3DD!3

A completely different concept, period and overall message, only the main actors and the style of humour remained the same. And it’s not bad at all. Shitshoveler's daughter wants to study and go to the world, and the king's unlucky son doesn't want to kill people as often as his daddy does. The contemporary humor set in the dark ages sometimes works and sometimes it grates. The goat trial is probably the best of the bunch.

You could say it's like a Polish version of South Park, but from a time when there wasn't so much politics and it was just straightforward fun. Boner and his partners hunt demons, devils and boogeymen to send them where the sun don't shine. For 200 zlotys without an invoice, 300 with an invoice. There is a lot of drinking, banter and a large vocabulary of great Polish bon mots. The quality is like a seesaw, excellent episodes alternate with weaker ones, but mostly it's worth it.

A very good adaptation of the first series of Lee Child’s books. Vagabond, drifter, ex-military special investigator Jack Reacher always gets caught up in something and leaves no stone unturned until he unravels it. Old school fun where legs and noses are broken and punches are the order of the day. Allan Ritchson doesn't just look like Reacher, he is Reacher, it's hard to imagine Tom Cruise back in the role now. It's good that we're starting from book one, “Killing Floor” is a nice introductory story with a good personal line, and the flashbacks also work. If it weren't for the exaggerated scenes like the final inferno in the paper mill, which looks very B-movie, I'd go for the full score, because it couldn't have been done better. Carry on.

Packed with ideas, existential musings on death, and amazing action that combines Japanese anime style with video game dynamics without looking bad. Impeccable English voice acting, Banderas and Salma are classics, but the strong English accents of Goldilocks and the Three Bears were a stroke of genius, and Wagner Moura as Death? Yeah! The story drags the cat through a severe personality crisis (“This Is the End” variation of Apocalypse Now in a kid's cartoon?), which makes him a more interesting character than in Shrek. This is the kind of surprise Pixar doesn’t deliver anymore. P.S: The final fight with Death is awesome.

A woman is trying to pay her taxes… An unexpectedly playful take on parallel universes. Unfortunately it’s unnecessarily long and at times unnecessarily self-indulgent in its weirdness at the expense of a fairly standard story. Swiss Army Man held together much better and it was also more fun. Here they should have trimmed in places and add a little in others to create a coherent ride across what could have been. Kwan and Scheinert put so much into it that I felt terribly overwhelmed by the lines. Michelle Yeoh is fantastic in all her versions and enjoys every one of them. Ke Huy Quan seized the opportunity to play a role tailor-made for Jackie Chan and got the most out of it. I need a few more viewings to take it all in, but for the first time, so far, excellent entertainment that lacks something short of perfection. It’s like a doughnut without the dusting.

Nicolas Winding Refn retraces his steps and through the mystical The Neon Demon, Only God Forgives, he makes his way back to Pusher. Copenhagen Cowboy follows Mia, a brothel madam pays her with a lucky coin (money brings good luck) to finally have a baby, only that she's stingy and won't give her the whole shebang. This sets in motion the bizarre wheels of an entire clockwork full of cheap girls, man-eating pigs and Asian and Eastern European gangsters. The popular Zlatko Burić also returns and his panhandling scene is chillingly creepy. Meta-commentaries, quotes from the masters to a fantastic soundtrack by Martinez & Julian Winding. Nothing for normal people :)

I didn't expect to be able to sell Trasformers as a fairy tale to my daughter, but I did! Dumb Bumblebee with no memory won her over by being scared, dancing and spitting tapes of crappy music. Travis Knight returned the brand to its roots and instead of Bayhem, he offers a nice story about a young girl's relationship with her VW Beetle. Hailee Steinfeld is very good, so is John Cena, and the others don't really need to be mentioned, except for my friend Paul, who almost destroyed the planet with his trust in bad aliens. Great action, nice music, bring in the sequel.

It starts as interesting-looking sci-fi, but for a long time it doesn't know what it wants to say and what comes out of it raises a lot of questions. On the other hand, it's a very original concept. Sang-ho Yeon can make a nice film. Decent action, the visual effects inferno at the end and the mother-daughter scenes have something to them (the mini-twist concerning the little doll is downright cruel). The bleak reality, where you may not die, but they can make a sex fiend or a janitor out of you, begs for a sequel from civilian life. Hyeon-joo Kim is brilliant.

The disintegration of life in the post-pandemic era, live... The composer Lydia Tár is not a very pleasant person. She’s a manipulative, arrogant professional who treats people like pieces on her personal chessboard, but with tact and a smile. But the moment they don't perform as they should, she smashes them to pieces. Yet her undeniable talent, enthusiasm for the cause and willingness to submit to the music and take it as her own permeate loudly throughout the film and the viewer must admire her despite all her negative qualities. Lead singer Todd Field mixes in paranoia, comments on cancel culture and lesbian family life (someone has to be the daddy). Cate Blanchett is mesmerizing with her performance and is confidently walking for the golden statuette for Best Actress. And to top it all off, beautiful music. A masterpiece, albeit little self-absorbed.

It turns out that Scott Cooper does need studio oversight, because his biggest problem is his tired and unimaginative direction and his unwillingness to let any material on the cutting room floor (figuratively speaking). The story isn't bad and the finale in particular is very strong, it's just that the overall investigation lacks traction and lurches from one lead to the next without building suspense or anything original. Fortunately, we have the great Bale, who really carries it on his shoulders. Melling handles Poe very convincingly and ably seconds Bale. Shore’s music makes for half the atmosphere. Such a shame because the potential was enormous, especially given the great conclusion.