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Next up is a meeting with Mr. Freeze, another classic villain who has been lurking around Gotham since 1959. Check out the TV series Batman 66 and Gotham, the classic animated series Batman and Batman & Mr. Freeze: SubZero, and the feature film Batman & Robin.

This series isn't afraid to take risks, and it's as if they knew there were only a few episodes left, so they have something special prepared for each one. This time, they introduce the next generation of Killer Croc. The original comic character dates back to 1983, and in feature films, you can find him in Suicide Squad.

A co-production series brought together selected countries of the former Habsburg Empire to remind the current generation of Maria Theresa (1717-1780). Unfortunately, this attractive project relied on a folk-like biography by Mirka Zlatníková and Radek Bajgar, resulting primarily in a romantic idyll that reinforced the popularity of Vojtěch Kotek in the hearts of his aging fans. Nevertheless, credit must be given to the project for casting a trio of actresses in the lead roles and gently nudging weary viewers of the public broadcaster toward reflections heading in a slightly different direction.

The story from an unreliable narrator, a double agent, full of deceit and uncertainty. Hoa Xuande is the discovery of the year, an utterly convincing performance from a chameleon you root for despite his moral failings. He's overshadowed only by the multi-role Robert Downey Jr. and he's a little different every time, though as the oddball CIA agent, he's clearly the best. Cynical humour, apt similes and the wrongs of life in both a democratic and communist country. The absolutely superb immersive opening is replaced by slightly erratic passages, but the whole is still a powerful experience thanks to Park Chan-wook's precise direction. P.S: The best episode, though, is the one of the war film where the Vietnamese refugees have to say communist lines like the Viet Cong.

The first episode with the series' Julia Pennyworth. Casting Christina Wolfe was a classic whitewashing drama because in the comics she's the dark-skinned daughter of Batman's butler Alfred and Mademoiselle Marie (but only since 2014). Originally, everyone was white, and Julia started as Julia Remarque, whose character was most influenced by her mother being a heroine of the French Resistance during World War II.

The first episode with the mysterious Safiyah Sohail, known only to readers of Batwoman vol. 2 from the DC Rebirth era. In the comics, she's the former lover of the original Batwoman, but in the series, she's rewritten as Alice's nemesis.

Anyone who was waiting for Kate Kane's funeral has finally gotten their wish. All the supporting characters had enough time to grieve, and in the end, even the most unlikely twist was written very well.

A film that offers some impressive moments, but as a whole it mostly skims the surface. It deals with a few key themes, but it is mostly too thesis-like and one-dimensional. A raging America where we get no introduction and a miserable, rushed conclusion. Jesse Plemons steals for himself what is undoubtedly the film's best scene, and the final wartime inferno, while beautifully fluid and robust in sound, lacks technical skill and sophistication. It's not bad, Alex Garland is a capable and distinctive director, but Civil War is perhaps too ambitious a theme that deserved more than a journalistic road-movie with a wartime finale.

It’s too colourful, too CGI-laden, and Jennifer Lopez runs around with her big ass at the beginning and admits in one of the dialogues that she has wrinkles and covers her grey hair because nobody gets younger, and for that she gets my nod because her Botox colleagues in the industry probably see it differently. You can easily watch it while doing the ironing; I played GWENT while watching it, so the film is kind of half an ear and one eye. Towards the end Jennifer makes it into a kind of existential drama, where big tears are shed on camera and all that's missing is a big kiss on the broken windshield .... but whatever, I still like you Jennifer, you've been making a lot of shit for the last quarter century, but you're a hardworking girl and I can appreciate that.

The 61st Disney feature film is a modern blend of classic adventure stories from the Earth's core. The family dynamics are reminiscent of Indiana Jones, but one can practically recall anything from Verne's works to Narnia or Pellucidar. In the context of Disney films, the theme continues from Atlantis: The Lost Empire, but unfortunately, the result is the same flop as another classic, Treasure Planet. The promotion of Strange World was practically abandoned in advance, and only a minimal number of people even noticed that Disney was releasing another feature film in movie theaters. It wasn't a topic of note, which is quite a shame because, after a long time, Disney offered a classic family film for all age groups. Likeable characters, beautiful settings, and a pleasant message.

