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The main thing you will take away from this film is that Vittorio Storaro (Coppola's Apocalypse Now) was a grandmaster of the camera, a GRANDMASTER! Without knowing in advance who was holding that wonderful optics machine, I immediately noticed the amazing visual compositions, of which there are many, along with the congenial atmospheric music, and in fact the whole film stands on those two components alone. That's because the plot, while maintaining an interesting mystery for two-thirds of it, isn't the strongest element, which you realize especially at the end when the final sci-fi-tinged twist is revealed and it makes you want to bang your head against the wall. This can't spoil the mood, because until then you're floating along beautifully on the seductive mystery and enjoying the gorgeous imagery. And you also notice that Florinda Bolkan has a beautiful smile, it's just a pity about the androgynous hairstyle, she looked much better with a mane with Fulci

A likeable and fun action B-movie on the theme of virtual reality and the classic Battle Royale. A group of people are in the woods in a survival game, where a lot of obstacles await them (even one CGI monster). The action is decent, though drastically lacking the R-rating, but otherwise the choreography is imaginative and the fights are well shot. I was most impressed with the finale where the main character uses a katana and a knife, that's where the blood was just supposed to spurt and the twin bad guys as the final boss were fine. The potential was definitely higher, but I like this kind of genre movies and the effort is definitely there. 6/10

Francis Galluppi, like Sébastien Vaníček, comes through with a superb debut, and both have earned themselves a new Evil Dead. Nice. Almost everything I love in movies is here. There's the attractive setting of rural Arizona, one remote rest-stop (reminiscent of popular hixploitation movies), and a group of random people who find themselves in one place at the wrong time. There's a salesman, an attractive waitress, a pair of robbers, a couple of retirees, a Bonnie and Clyde-like couple, a young cop, and a gas station owner. Gorgeous cinematography, confident direction, a well-developed script with no shortage of twists and turns, well-chosen actors, solid dialogue, a taut atmosphere, suspense that could be sliced and a proper Mexican stand-off like something out of The Hateful Eight. The violence and humour could have been worked on better, but this mix of Tarantino and Coen evoking 70's Thrillers is more than a good genre film.8/10

A delightful little mini-series perfect for the littlest viewers. If I were 3-5 years old, I'd likely be enamored with this charming shark's adventures, eagerly discovering something new in each episode and I'd probably sing along to that weird closing credits song. It turns out my inner child won't allow me to rate this little shark any lower than 6/10.

As I used to love reading about ancient Greek myths and legends at school and repeatedly went back to read them again for years after, I did not find anything in this show very surprising, especially at the beginning. In fact, the whole basic narrative is nothing new. How about the main male protagonist, was he in any way original or interesting? Truth be told, not really... It is like a classic ancient fable, only much more fleshed out, gory and taken to crazier (and for some, probably much cooler) heights. Even so, did I find anything surprising and intriguing? Did I find something in Blood of Zeus that would make me miss it and crave the next season? I do not think so. I personally found that even the much talked about Castlevania, which is being raved about by everyone, was a bit more enjoyable than this because there was at least something surprising in every episode... The animation is fine, the soundtrack is great, although story-wise I think it is rather average. 5.5/10.

While it's nothing groundbreaking, it's still a fine, stylish and entertaining Guy Ritchie film with excellent casting. The British army recruits a group of mercenaries to cause trouble for the Nazis and killing Nazis is always fun, just a shame it's not R-rated, because once Alan starts working with his knife, the blood is painfully absent.The caste acting is impressive. Henry Cavill and Jack Reacher (who gets better film by film) rule the roost, sex symbol Eiza Gonzales never gets boring, Til Schweiger as a Nazi is a delight too. It's got a very entertaining pace, nice fun and stylish action and there's plenty of it, the plot isn't great and the tension and atmosphere aren't as intense as Inglorious Basterds, but I had a good time and it's impossible not to like this bunch. 75%

How did the anticipated French horror film Pandemonium turn out? Disastrously! My eyes are playing tricks on me! I was expecting a twisted walk through hell with monsters crammed with gore and guts, a little brother to tthe Turkish Baskin and a kick-start to the French Wave this year, and I got a drama where nothing fucking happened for the whole movie. It's not until the last 10-15 minutes that the rather interesting stuff appear, but that's really late.I thought I was going to burn down a barn with my nerves (not that I had any). I don't know when the last time something pissed me off so much, an absolutely uninteresting bore that has about as much in common with horror as KFC has with shoes. In the end it turned out to be an anthology, which has no strong story arc, can't rely on any interesting scenes, script or actors and not to mention the atmosphere. The biggest disappointment of the year. 3/10. One star for the ending, the other for the mutant with the little girl, who did not do anything

Better than Dune! Excellent, imaginative, romantic comedy with polished action and filmed with incredible flair. David Leitch reminisces about his stunt years and inspires lots of little kids to get punched, smashed and knocked down, then deepfake them into the star of the film. Ryan Gosling in The Nice Guys mode and Emily Blunt in superwoman mode are having an incredible time, and the chemistry is conjuring unicorns before your eyes.

