pointless. Soulless. The inconsistency in the writing of the characters is almost frightening. For a while, Maya seems to want to liquidate Fisk's empire and no one wants to help her, then she doesn't want to liquidate the empire, but the same people tell her she has to. I still don't understand what the main character was up to, and her behavior towards her loved ones and the Kingpin lacks logic. Alaqua Cox's performance is odd, but I could only tell when she was angry and when she was confused. Vincent D'Onofrio plays his part, though the script doesn't make it easy for him. Charlie Cox doesn't have much to do and the action is alright. An incoherent mess, with no emotion and no point, and really weird dialogue.