Extremadamente delicada, tranquila y lenta, es una película con un alma pura y melancólica. Comienza como un retrato de la Mumbai abarrotada y lluviosa, con una visión de la vida de dos amigas en ella, y luego se traslada a un lugar más tranquilo. El debut en ficción de una documentalista experimentada recuerda con qué interés y atención se pueden tratar los sentimientos de los personajes en los dramas indios autoriales de calidad. Para profundizar su impacto, la directora agrega un entorno socialmente hostil y una vida difícil en él. Ser feliz aquí significa vivir en una ilusión. [Cannes FF]

Because I’m not popular, I decided to rewatch WataMote — the story of a high school girl obsessed with popularity. Once again, I found myself rolling with laughter and cringing at the same time. Tomoko's inner world and her biting remarks about ordinary people are so relatable, it's almost embarrassing. This anime is incredibly original. Tomoko is an amazing character, wonderfully voiced, just like her brother. The series is full of interesting storylines and creative visuals, so there’s never a dull moment, even though it’s quite episodic and focuses on the same themes. When I first watched WataMote in 2013, it really resonated with me, and I loved it. I’m happy to say that even after more than ten years, it still holds up (and I’m still not popular). 9/10

Not to repeat himself, George Miller went about it differently this time and decided to focus on what he didn't have time for last time, and we get to know the characters and the world better. But that doesn't mean there's no action. There is action, and what kind of action. The first act alone puts most recent action movies to shame, and it's still just getting started. In short, Furiosa is an excellent film, with a great Anya Taylor-Joy, who actually enters the scene perhaps somewhere in the middle, and a perfect villain played by Chris Hemsworth. I absolutely love it when actors use make-up to help them become someone else entirely, and Hemsworth has done just that to perfection. He's erratic, insane (how else), but he's also hilarious and, in his own way, ridiculous as he speeds through the desert on his post-apocalyptic tricycle. He clearly enjoyed the filming, and I enjoyed the result.

Si no lees nada sobre la película de antemano y no ves el tráiler, es perfectamente impredecible no solo en términos de trama, sino también en términos de género. La seriedad de la situación en la que se encuentra la protagonista puede pasar fácilmente de una comedia intensa a un drama cruel. Y la película equilibra magistralmente esta delgada línea, divirtiendo con risas fuertes y al mismo tiempo manteniendo la tensión y la preocupación. Sean Baker es el Steven Spielberg del cine independiente, un guionista y director excepcionalmente innovador con un sentido único de la sociología, que sabe contar historias sobre personas y sus almas como nadie más. Anora es una comedia que no se hace y un drama que desnuda el corazón de donde menos te lo esperas. Un golpe absoluto y conmovedor. Gracias. [Cannes FF]

Don’t be put off by the shallow premise and the B-movie stylisation. The reflection of the rules of television show business is deliberately superficial. Those past their prime must be replaced with young people with perfect bodies. And because of that, celebrities are willing to do anything to their own bodies. For roughly the first one hundred minutes, I didn’t want to believe that such a cheaply stylised trash flick could appear in the competition section of the Cannes Film Festival. Of course, Coralie Fargeat has a grander plan for us and takes it in unexpected directions with the inner psychological conflict of the main character and, in terms of genre, with a nod to Peter Jackson’s early splatter flicks. This is taken almost to the point of a transcendental body horror spectacle in which the director doesn’t shy away from humorously using the music of Herrmann from Vertigo and Strauss from 2001: A Space Odyssey. Demi Moore is cast perfectly in the role of a fading celebrity, and Margaret Qualley excels as the up-and-coming star of a television show.  Qualley, incidentally, is enjoying a truly golden period in her career, as she also appeared in Lanthimos’s new film Kinds of Kindness in this year’s Cannes competition. Tarantino deserves thanks for discovering her! If the film hadn’t worked so clearly and predictably with B-movie elements in those first hundred minutes, I would have given it five stars! ___ It occurs to me that female directors are starting to show far more female nudity in their films than their male counterparts. I can cite two examples of this phenomenon just from this year’s Cannes Film Festival, namely Les Femmes au balcon and this film, The Substance, where we see both Demi Moore and Margaret Qualley’s breasts up close, not to mention their curves in leggings. Yum! [Cannes FF]