This western is interesting because it plays with motifs somewhat unconventional for the genre. It combines the classic western polarization of characters and life in the American West with the detective genre, and it must be said that Tom Gries did not disgrace himself. Indeed, Breakheart Pass is a film that you can enjoy if you do not subject the script to critical examination and do not worry about the plausibility of the megalomaniacal conspiracy presented by the screenwriter. It is simply an adventurous fairy tale, where you must with a wink accept numerous scriptwriting shortcuts that the creators use to aid their storytelling. The acting performances are commendable, and I must particularly praise the scene where the steam locomotive climbs steep hills and conquers ancient bridges. Overall impression: 60%.

The basic premise of the show is still excellent. The Kents live their lives in Smallville and raise their teenage sons. Lois works for the local Smallville Gazette. Bizarro and Lana's sister, Lucy Lane, enter the scene. The cliffhanger from the previous series is developed into the storyline of Natalie Lane Irons and John Henry Irons, characters from an alternate universe who have superhero alter egos as Steel in the comics. Yes, this is directly related to the movie Steel and the episode Heavy Metal from the series Superman: The Animated Series.

Okay, strong stuff giving a clear message against bullying!! The Koreans have once again stepped up and made quite possibly the best series on the subject of education and bullying, and as the 90% here says, it's well deserved. After all, the series is also garnering praise around the world (8.5 o IMDB, quite possibly the highest rated Korean series in years). The main character is an intelligent and quiet boy, a bit of a typical nerd, who is the target of bullying by his classmates, but thanks to his intelligence he has a chance to overpower them. (in the opening episodes the main character acts like Sherlock Holmes, who intelligently maps out his surroundings and the situation and tries to solve it). That was great! He also makes friends with the local school dude who does MMA, but at the same time he's not an asshole (he's quite possibly the best character of the show, who wins the viewer over with his character and his fighting skills). The series doesn't just take place in the school, it also deals with problems outside the school (getting involved with the local drug dealer etc). The big win is the unpredictability, somewhere in episode 4 I had no idea what direction the series was going to take. The quality and sharp fighting, the strong story of friendship and betrayal, and the final episodes tug at the emotions so much that no face is left dry. It's catchy, gritty, funny, emotional, all the quality ingredients come together here in a quality cocktail of a series. Recommended. 90%

Czechia has Pavel Soukup and the Slovaks have Rudolf Biermann!! Scumbag was already a good gangster movie and Cop War is great. It reminds me a lot of European gangster films, especially French ones, so I'm very satisfied. I didn't even mind the longer running time of 150 minutes because I wasn't bored for a second. It's got a very faithful 90's period setting, with corruption on all sides, and an excellent Rytmus as a mob boss, and he could have easily had more space because he was very fitting. It's gritty, atmospheric, manly, authentic and there are some unexpected twists.  Just the way I like it. It's a pity the ending is so inconclusive, I guess a sequel is in the cards and I'd happily take a second helping. For me it is one of the best Slovak films. 80%

Old school = wandering through the collapse and ruins of civilisation with a fine atmosphere and rather likeable characters, but they barely manage to fill up the film’s 144 minutes, which is objectively twice as much time as the plot needed. Visually, Kingdom of the Planet of the Apes is a very nice film that will please people who love the Rise of the Planet of the Apes with its intimate setting and emphasis on minimalistic action. But Noa isn’t Caesar and, unlike Reeves, Ball isn’t enough of a baller to give Kingdom that special apocalyptic touch that Dawn of the Planet of the Apes had. Overall, however, this is a respectable contribution to the canon. It’s just a shame that the ending rather promises a variation on the original trilogy with a somewhat less charismatic protagonist.

To be honest, I have to say that I got exactly what I expected. And while I wasn't looking for a miracle, I definitely intended to enjoy a smart, good-looking sci-fi adventure at the cinema, and that's what Wes Ball delivered. This is the first installment of a new planned trilogy, so a lot of time is spent on world building (which has changed quite a bit from the last film) and introducing the main characters. And just the first scene with them is enough to blow you away, because Kingdom of the Planet of the Apes looks gorgeous, and Ball also makes great use of the attractive setting of the ruined cities that nature is taking back. But that's just the beginning. What's most interesting about Ball's new release is the ape society itself, hinting at the ways and directions in which the new civilization and each ape community is evolving. Noah is also quite a likable hero, different from Caesar and to some extent a bit more ordinary and with simpler motivations, but he serves well as a guide in the journey through a world we actually have to rediscover, as does his human partner Freya Allan, with whom it's unclear for a long time how they will work with her. The only problem is that because of the long exposition and introduction of the world, there is not much time for the plot itself, which is a bit rushed in the last third. The ambiguous villain could have done more interesting things with a better script, and the moral issues facing some of the heroes deserve more space, but again, I understand that you can't cram everything into two and a half hours. What Ball has crammed in is amply sufficient for a satisfying sci-fi adventure that can easily stand alongside the previous installments. And I hope he gets a chance to continue telling his story

