3DD!3

This movie lacks not only vision on the part of the director, but also consistency. Scenes strangely jump around a lot and are confusing. The motivations are as variable as the weather. The visual style relies on beautiful locations, but the scenery is a bit makeshift. However, the relationship between the father and daughter works beautifully. Liu Yifei is cute and knows how to act, but the Chinese aces such as Jet Li and Donnie Yen are inexcusably left on the sidelines and are practically unused. If they wanted a realistic version, they should have gotten tougher. Why couldn’t at least the training sequence be as hard-hitting as The 36th Chamber of Shaolin?

Sandler does these things on autopilot. He once again plays a simple, bullied loser who in the end hooks up with the hottest chick in town and finds happiness. This time it happens at Halloween and it’s just as stupidly funny as always. Nevertheless, Hubie had a surprise in store. The final twist works pretty well, just like mom’s T-shirts and the excellent Buscemi. Good for a Netflix movie.

A bizarre Czech thriller that makes no sense, and the screenwriter must be well aware of that; otherwise he wouldn’t have washed his hands of the whole bungled story, closing with that amateur final scene with Miklasová slumbering with her left breast accidentally exposed. The acting performances are weak: Nosek is asking for a punch in the face but, since he’s working with such an awful screenplay, it probably doesn’t matter. Hart’s camerawork is professional and the lighting and the overall production design are exceptionally good for a Czech film. That said, this mess is a waste of money and talented people’s time.

Rather toned down compared to the comic book but, in terms of TV shows, this is still way better than what we’re used to. Season 2 is more serious, fatal and menacing… which is fine, but at the expense of humor. In the end, only the useless Deep and his sect remain. Homelander has lots of flashbacks. Starr is excellent. If it weren’t for a few complete lapses in logic, I would give it the highest marks.

The Mythraists turned out to be a weird hybrid in the end. The Scotts give it a great visual for and promise a lot. They make the viewer ask lots of questions, which they don’t answer, but in the last episode they play an all too familiar tune. The wolves have great moments, but they are occasionally so unbelievably stupid that it hurts. And any attempt to show emotional anguish in androids in bound to seem weird. But the acting is outstanding, apart from Fimmel, who is identical in every role he plays.

An unexpected but very well-executed continuation of Sorrentino’s look at the Church. It’s no longer so tightly wound, but it still offers interesting topics for scrutiny. The Church is heading towards conflict with Islam, Malkovich’s ambiguous pope and Lenny’s unexpected return are great for building the tension and raise many questions, to which only Sorrentino and God know the answers…maybe. Will there be another season? Cameos by Marylin Manson and Sharon Stone.

Too much avoidance of the stupid-people factor. They talk about manipulation and algorithms in the hands of greedy corporations, but they forget people's lack of desire to educate themselves about these things and fight against the habit of clicking on the same things again and again. If we educated ourselves, rather than just surfing for fun and shopping, the internet would remain a center for education. But we behave like children who want everything right now and always just for a while. Children who have an opinion on everything and feel the need to spout it to the world instead of doing something with meaning…and now if you'll excuse me, I’m going to go plant a tree. :-D

The technical aspect is considerably weaker than that of Favreau's rival fairytale version, but the more mature approach is welcome. Severed heads and emotions can be wrung out by the gallon.

Tedious, self-aware/feminist hogwash mixed with a nice kids’ detective storyline that's slightly reminiscent of Harry Potter. Enola Holmes is blessed with a pleasant cast, but unfortunately the directing makes it difficult to find your bearings in the plot, occasionally leading the viewer up blind alleys where they run up against a brick wall, wondering if they missed something. Otherwise, it's a tasty TV snack whose most interesting aspect is Cavil’s Sherlock.

The strong imagery celebrating the beauty of life, symbolized by the unspoiled countryside surrounding the Austrian village of Radegund, contrasts with the homey yet stark walls of Tegel prison. The inconceivable choice that one farmer made to not bow to the authority of the state costs him his friends, his status and, in the end, his freedom and life. Malick exploits his style to the fullest, which, thanks to the slow or even dragging depiction of time, gives the wait for the execution a mark of realism. Diehl is precise and minimalist, and his conviction is surprisingly quiet. The well is dry. Let’s hope it rains soon.