Kaka

The Game of Thrones with cowboys, has become more of an advertisement for cowboys, or for the magical landscape of Montana and the customs and traditions of the local ranchers. The fourth season is still damn good filmmaking, but it lacks originality of the first one, and the punch of second. It comes closest to third season because it doesn't really set a new story or stage, but continues the situation already outlined. Some of the new side characters and an old familiar crew that entertains from the start are a good. On the other hand, the surreal scenes with wolves poison the otherwise quite down-to-earth and relatively raw undertone of the series, which is based entirely on real-world foundations. The character of Beth has already been overplayed by the creators. If it weren't for Kelly Reilly and her acting prowess, it would have been over the edge long ago.

A detective episode, new interesting characters on the scene (more Kelly Rohrbach, please) and once again Beth ruling the show. Her complicated, unpredictable and ambiguous character is an exhibition of the work of the writers and the actress herself.

A surprising maneuver by the worst-acted character in the series so far. Jamie is an interesting figure full of wrongs and inner turmoil, but Wes Bentley doesn't have the range to play this character the way it demands. Anyway, given the development of the story and the pace, it's still a great show.

An adventure episode with some typical western elements, a magnificent bear, Japanese tourists and one exceptionally gritty scene. Gradually, it seems that each episode reveals the secrets of one of the characters. Here we start to get under Rip's skin and it is quite possible that he will be a big favourite for many fans of the series.

An effective and self-aware hit with a light philosophical undertone. In other words, one of the few smart, eye-candy popcorn movies of the new millennium. That has to be appreciated, whether the topic is your cup of tea or not. Still, it is a class lower than Minority Report.

Massive bollocks full of archaic emotional gestures and tasteless facial expressions, I was afraid it was something by Ron Howard at the turn of the millennium. Unexpectedly, the timeframe fits, only the director is different. However, it still holds true that this cheap and simplistic squeezing of emotions from the viewer is not something you will see just anywhere, and the overacting Michelle Pfeiffer, constantly shaking her head and tossing her pompous hairstyle, neither. The editor took a sick day too. To my surprise, Sean Penn saves the day – this typically masculine actor in such a delicate and sensitive role – hat off, his acting range is admirable.

On a purely emotional level, Margot Robbie should have won an Oscar for this wild parade of domestic violence, 90s fashion, crazy bangs, a boorish family background and figure skating, because there's hardly a character in the last year that has had such a broad appeal and reflected society so well, as well as the values of will, hard work, life's victories, losses and realising your dream, no matter how self-typical. She downright steals some scenes, such as the one at the courthouse at the end, overshadowing not only the other actors but also the otherwise excellent technical ensemble. I,Tonya is also on the same level as Titanic or the Lord of the Rings trilogy in one respect, the visual effects serve as a means of supporting the story, not as mere eye-candy. At the same time, they are hardly visible at all and the ice-skating scenes are filmed fantastically, yet unspectacularly, so not everyone notices. It's not a great film, but for the first time in a long time a story of the rise and fall of a person in an antipathetic way with very peculiar, harsh humour.

Although sincere and without unnecessary plot diversions, it still remains mostly detached from reality. Five well-worn stories that won't grab your heart, but will occasionally make you laugh – maybe – sometimes unintentionally, sometimes intentionally. In the end, I might prefer the more cinematic aspects, because when I see mini-stories like in Kill Bill (but at night, in Chinese, and backwards), the romantic anecdotes around are them quite nice in other cases, and occasionally they have something to offer.

An interesting post apocalyptic relationship drama where Margot Robbie acts as if for dear life and the director makes do with a minimalist atmosphere, a few shots of wooded mountains, and a script that has a lot to offer and thankfully doesn't half-ass any of its plot premises. This approach to the viewer is not usual and is certainly worth appreciating. Pity about the slower pace and a few unnecessarily dead passages.

An old-school tale that often hints at Spielberg's most ambitious works. Slow, consistent, directorially pedantic, with an emphasis on the exceptional atmosphere of the early 20th century and an extremely charismatic protagonist. A message of discovery greater than that of Medicine Man, and visually as brilliant as The New World – which it most resembles. In content, however, those films are incomparable, because Gray sticks to facts and tangibles and Malick plays on feelings, philosophising through the game of image and sound. The Lost City of Z is a slightly more conventional, middle-of-the-road film for people who don't mind lack of action in favour of a dense story, although the pace and rhythm are occasionally problematic. 2 hours 20 minutes is too long for the material and the chosen concept, and in the second half, after all the cards have been revealed, it feels rather monotonous.