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A wonderfully played game of battle subs under the baton of Tony Scott with a soundtrack by Zimmer which is legendary today. Fresh-faced Washington as the man at the moral helm fights over command with Hackman’s old sea dog. Themes of justice and arguments against mindless obeying of orders and violence are basic, but they work. The atmosphere of impending nuclear holocaust is almost tangible. But better submarine thrillers exist. P.S.: I bet the conversation about the Silver Surfer is Tarantino’s contribution to the script.

In the first episode Michael Mann set the bar high and Tokyo Vice and, also thanks to him, this is one of those shows that at the same time educates the viewer. About Japanese culture and the interpersonal relations, killing and betrayal. Gaijin Adelstein, who personally experienced these events and wrote a book about them oversees the practical side of this from his producer’s chair and so the neon lights are shining a little more authentically than we are used to from American productions. The realistic slow tempo and following the development of the individual characters pays off more and more with every episode. Not much action, but that makes it all the more earthy. The acting is impeccable. Despite initial doubts, Elgort proved himself in the end. Apart from the bullshit at the end, Keller was excellent (meth clouds the mind!), while Watanabe doesn’t take any chances. My favorite from the first round has to be the complex cop, Hideaki Itô; he is the perfect counter-balance for the good and evil that the police has to give. A wonderfully begun show and I look forward to season two. Lie Down With Dogs Rise Up With Fleas!

No murder without body... these stories about photographers from various war zones are real eye-openers. These strongly polarized countries stricken with civil war show what can happen if power falls into the wrong hands. The most powerful episode is definitely Rio which kept its eyes firmly shut during preparations for hosting the Olympic Games. The shots of dead bodies hidden in sewers or charred remains that look more like rotten tree roots than a body are harrowing sights.

Barantini serves up pure hell on a golden tray. Graham’s chef experiences the worst shift in his life. A packed restaurant, a visit from the hygiene department, a well-known food critic accompanied by a mate who owes him money and his ex-wife on the phone complaining that he didn’t wish his son a good night. Mistakes by the staff, bad communication, no time to spare. Boiling Point is about extremes, but real life can be just this fraught. Maybe this might not happen during one shift, but over the course of a week, but even so... The pressure is immense and unbearable. The question isn’t whether, but when...

A hippo, a crocodile and a bird walk into a bar and a fight begins... Moon Knight is slightly different from what you might expect. Which on the one hand is fine and on the other is really bad. The violent and bloody potential is approached rather naughtily. We do get dead bodies and bloody slaughter, but unfortunately the killing happens in a flash, so the viewer misses everything and just gets to see the hero with a pile of dead bodies around him, looking in bewilderment at his blood-covered hands. But the storyline with the changing personalities peaking in the psychiatric hospital is excellent. Unfortunately the quality of episodes isn’t balanced. The ones directed by Diab lack oomph and the scenes roll out, like on a conveyor belt. Conversely, Moorhead and Benson are playful, surprising and they add the oh-so-important atmosphere of chaos and uncertainty. Isaac was excellently cast; the only problem I can find is the way Spector turns soft in the final episodes. It’s easy to watch and, yes, unexpectedly rough for a Disney; Moon Knight had as much potential as Deadpool, but they failed to take full advantage of it. But it’s a good watch, all the same.

A playful, but rather oversimplified sequel to the story about an arrogant surgeon who turned his hand to magic takes us to other worlds, but also into his subversive inner self. During the opening of the movie, Raimi came up with a surprise parallel on the west Russian conflict, and also with an ending involving a demonic resurrection and all-in-all inconsistent storytelling. The second Strange would have benefitted from about a half hour extra to give Raimi the chance to give the multiverse a good long cuddle and also give the sub-stories the chance to take off a bit. I don’t believe that Waldron’s screenplay was to blame; this is more like studio intervention to bring the running time down to a more sensible length. The guest appearances are fine as a whole, but I’m not at all thrilled about one choice by casting department, so that means minus one point. The horror make-up is awesome (eyeballs dropping out of sockets!), but rotting cadavers, impressive deaths and pieces of body dropping off indicate that Disney is willing to turn a blind eye occasionally and please orthodox fans with a bit of gore. But will it be enough? Are you happy?

After the depressing ending to the last season, which was further deepened by the death of Helen McCrory, the bar was extremely high, but Steven Knight wove a very powerful story about the search for love inside the soul of an insensitive Gypsy gangster into the historical setting of the beginnings of World War Two. It lacks the earthiness of the first five seasons, there’s much more politics, but the development is logical and makes sense. Perhaps in the role of a lifetime, Cillian Murphy gives Tommy Shelby’s departure for the New World incredible drive and solemnity. A final season as it should be. Good and fateful, full of death and farewells. P.S.: It was good to see the cameo by vocalist of the Sleaford Mods, Jason Williamson, in the final episode.

Elon’s revolutionary idea of not throwing out fractions is the main economic reason why space exploration should be turned over to profit hungry corporations. There has to be a profit in it. Otherwise there’s no point in flying to space. Taking on board constructors with a history of people dying on them in consequence unsuccessful flights is also a great idea (not). These details can be decisive for the success of a mission. This documentary is nothing earth shattering for those who watch Live, but Netflix serves this up in 4K, nicely edited, with music from Interstellar, which is certainly a plus.

Yesterday I was in Apollo 10 1/2, today it’s the regular Apollo 11... Emmerich destroys a planet again in a similar way, but this time he does it a bit differently. Perhaps everything is a bit more laid back here and the destruction isn’t as opulent as in his previous disaster hits like 2012 or the climatic The Day After Tomorrow. This time round, the destruction somehow takes a back seat. The main things here are the journey to the center of the Moon and the mystery of the Dyson Sphere, entertaining mucking about involving a cloud and a decrepit space shuttle, family values and great lines. It’s a hair’s breadth worse than the other Emmerich movies to date, but it’s still good entertainment for two hours, during which your brain can get some rest.

Linklater’s highly autobiographical memories of childhood, mixed with dreams of traveling to the Moon. Nineteen-sixties Huston, where one of the most important acts of human kind began, seems like a great place to live. Jabbering, games and dreams of an amazing future. With the war raging on TV as a backdrop. The visual side of this project makes it a great watch where we get to see glimpses of the realities of the age, like the theme parks of the era, but also fragments of 2001: A Space Odyssey and other cult movies. Apollo 10 1/2: A Space Age Adventure is cutely naive and entertaining, even though it lack catharsis... makes landing look simple. This is mainly a story from an era that offered hope.