3DD!3

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.

I don't really like singing competitions, but my daughter seemed to like this so I guess it was okay. The animals are properly bizarre, with the chameleon clearly leading the pack. The precisely composed soundtrack pulls the whole finale. The scenes with the monkey dad escaping from jail with Elton's background score are pretty hilarious. Great Frank at the end... I didn't hear the stellar cast; dubbing is unsurprisingly preferred for fairytales.

I’ve no idea why Spielberg chose this bland fairytale for a movie. It’s an average borefest that will barely entertain the kids, but with beautiful music by Williams. The only fun moments are when they fart.

Things finally start to get going and it's over. House of the Dragon is drawn out, but fortunately it has the excellent Matt Smith on its side, every time he appears on screen he steals the show for himself. Milly Alcock is fantastic and the first half of the series was a lot more fun because of her. Paddy Constantine gave the slowest dying performance I've seen so far with absolute bravura. But those protracted intrigues without much meaning are a shame. It should have ended with a proper conflict, not just before it.