Kaka

A mindless, emotionless theatrical romp with fantastic sets and costumes. Good as a theatre play, borderline passable as a film.

For the first 30-40 minutes, it's basically just a palette of long takes and pieces to a seemingly complex story puzzle. However, once all the main points are revealed and the whole starts to "glue" together, Incendies becomes a completely different film – urgent, uncompromising, authentic. Each successive shot becomes more and more painful and emotionally cathartic until the finale. A finale that will affect each viewer differently, but one that no one will forget. Before Villeneuve went big-budget, dark and visually lavish, he was able to make darkness on a fraction of the budget, with similar filmmaking qualities, in shabby sets and with unknown actors. It's worth making a comparison.

A first-rate cameraman exhibition. A 92-minute gastro inferno shot in one take that is intense, raw and very realistically rendered. In that hour an a half, the actors will win you over more than in many a film, and that goes for the supporting roles as well. I can't remember the last time when the running of a restaurant was so believably staged and so impressively translated to the screen. Paradoxically, it could have been perhaps a little longer and some of the story's digressions could have been more literally retold, but it still simmers nicely under the lid.

It's hard to believe that the brother duo who directed one of the best action movies of the last decade (Captain America: Winter Soldier) are behind The Gray Man. The difference in the execution of the action scenes, especially the work with the editing and sound mixing, is enormous, almost like something from another world. Their new feature is, of course, a narratively archetypal scheme seen hundreds of times. And, while apart from the brilliant Evans, Robert Redford was in charge with a stony face and elegance of his own, here we get at most the gay-looking Bridgerton hunk, a very significant drop in quality. Gosling plays Gosling – i.e., the same soft-spoken cool dude who can put up a decent fight, but there's not a single coherent, raw and dynamically shot action scene, except for Prague. The destruction of Prague doesn't abound with the given criteria either, but at least it has some kind of pace and one can enjoy it a bit more out of sentiment than the rest. The best part is the wrecking of the headquarters of Unicredit Bank, thumbs up for that. I'd probably give the sequel a chance, but with a complete rewrite. This is very, very far from Bourne, Hunt or the last Bond.

It's a complete mess with a polymorphous narrative structure, where everything is being slaughtered. Unfortunately, that also applies to the visuals. It's clear that Waititi is primarily a toymaker and it doesn't matter what happens on screen, what's important is how it looks and if it's funny, even with Christian Bale putting himself forward as a potentially interesting villain. It looks average, it's funny only sometimes – like 5 or 6 good lines and gags and then when Russell Crowe enjoys his cameo as a chubby Zeus, and conceptually it's still the same, give or take. The next installment will need a different director, unless the producers plan to dump this god altogether.

The ending of a famous series, which is done as always in a visually spectacular, stylish way, but the cool factor that made us love Peaky Blinders has taken a back seat. Thomas Shelby, played by a great Cillian Murphy, is fantastically written, but he’s unfortunately drowning in political pseudo-plots that often seem to be out of touch with reality, leaving the only strong line to be the family one. But that line too lacks something in the middle between start and finish. The final twist is OK, but I'd be in favor of not adding any more to the series. The “happy” series about gangsters became a “sad” drama about a man consumed by evil. In the sixth season, Peaky Blinders definitely lost their face of brutal bullies and gained the face of a family decimated by hardship.

An unusually long climax that actually just misses the characters' spectacular but flat pseudo-political arc, only to return again to a family showdown with an emphasis on core values. OK, but a bit too long and the final twist is already in the “wild” category.

An episode about reconciliation, awareness and redemption. This is very far from the grounded gangster series of the first episodes. The fifth episode doesn't change the concept of the entire sixth series, which is dark, depressing and shows a hero in a considerable stage of psychological decay. It's hard to say in what direction the finale will take it, but so far it seems rather controversial as a whole.

Uncompromising hypnotic darkness that is only broken out of lethargy by a stunningly shot scene with a machine gun in the woods. It still has little in common with the liveliness and mafia feeling of the original series, but as a gritty drama full of life's hardships it is more than adequately executed.

It's hard to understand how such an experienced creative team can produce such a dud from a substance as undoubtedly juicy as Jurassic World. Not even the old guard can help. Typically stodgy Neill and know-it-all Goldblum in the roles we ate up in the glorious first film, which incidentally is WAY better or at least the same as the xth sequel. Even the good old mechanic effects, of which there are plenty, were managed by Spielberg at least at the same level, but with better camera work and editing. The current CGI mess isn't even worth mentioning, and when Bryce Dallas is jumping from barrack to barrack like Bourne in Tangier it's clear that this attempt at frenetic live action, but with dinosaurs, isn't really going to be anything innovative. If that was all, it would still be bearable, at least to eat some popcorn, but the script was written by someone apparently on drugs and the fact that the whole confused, disjointed, incoherent dinosaur inferno lasts 150 minutes sends this megalomaniacal colossus down the drain.