3DD!3

I think most vegans who accidentally wander into the cinema to see this unconventional romantic road-trip will pass out and have nightmares for the rest of their lives. Marel (Taylor Russell) can't contain herself on a girls' sleepover and chews on her friend's finger. Her dad has had enough, so after a quick move he gives her money, an explanatory audio tape and disappears. The "innocent" girl goes in search of her lost mother and meets other eaters of human flesh. The almost meditative, relaxed atmosphere, underlined by Trent Reznor's haunting piano, is interspersed from time to time with gore with an unnerving soundtrack. The performances are top-notch, with Mark Rylance as the lonesome Sully leading the pack, but unfortunately, there is punishingly little. Chalamet does his quality standard, but he's no match for the old man. A surprising one-off with several very intensive scenes and a bit of an awkward ending. The question is whether it is the fault of the book or the filmmakers.

I had the picture book when I was little, but I never watched the Disney original until today. Well, it is considerably better, full of action, and uncut. Merlin is more of a mad time traveller than the legendary wizard, and his talking owl has more sense than him. I enjoyed going back to my childhood, and I think I'll start digging up other treasures tucked away in compartments of childhood memories for my little one.

The terribly long exposition wallowing in the main character's depression is a bit too much for my taste, but the moment Villeneuve starts moving the plot through the broken time lines, I was hooked. The bizarre tangle of events, coincidences and fateful encounters is further embellished by the narrator, who is the fish being butchered. Brilliant acting and utterly realistic. The weirdest romantic film in a very long time.

A buttload of ideas, a celebration of all the artists who gave each of the worlds a special and unique atmosphere. The action scenes are so awesome that you will want to go back to the cinema very soon, to enjoy and study them. However, it is not only the visuals that keep the viewer engaged, the script also deserves praise. Each character is well thought out, has a mini-story and evolves. The wisdom that the Spider-men/women share makes sense and is fun (because Spidy is a funny guy), every viewer will find something here. I, like Peter B. Parker, also had a daughter since the first episode, and did I identify my paternal stereotypes in him? Of course I did! And that’s how well the characters are written. Everyone will find something. It also has its own fatality and an unusual villain who got caught by a donut in the first film and then had a bit of bad luck. From nerdy scientist and third-rate villain to the destruction of the multiverse quickly and easily? Well, maybe not destruction... maybe, because we'll have to wait for the next part. So, to sum up: after the magazine ad, it steps on the gas pedal all the way to the floor and doesn’t slow down until the open ending.

An excellent crime drama that doesn't try to throw in unnecessary twists and turns and instead goes purely for its goal, focusing on a very strong emotional conclusion. Lie Kaas is solid, unemotional, I'm not used to him in such a role. It feels a bit like a pilot to a series, and why not, I'm quite curious about the other Department Q cases.

A B-grade noir that turns into a total mindfuck. Yeah, it’s bollocks, but very entertaining bollocks, where something is constantly going on. Made from the heart and featuring a well-fitting Affleck in the lead role – he really found himself in the role of a stoic tough guy, ruined by life and pissed off at everyone. It surprised me a bit, so I’m giving it a slightly higher rating.

A scrumptious noir starring the great Orson Welles in an unforgettable role as a cop with a genius nose for the perpetrator but a penchant for chocolate or possibly stronger drink. A perfect contrast to the sleek Charlton Heston with his Mexican moustache, young mistress and unbreakable moral compass. The magic is in the details and between the lines. Touch of Evil has been copied many times, but there will only be one original.

Thanks to Viola Davis, Mama Jordan acts as the brilliant mastermind behind all the incredible hard work of a few eager white boys to feed off the fame of a future legend. Of course, it's been all about percentages all along, but the journey, full of the optimism of the 1980s, an appetite for work and a few... well, fuck it, Just Do It... is captivating. I wouldn't have expected a movie about the signing of a shoe contract to be this good, and I'm not only looking forward to watching it again, but I'm going to find where the nearest basketball shoe store is. Affleck and Damon give brilliant performances! They should get together more often.

Thanks to the princess (with Anya Taylor-Joy's sexy voice), it was quite popular at home. So a story about two plumbers is cool not only for the boys, but also for the girls. The otherwise likeable simple premise spiced up with lots of Easter eggs loses a bit of coherence as we jump from one character to another. The visuals are gorgeous and Chris Pratt pulls off the same musical hits from Guardians of the Galaxy. A very safe-bet hit made for kids. Unless they go to the subtitled scene where the villain sings the song “Peaches, Peaches, Peaches, Peaches!”

More of a statement about the state of contemporary society than a pure crime story. The main quality of To Catch a Killer lies in its very skillful portrayal of contemporary America. It's about the two perspectives presented and getting out of the reality of two jobs, a shitty rental and debts into the world of swingers, signatures and pats on the back. The investigative line is bleak and plainspoken with a great Ben Mendelsohn and a make-up free Shailene Woodley, whose ordinariness as a smart girl who had bad luck in her childhood and less than ideal living conditions fits beautifully into the setting. The hunt for the killer is thrilling and the strange ending makes you think, something you don't see often these days. Szifrón's direction is precise and with a slightly better script this would have been an excellent film. Great cinematography, good music. A very pleasant surprise.