3DD!3

They try their best, but with a stupid and muddled script that even The Rock can’t move. Dwayne's dream project has finally arrived and it's not bad, but it's not very good either. It’s average, with an excellent Brosnan, whose Doctor Fate deserves his own film. On the other hand, the rest of the JSA team, or whatever it was, is rather crap, but someone has to do that job. Black Adam has a couple of great scenes where he slices up the bad guys, rips their arms off, and doesn't coddle them at all, but he gets to the gory action for strange reasons, often with no apparent motivation. Colett-Serra doesn't have a coherent story to fill out the Snyder-esque slow motion action, but he tries; it's not much fun, unfortunately. Now we need to pray that Gunn writes the script for the sequel and that Clark will by for more than a brief chat.

The Pogues over the Marvel logo instead of the theme song? Gunn is awesome! The holiday special is about fixing the spirit of Christmas for Star Lord, who apparently had it spoiled as a child. Drax a Mantis decide to get him a present and Kevin is home alone during the Holidays. A merry Christmas bag full of little winks, good mood, great music and hearts when your friends spin something for fun. P.S: The new, chubby Groot is looking more and more like Vin Diesel. "I guess all actors aren't complete pieces of shit."

Star Wars smart and adult; dirty and gritty, full of fear and oppression from tyrants. After the excellent Rogue One, Tony Gilroy outlines the two previous chapters that led to the creation of the rebelion, a grim time when the Empire is at its peak, pushing people in such a way that they've had enough. Andor is not your typical hero, especially by Disney standards today. He kills on sight and often sends his friends to the guillotine by his inaction, but thanks to his mother, he has something like a moral compass. Diego Luna grows through the role and adds a much more substantial dimension to his character. Stelan Skarsgärd, playing a puppet master and essentially the Emperor's counterpart, steals most of the show for himself (both politically and downright rebellious), as does Andy Serkis as the shift boss. His mini-story alone, with its cruel and unexpectedly realistic ending, shows how much better Andor is than anything Star Wars has offered so far. The end credit scene beautifully foreshadows what is to come, even though, thanks to the film, we know very well how things will end. Brilliant. "I'm damned for what I do. My anger, my ego, my unwillingness to yield, my eagerness to fight, has set me on a path from which there's no escape. I yearned to be a savior for injustice without contemplating the cost, and by the time I looked down there was no longer any ground beneath my feet. I'm condemned to use the tools of my enemy to defeat them. I burned my decency for someone else's future! I burned my life to make a sunrise that I know I'll never see.”

Great, Knight is outdoing himself after Peaky Blinders. The beginnings of the SAS could theoretically be a sequel of Peaky Blinders, the timing fits. The likeable characters, the initial troubles and the big blunder behind the creation of the SAS are all presented with stylish insight. It's all great fun and when things start to go well the screw is tightened and depression, cynicism and great lines come in. The chemistry between Paddy and Sterling is superb. The music, alternating period pieces with classic rock and soft beats, is perfect. The ending of the beginning is very strong and calls for a sequel.

A brilliant take on the past of Don Corleone from The Godfather II, with a clever story and fun twists. I liked the explanation of why mice have bears for bodyguards. Character and social ties are presented in an exemplary manner that might even be educational for the kids.

That chase was pretty cool. It's basically a cut scene from the opening of the film, but it's very over-the-top and action-packed. The chemistry between the parents is excellent, with small favours, happy banter and the rescue of one of hundreds of children.

Black Panther died from COVID and his mum and sister have to look after Wakanda. Coogler presents a sprawling project with many supporting themes in a very terse way. He jumps from scene to scene and the plot rushes instead of flowing. T'Challa's absence is especially noticeable in the moments when the film needs to breathe. The lighthearted jokes and would-be catchphrases of the girls during Iron Heart's introduction, in the context of Bossman's death, feel like a caress against the grain. Everything of course is saved by Namor and his Atlan... Mayas. Tying the new empire to Central America and their rich culture was a very cool idea. Huerta is awesome and I'm really looking forward to his next stint at Marvel. The final scene, where Kukalkan explains that those dickheads will eventually antagonize Wakanda, and then the fun will begin, is very impressive. The sister's scene from beyond the grave is chilling, and the action and the one-to-one fight works quite well. So it's a shame about the inconsistent introduction. The music is a chapter unto itself. Goransonn outdoes himself, the theme of the new Panther is unexpectedly brutal.

You would have to watch this on drugs to see some deeper meaning. The animation is nice, though, and it has a strangely zen calming effect. Grogu is three years old today!

The original Lovecraft story is a different cup of tea, but the master also works with the unseen and unimaginable, which is hard to visualize. I dare say, however, that this is a very good adaptation with a solid Barnes and a disturbing Glover. The plot digressions are quite compelling and the ending is classically scary. The most compelling thing about Lovecraft is that the unsaid is always more frightening than the visualization, and that’s why his adaptations can never get a full rating.

Quite alright. Basically, it’s like the first one, only that the case is more tangled with Sherlock’s. Cavill plays a drunken Holmes and Enola discovers that being alone is not a good thing. The shocking casting twists aren't that surprising, because Black lives matter, just maybe if the shock at the end didn't stand on that alone. Enola misses much more than the viewer. The strike at the factory is great, at least we know why all factories are facing automation.