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A focused Nolan, a perfect Cillian Murphy and a roaring Ludwig Göransson in a history lesson I've always wanted to see. The suffocating atmosphere, disturbed only by the celebration of the Trinity explosion, sticks to the palate, and at times you feel sick of what could have been. If Hitler hadn't shot himself, they would have dropped the nukes in Europe. Oppenheimer's life of communism, his wives, his nightmares, his friends and his enemies are all engulfing, and for three hours they don't let go, whether it's black and white conversations or the simulation of a nuclear explosion. The horrific ending with Einstein still resonates with me. “Now I am become death, the destroyer of worlds.”

An opulent fresco depicting the transformation of old Hollywood into new. I'm terribly sorry that I didn't catch it in the cinema, I wish I had when I think it was there for a measly week. Damien Chazelle pays deep tribute to what movies mean to people with a cynical comedy framed by weeping and mourning for the change that is the only certainty in the world. Margot Robbie is fantastic, she’s insufferable, but at the same time very genuine and worth of protection. The music is incredible, as only Chazelle and Hurwitz can deliver.

The plot thickens, especially in the stories from The Wall, which are always the highlight of the series. Crazy ideas, bloody resolutions and buckets of black humour. The second season doesn’t pull many punches. Pupa waiting for Robocop is the GIF if the year!

A celebratory three-part documentary about a nice guy who liked to work hard and knew how to sell himself. Netflix only skims the surface and even though it offers some controversy it has Arnold to sum everything up in a sentence. Everything is a show and a bit of a sham, but it would be nice to see a more complex documentary, something longer, spicier, that would dig deeper. Don't the Netflix people  have any cut scenes?

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.

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.

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.

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.

The fantastic saga of the Dutton family begins with a painful fall and a slow loss. Harrison Ford is perfect as Jake, a living monument to the old world, a monolith battling the modern world. And so is Helen Mirren as the matriarch who shuts the door to heaven right from the start. The domestic line is boldly driven by passages from Africa where we watch Spencer Dutton return home and one of the most accomplished romances I've seen in recent years. I can’t wait until 1924.