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Sam Esmail serves up a slow platter of nervs with no easy answers. It will annoy everyone, but I always liked these questions and stories. A depressing drama with a satirical patina. The three-pronged attack is a very interesting theme. You'd think Europe would be entering the first phase, so good luck with that. A formally brilliant exercise, with great performances. Though they might as well have left the drunken dancing Julia Roberts on the cutting room floor. Since Netflix likes it long. P.S: A must for fans of Friends and Matthew Perry's death as a thoughtful marketing ploy? A joke worthy of Chandler.

Short. Scott's a stud, but he might as well have made Napoleon a trilogy instead of skipping through his life like a rushed history lesson. Phoenix is great, his Napoleon oscillates between aspiring strategist and lovelorn naif. But Kirby doesn't have enough space, so she comes across as weird. The leap from infatuation to divorce is very rushed. The battles, Toulon, Austerlitz and Waterloo, are exquisite, though. There's black humour, poking fun at politicians and their lies. Also, that brute force and tactics are above all, but are useless when it rains. P.S.: Almost on the anniversary of the Battle of Austerlitz.

A very pleasant surprise that does not put The Boys to shame. Solid performances and a great story that uses a classic college campus setting to unleash a carnage of unbelievable proportions.

A heavy downer, exactly in the style of Fassbender's classic film work. There is no celebration of success, jut toil, frustration and unsatisfactory results despite all the energy, focus and sacrifice put into it. The harsh realities and realization that top racing really isn't for everyone and and amazing advice – just turn off the emotions – that can save a lot of lives in the finale. The nightmare of making the racing you look forward to seem like the hardest job in the world to enjoy. And when it almost looks like a happy ending and Fassbender is running his best times, comes a hard blow and a lesson, just not the one the viewer originally expected.

Brilliant. To capture the current social state of the world so perfectly. Apt one-liners the hold the truth lying dormant, and the decline of civilization hidden in the inability to fix the hinges of an electric oven. A frighteningly funny vision where Cartman is transported to a parallel universe populated exclusively by black lesbians and Kathleen Kennedy instead of patriarchal white men. The point about laziness is not without merit. Disney is now thinking.

As far as songs go, it's weaker, but otherwise an excellent Sandler rom with a nice message. Leo is a tired old iguana living the quiet life of a school pet and suddenly becomes a mentor to all the kids after an unexpected change in class teacher. The kids are likeable, no jerks just a simple kids with normal problems that need someone to lean on.

A pretty fine comic-book flick. An old-school origin story that seems to have fallen out of a time twenty years ago. The protagonist is likeable, the villains are one-dimensionally evil, and the family element brings some unexpected chaos. It’s a bit of a blue Green Lantern with some Latino spice.

Dreamworks answer to Ant-Man combined with magic, cats and a big ad for a house and its accessories. I bought the Lego version of that house and I'm a hero, a god and my daughter loves me best. Mommy relegated to second place. He he.

No one is special. We are all mere aberrations, but otherwise we are all basically the same. Fincher's philosophizing assassin explains the importance of overcoming boredom and the benefits of diligence. I've never seen a more relaxed and serene opening. It's a balm to the soul and a throwback to the early days of Dexter. Fake smiles, at McDonald's or at an airport counter, Fassbender's emphasis on minimalist, spare and slow speech and a thoughtful, planned out life that goes out of whack at one key moment. Andrew Kevin Walker adapts a comic book about method and the importance of staying on top of things. Fincher chooses to repeat the rules, but they're often broken, to emphasize the hero's inner turmoil, but it doesn't affect his effectiveness. A melancholy quest for revenge seems to be the opposite of John Wick, yet it offers one of the most intense fights between two very different killers, supported by Reznor’s and Ross' restrained (as usual) soundtrack. Emotionless, yet absolutely precisely realised. It is the absence of emotion or some unexpected finesse that prevents The Killer from being anything more than a precise and cool study of people who simply, don't give a... Fuck!

I had serious doubts that Loki would get a satisfying ending, but hats off. Why the title character does what he does was a mystery to me. The transformation from self-centered asshole to multiverse hero is ease and... a few thousand years later... quick. Hiddleston enjoys Loki immensely, especially in this new position as a TVA agent and not a god, but he manages to switch from comic goofing off to the Norse myth of Yggdrasil just fine. Majors is a chameleon of an actor, but he's still at his best in the position from the end of the first season. Wilson, Quan and Di Martino are all excellent, and each gets their space, but the exchanges between the two leads just aren't there. The middle episodes may be filler, but they are very important to character development and anyone who doesn't get that can safely lump themselves in with the Disney+ heads who wanted more and recruited the wimps who are to blame for the recent crap in the quality department. Quality, not quantity. Loki Season 2 shows that it can be done. Especially when smart execs like Justin Benson and Aaron Moorhead take the reins.