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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.

A subversive version of Mission Impossible, where they steal a ChatGPT that can launch nukes and point fingers at the Soviets. Unfortunately, it's unexpectedly bland, almost soporific at times without the crazy stunts of Mad Tom. On top of that, some of the villains are Ukrainian, and that’s just not trendy today. The acting is great, Statham is excellent again, only Cary Elwes didn't suit me here. The script, despite some stylish dialogue (or Grant's exquisite final monologue), lacks drive, is muddled and falls short of the typical Ritchie standard. I felt like he got bored during the shooting and tried to finish it quickly so he could get on with The Covenant.

Another classy and focused Ritchie flick. As with Wrath of Man, this is not a lightweight, verbally refined stylistic feature, but direct and vigorous male-driven action with minimal dialogue, this time paying tribute to Afghan interpreters. Although it is not based on a true story, it feels very realistic, with the highlight being the chase with ragheads in the mountains about halfway through. The tension can be cut and the technically perfect Michael Mann-style action is breathtaking. The warfare is bloody, grounded, and even the barracks feel very realistic, more like a non-production area in a factory than a modern control centre. Gyllenhaal is economical and doesn't take credit from Dar Salim, as his unassuming mechanic with a family and a baby on the way is the real main character here. There's nothing much more to the story than what's in the synopsis, but it's really about a man's word and his commitment to help someone who got you out of some shit.

When extreme, bloody violence meets childlike imagination the result is Happy! A former cop, now a self-destructive assassin, starts seeing the imaginary flying unicorn of his daughter, who has been kidnapped by a creepy Santa Claus. Showrunner Grant Morrison certainly does not hold back, with crazy that ideas fit together beautifully in a story about wronged children searching for their place in a world full of misunderstanding. The unlikely partnership of an assassin (a great Christopher Meloni) and a unicorn is the catalyst, but even when the two leave each other there's no shortage of shocking revelations about a support group for abandoned imaginary friends or an action-packed inferno in a garage. Happy! won't be for everyone, but it's definitely one of the most original things on Netflix.

Another big farewell party in full swing. Rocket’s origin story is the main pull of the third outing and it certainly did not disappoint. Yet, he's not the main star and the team gets a balanced roster, giving James Gunn a chance to say goodbye to everyone. The traditional story is wrapped in novel ideas and details that will simply grab you by the heart. Quill's depression, Nebula's care and Adam Warlock's unexpected devotion to his mother all have their place and are used appropriately. Still, it seems to me that Gunn is turning on demand and not with the gusto of Suicide Squad 2 – he plays it safe everywhere. But he still he managed to give us the best villain in the series. Chukwudi Iwuji gives everything, too, his High Evolutionary is a complex character who won't settle for anything less than perfection. This time, there was too much music for taste, and it overwhelmed Murphy’s excellent orchestral score. Even though we will never see this bunch together again, they say goodbye with the message that everyone is different, we need to respect that or at least get used to it and love each other just the way we are. Yeah, and it’s also important to give a second chance, something that Gunn himself got, and he doesn’t take it lightly. So, adios, and we’ll see each other again in another universe, with Superman.

I was not able to finish it. Weird script, awful dialogues, but it's all pretty messed up in terms of filmmaking, starting with the bad editing, and ending with the terrible visual effects. Yes I could have mocked Travolta the whole film, but I quite like him as an actor and was rather sorry. Not even rum could help.

A mediocre one-off where Maggie tries out a Dino Grog stroller and mashes up Star Wars with The Simpsons. The story is a bit of a mess and the whole thing feels like a visual exercise in what Star Wars would look like in Groening's style. The screenwriters must have started their strike early.

A brutal satire on family relationships, as a new variant of Covid forces parents to kill their children. The black-humored story, with a madcap Cage and a terrifying Selma Blair, works perfectly, not least because the children are killed off-screen. The upbeat electronic soundtrack also helps a lot. A suspenseful bloodbath with a nice final twist where parents cheer for parents and the childless cheer for children.