An entertaining portrait of young Donald Trump as a go-getting property developer with an enormous appetite for business. Not as a politician. Trumps first wife, Ivana, his father, mafioso Tony Salerno, Andy Warhol and especially attorney Roy Cohn, who helped Trump break into the real-estate elite of New York – the important characters in Trump’s life are depicted with refreshing authenticity and documentary-style veracity, in 4:3 television format, often even with VHS tape noise in the picture, giving us that exact feeling of the eighties and nineties that we haven’t had in any feature film for a long time. Director Ali Abbasi takes the characters on a journey through the megalomaniacal American Dream, without pointing a finger at any of them, but rather taking them as people with their own specific priorities and weaknesses. Sebastian Stan is good as Trump and Jeremy Strong is excellent as Cohn. Just don’t expect Scorsese, who’s better suited to the glamorous veneer of Casino. The Apprentice has the nature of a made-for-TV movie. [Cannes FF]

An excellent flashback to Fury Road. It lacks Max Rockatansky, it lacks the frenetic pace, but the story is more substantial. Furiosa explains the laws of the imagined world. George Miller seems to realize that he skipped over a lot of things and presented them as fact without showing them. He describes a fragile symbiosis that is disrupted by Chris Hemsworth's Dementus, one of the best creations of his career. If it's true that the previous Mad Max was mostly about Furiosa then Furiosa is mostly about the foxy Dementus. He's the one who shows the world turning into an oil-soaked desert. Anya Taylor-Joy is good, but the little girl who plays her when she was young is even better. Weaker music and slightly worse visual effects. Still, very good.

A stultifying and unappealing directorial debut. Needlessly drawn-out scenes with feeble directing (half-baked details in the actors’ behaviour), empty and restrained psychological moments with the main character’s monologues, which don’t take anything anywhere and only to serve to further drag out the film. Trying for a mysterious atmosphere where there is none, dream sequences that we’ve already seen from David Lynch, copying of Memento. And an unoriginal plot with an uninteresting main character. [Cannes FF]

La poesía visual de Sorrentino que rinde homenaje a Nápoles y la belleza femenina (cómo no). En el primer tercio, una exposición hermosa de personajes, entre los que destaca no solo por su actuación, sino también por su carácter, el escritor Gary Oldman. Más tarde, cada vez más fragmentos emocionales cuyo contexto y significado en la trama se me escapan. Lo que hace que disminuya la emoción por la forma en que se presentan. ¿Qué demonios significa ese personaje de "la bella y la bestia", un sacerdote feo digiteando a Parthenope en una iglesia?? **1/2 [Cannes FF]

A good movie, but not exactly groundbreaking or unforgettable. It was still a pleasant watch with relatively likable characters, both the main duo and some of the supporting ones they encountered along the way. The pace was a bit uneven at times, but the animation and music were nice. The story was decent, but for me, it lacked intensity, emotional depth, and development of some themes. It also could've used more of that legendary charm. Despite elements of the Japanese world, there wasn't much magic to it for me. I would've liked more moments to build the relationship between the main duo, especially since the movie is called My Oni Girl — you'd expect romance to be the primary focus. Instead, it dealt more with family troubles and the (in)ability to express emotions, which might resonate more with a Japanese audience than it did with me. I was hoping for more romance and fantasy. That said, there were parts I really enjoyed. I liked the whole journey and the encounters the main duo had along the way, which felt warm and human. In short, it was a good movie — not something that'll stay with me for long, but a film I'd watch again. 7/10