3DD!3

Just how many trials and tribulations does poor old cocaine have to go through to reach the junkies of Europe? It reminded me a little of the bullets in Lord of War, just strung out to last eight hours. 000 has excellent, expansive production design. Monterrey, part of the US-African supply line (this is the best viewing) and of course beautiful Calabria, where Don waits for his package. The way it’s all tied together through flashbacks is excellent for building up the tension, although it takes a little while to get used to. The actors are confident in their roles. The screenplay is annoying at times, especially when it slips into boring, sleep-inducing routine. It should have had more editing, maybe even cutting out a whole episode to keep the story from losing pace. The best scenes include the ravenous pigs that are always ready to help out their masters. Italians solve problems the old-fashioned way.

An eccentric creative view of the last year of Al Capone’s life. Hardy feels at home with the bizarre and his transformation into a doubly incontinent, syphilitic wreck is perfection itself. The screenplay is more a series of hallucinations created by his failing brain (trying desperately to remember where he buried those ten million bucks) mixed with reality and memories of torture and killing. It is both shocking and surprising (gouging eyes out), but also lacking any prominent storyline. Calling him Fonzo does more harm than good, because it makes everyone expect a classic mafia movie. Krusty the Clown with a golden Tommy gun just won’t cut it.

A captivating slow tale of looping and growing up. Visually beautiful, wonderful music. A refreshing counterpoint to the cluttered shows of today.

A bunch of nasty characters start getting into hot water in multicultural Paris, where people just “don’t understand" when they don’t like the topic of discussion. Thanks to Chazelle’s directing, the movie makes for unexpectedly captivating viewing. The actors play the tough guy and the life’s wrecks with assurance and gusto. The concept of a different perspective in each episode is interesting… It’s all a bit like a telenovela designed to pull on your heart strings (but filmed a hundred times better) with real actors and quality directing, but the music raises it to another level. The dramatic arc of the whole series is textbook perfect and the unpleasant characters soon start to fight for the audience’s forgiveness. One of the dialog scenes towards the end reminded me of my classmate Tomas, who was also forced to play the classics, but then started to do it his own way and now you have to spend over 50 bucks to see him in concert.

A nice fairy tale for dog haters and baby lovers. It goes by quickly and the action scenes are almost Bay-like. I'm a first child myself and I remember well the pressure of the opening.

The robot rebellion moves from the park to the city and completes the dramatic arc – bad for the bad, good for the good. Nolan subtly uses motifs involving the ability to calculate the future and arranges them on the central theme of life in loops. He elegantly presents heroes as villainous and villains as heroic. Dolores looks great in the real world; the visual world is visually enchanting and beautifully clean. Of course, the finale leaves room for another season, but the main story has been told. This year, I liked Devs much more. P.S. A couple of episodes are very weirdly directed and draw attention away from the story.

The shaky directing is disappointing. The finale perhaps disses the villain too much, although it is understandable. The two post-credits scenes perhaps give away unnecessarily much about which way the series is going. I hope that the next season will have the balls to be original. I missed the narrative style, jumping from one thing to the next, and Tony Hopkins.

Bugger me! Cheap planet destruction with crappy effects and a crazy conspiracy plot. The predictable wannabe twists pulled out of thin air are saved by Butler's crass, authority-despising scientist.

An elegant explanation of the theory of quantum prediction under Garland’s balanced and imaginative direction. The classic plot about a murderous tech corporation concerns nothing less than everything and offers a new perspective on ideas previously developed in other sci-fi movies. The package presented here has great visuals and chilling music by Salisbury that transforms some sequences into thoroughbred horror. The romantic storyline is a bit dumb (stiff dialog), although that could be explained by the emotional stupidity and blindness of the people involved. The best series so far in 2020. It’s not a V, it’s a U. It’s an in-joke.

Absolutely crazy trash that goes from being a comedy where sweat drips from a fat Puertorican’s balls onto the main protagonists’ face, to become a touching picture about a family and cancer treatment. Great one-liners and an excellent Sandler.