Ryan Gosling and Emily Blunt are great, David Leitch clearly enjoyed being able to make a film about his own craft... But I stopped believing almost everything in The Fall Guy after about half an hour, when the main plot was in full swing. As with the previous Bullet Train, it became a parade of not entirely believable to the point of stupid situations, from which only the split-screen conversation and the action scene with the container stood out. On top of that, the film was terribly long, and could have ended an estimated three times before the very end. Too bad. I'm not one of those people who constantly claim that the grass was greener and the sky was bluer before, but here it must be said that an honest film that glorifies the profession of stunt work and is genuinely funny, wacky and believably romantic was made 47 years ago, Animal with Belmondo

David Leitch pays homage to the stunt craft and filmmaking, and it's enjoyable entertainment that won't offend anyone in the cinema, but it just doesn't live up to his previous effort Bullet Train - that was far more substantial in terms of action and humour, and more importantly it was R-rated, so I liked it better. It's quite ironic that the film's strengths don't include the action, which is more creative and interesting than excellent, and the humour is only mildly amusing rather than a loaded comedy ride, but the film gets plus points elsewhere. Like the great chemistry between Ryan Gosling and Emily Blunt, it had emotion and this whole romance thing works great, but what I liked most was the behind the scenes of the filmmaking, where Leitch shows a lot of things from the other side and I enjoyed that. There are also a lot of movie references, I really liked the action scene on LSD at the disco (probably the most original fight ever) and then the finale, which is decently spectacular and fun. The icing on the cake is the trailer for the final film which is reminiscent of Honest Trailers (the same guy speaks by the way), I was very pleased with that. Fun, playful and heartfelt. 8/10

Enjoyable CGI cinematic action from Japan, where a group of mercenaries fight space bugs on a spaceship. The plot is very simple, but the visuals are nice, even if you have to take into account that the film is 12 years old, so it's more PS2-PS3 graphics than PS 5. It's R-rated, so all the ladies show up naked, and the soldiers also squirt a fair amount of blood, while the bugs are oozing slime. The spaceship setting is properly claustrophobic and the atmosphere is similar to Alien.Too bad there aren't more monsters and it's all limited to the bugs and the queen, it gets a bit repetitive after a while, but not many movies like this are made (which I'm surprised such movies aren't released in cinemas), so I'll round up to 4 in the end. 70%

I don't see any major differences in the direction and I don't trust Wes Ball much, but for me it's another sheer blockbuster spectacle that meets the highest criteria, it's setting itself up for another excellent Trilogy (there aren't many of those in the works right now) and it will definitely be in the top 5 among blockbusters this year. Plot-wise, I like it better, the apes are in control and the humans will gradually fight to take over. The new hero Noah is likable, Freya Allan is adorable and acts great (another female star looms here), Proximus is a solid villain, visually it's a VFX gem! The action scenes have drive, tension, emotion and a thick atmosphere, in fact I was almost breathless during every scene, it's that gripping (the home invasion one was almost horror) and the whole grand finale has the necessary gusto. 100% immersion in the story with a world that still has something to offer. 85%

I'm going to say it, and I'm surprised myself. Even though I'm an old boomer who grew up on the first Planet of the Apes from the late 60s, and even though I'm not a fan of the CGI serendipity of today, the direction that Rupert Wyatt took 13 years ago, Matt Reeves continued, and now Wes Ball has followed up on, is very much to my liking. While the old Apes from the 70s was becoming a ridiculous parody of itself (and an ugly one at that) episode by episode (except for the legendary first one), and Tim Burton didn't take to it happily later on either, so the current tetralogy is beautifully paced, looks beautiful, makes logical sense in how the apes evolve and take over, and the current installment is such a natural evolution in the plot that the cards are already clearly dealt. It makes me happy that in this day and age we have a film franchise that has great references and works well, which is not the norm in contemporary Hollywood, where "rhyming" is done at the top of its lungs and it usually turns out badly.

A mediocre poliziotteschi from the year when the popularity of this once super popular subgenre in Italian cinemas of the 70's started to slowly fade away and so did the yappy career of the charismatic Luc Merenda, who looked good on camera, but in all his films acted exactly the same, with a limited acting register. And Dardano Sacchetti, to him be eternal glory for his scripts for Fulci's masterpieces, didn't do anything world-class here either. We've got stolen drugs from the mafia, a bank robbery (which itself, by the way, was often used in poliziotteschi, I've seen it myself in at least five films), some violence, one naked pretty Italian girl, two weak car chases, just... over and over again, nothing we haven't seen in previous films of the genre. I'm not surprised the Italians themselves started to get into it. There's some attempt at levity here, delivered by Merenda's hunchbacked sidekick (perhaps to make Merenda's tall figure stand out) who throws childish jabs, but it doesn't work either, I was bored. Umberto Lenzi's films with Maurizio Merli were a different brew, dumb as a bag of bricks, but high-octane from start to finish.