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An excellent idea, but they didn’t make the most of it. The premise, a spoiled kid who puts a hit on Santa for giving him coal in his stocking is all very well, but the result is feeble and the action is at best average. So the best bits are the pieces of bonus information that complete the overall picture. Santa making weapons for the army to be able to feed his elves, his disappointment at the aggressive kids and the fact that he has an Afro-American (or Afro-Canadian) wife. Gibson’s acting is convincing and the frustration his job gives him is infectious. Goggins’ assassin is a typical adult kid who is just interested in his pay packet. A great movie snack, nothing more, nothing less.

A good movie to complete this year’s Christmas atmosphere. A coronavirus wipes out the human race and the only hope is a newly discovered moon orbiting Jupiter. A cancer-ridden Clooney simply has to get to an antenna to contact a crew that is just returning from the moon, to tell them to return there. His journey through the frozen wasteland is pretty well filmed. The bits in space are also nicely filmed, but they are dumb as anything you could think of. The way they sing songs while flying through unmapped zones and sending the pregnant woman into space is an offense to all true sci-fi fans. The lesson at the end may be good, but could be expected. The ending wants to seem full of hope, but when you think about what the future holds for the rest of the protagonists, slash human kind, you’ll want to cry.

Childish crap that wants to be Kindergarten Cop for another muscleman, but it isn’t. The agent who set Diesel up must've been high, he’s never been so bad.

The Mandalorian retains its allure and also manages to go deeper into the individual characters. Through slow and gradual revelation, Favreau raises the bar so high that the end faithful fans may well find themselves with a dislocated jaw. The special effects are comparable to ones in the world of movies, in a good way and a bad way. Some of the episodes are pure fan service, featuring favorites like Boba and Ashok. The powerhouse of the series is the silent Grog and I wonder what The Mandalorian will be like when he leaves the series.

A luxury B-movie full of one-liners and gallons of blood. The gloomy future of 2008 by which time, as a result of global warming, the Thames has flooded the whole of London is disturbing even now, after Brexit. The city is plagued by a psychotic (or psychopathic?) killer who eats whores’ hearts out. He is being hunted by tough cop, Rutger Hauer, who has gone mad from their last confrontation and his new partner, an Oxford graduate. Aloof, surprisingly subversive twists, intentional over-acting and wonderfully illogical one-liners make Split Second a cult movie that has been unfairly forgotten.

The Wages of Fear. The straightforward infiltration into the imperial canteen impresses most with a ride with the equivalent of nitroglycerin on the hood. It's already clear that they'll save some of Grogu’s training for the next series.

Awful animation and awkward humour. The morally questionable values this shit promotes will result in the decline of an entire generation. I pity the kids who wandered into a movie theater to see this.

An entertaining slasher with an interesting premise. Putting a six-foot serial killer inside a short, shy and retiring blond works mainly thanks to Vaughn’s talent at acting anything from a taciturn psychopath to a babbling high school girl. But Newton swaps her zombie-like step for confident strides... Luckily, Christopher Landon doesn’t wait a minute to make fun of genre clichés, even ridiculing himself. The juicy gore and great horror atmosphere (a great opening) does much to counterbalance the shoddy screenplay. This had many more possibilities to be explored, but they were ignored. But still, a solid above-average movie.

A down-to-earth disaster nail-biter with an unexpectedly realistic first half. After the excellent first hour it jumps feet first into the realm of Hollywood and things start to work miraculously. Vaughn approaches this in the same way as Seňor Spielberg in War of the Worlds, concentrating on an ordinary family with Butler in the role of a dad chosen to survive. It chugs along marvelously and there’s always something happening. Surprisingly, the government does what it should; the other characters are not one-dimensional; the powerful scenes with fire raining down and blast waves work splendidly. Movies like this a needed in this day and age; it makes you realize that things could be much, much worse. Covid is nothing in comparison to Clark.

A funny, relax movie in Zombieland style with monsters instead of living dead. O'Brian is a nice guy and surprisingly frequently starts to act much more seriously, contravening the expected clichés. The monsters are done well and Beltrami’s music is really good. A pleasant surprise.