Kaka

Smart, insightful, layered and, although it doesn't seem like it at first, very entertaining once the flashbacks kick in. A deftly constructed love triangle story that offers different perspectives on different themes and playfully transcends the classic sports drama with the ease and finesse of a seasoned filmmaker. Some things may be a bit much, like the annoying sucking scene or the final cruelly long slow-motion sequences, but otherwise it's a damn catchy and original drama. Zendaya excels.

The worst of the trilogy so far. The third season does keep a linear narrative, which logically makes sense, but all in all it's a monstrous hybrid of Lord of the Rings, Game of Thrones and a dark version of Harry Potter, unfortunately, far from taking the best of all three. It only skims the surface, it creates an intriguing fictional world full of potentially interesting people, names, monsters and settings, but it all goes to waste because the characters, their motivations and the creators' ability to guide the viewer effectively and with interest through the story don’t work. Something is wrong when we have to wait until the sixth episode for the whole thing to sort of finally start to make sense. And I'd rather not even go into too much detail about all the WTF moments that are almost unbearable. I would skip the entire penultimate episode and that freak-show of a ball is a disaster too. Where are the darkened Blaviken sets? If I'd known that the best of the series was going to happen in the first few minutes of the opening episode, I wouldn't have even started watching the whole project.

An easygoing movie with surprisingly flipped main characters. Those who expected Channing Tatum to be all fun and games and to see him dancing on the Cape Ceneveral to wild beats will be disappointed. He plays a surprisingly restrained and disciplined section leader, while Scarlett Johansson, as a jaded marketing consultant, is usually in great spirits. Fly Me to the Moon is set in an interesting time. A time when there is a growing theory on the internet that the US never actually landed on the moon. The film plays with that theme gracefully. It makes good arguments, but it also makes solid rebuttals. The finale is a bit of a comedy flick with a black cat, but still watchable. The craftsmanship is great, the period footage is solid.

It doesn't reach the quality of the original Narcos, but it certainly won't bring shame to this franchise. It's still got plenty of gems and moments that are exemplarily staged, and as a series production, Narcos and Narcos: Mexico made a dent in the world and deservedly became cult-classics.

A static spiritual fresco that would perhaps benefit from being without sound for the viewer to enjoy the beautifully photographed locations undisturbed. Actually, once the story of the little Dalai Lama begins to unfold, it's a turn-off. The interest in the characters is level 0, the scenes with Mao Zedong look like one big parody and some of the art inserts don't make much logical sense and are not important to the overall narrative. Scorsese was better in gangster movies. He's floundering here and not catching the right tone.

The film version is a little bit better, but the series has enough room to be narratively robust and scripted to a tee, though it doesn't always get the balance of characters and the pulse right. It's also an unpleasant finding that what initially looks like a prequel to the feature film goes its own way in subsequent seasons, gradually losing continuity with the film. Even so, it's a beautifully atmospheric, pulsating mafia series with superbly acted main characters, European minimalism and is great fun most of the time.

Bromance in a mafia disguise. The third season is already tired, thematically weaker and slight overwrought in general. Suburra would have been much more decent and coherent having only two season, as the third one is unnecessary and doesn't bring anything new or interesting. Plus, the ending tries to target big emotions but it stumbles halfway through.

The story is even tighter, faster and smoother than the first season. It's also a little wilder on the twists and turns, but it still stays within the bounds of the tolerable and never goes full nonsense. Alessandro Borghi continues to rock with his economical acting and uncompromisingly masculine embodiment of the dreaded gangster of Ostia. The others follow suit very ably, especially the members of the gypsy family, and in general the portrayal of the familia and their traditions and social practices is unexpectedly authentic. I'm curious to see what the third season will come up with, because it doesn't get much better than this.

A superbly balanced miniseries that certainly won't put the famous and hugely popular feature film to shame. A conceptually brilliantly built prequel to the events of the film, excellently written and acted main and supporting characters, almost no unnecessary filler, and even the soundtrack follows a similar set-up to the film. An intense mafia saga that can successfully compete with the US, while still maintaining a cool European minimalism. An authentic mafia probe into the eternal city.

Woody Allen's apt, fresh, funny, soulful, sophisticated relationship film in a phase of his life, spouting one morsel of wisdom after another, and with a distance of about 50 years, with a unique social-aesthetic retro patina. Even after all this time, it's still to the point and 90 percent relevant.