Kaka

A dud. Not only is it impossible to see this as a worthy conclusion to the trilogy, because except perhaps for Episode VII, the films are so jumbled, inconsistent, and stylistically disjointed as to be woeful, but Abrams also fails in the purely filmmaking elements, where it doesn't matter if you're a die-hard fan of the original films or just a lover of sci-fi worlds. The acting is still pretty solid, but the screenwriting is a disaster full of clichés and clunky dialogue, and the jaw-dropping moments are few and only found by the end of the first half (the duel on the water). I hope this ordeal is over. This makes the fantastic technical aspect of this otherwise quite empty colossus all the more disappointing.

An episode consisting partly of scraps of Felix's memories plus a look at the emotional side of his personality. There’s also one major murder, but otherwise nothing revelatory.

A buddy movie from a director who lived it. Berg is otherwise a class better action filmmaker and has more dynamism in most of his films. It strikes me as very similar to when Michael Bay stopped doing what he could do and started experimenting with stuff like Pain and Gain. The funniest is Pearl and the foul mouthed Iliza Shlesinger.

An uncompromising, frenetically edited dialogue cannonade, focusing on a narrow time span in the main character's life. Similar in concept and similarly frantic and unhinged as Joel Schumacher's Phone Booth. The essential difference is that while Phone Booth switches to a "meaningful" conclusion at the end and touches on the emotional arc of realizing life's mistakes and wrong actions, the protagonist in Uncut Gems has nothing of the sort, so we need to look at other parameters. For example, the haunting soundtrack, Sandler in a very atypical role for him as a Jewish merchant, Julia Fox (hopefully she'll get more roles), and the convoluted, volatile but well thought out story. A small, controversial film for connoisseurs who appreciate a filmmaker’s unconventional approach.

A great ride full of twists and turns and a final execution that sets up big things in the next episodes. An episode on par with those starring Pablo.

The most rewarding episode so far. There’s a lot going on, the characters are finally profiled, and we are treated with the gradual elimination of "Shorty" and his bold idea with the tunnel. Excellent pace and progression on all major fronts.

A weird detour in the main storyline. The mini-story in the style of Wild West gunslingers is not very entertaining, nor is the absurd battle for honour.

It begins with a superbly executed interrogation scene with an extremely charismatic bad guy and ends when the goddess (Teresa Ruiz) comes to visit the club. The forging of new partnerships and the attempts to end old ones in the middle are not that interesting.

A slow start and a gradual birthday introduction of all the main figures of the second season with the cherry on top in the form of a conversation between Pacha and Gallardo. Very satisfied so far, it's on a similar note to the first one.

A rather terse and confusingly conceived story, which does not lack the typical Emmerich trademarks in the form of a first class CGI fest. At the same time, Midway lacks the sense of composition and clarity of the action scenes of Michael Bay’s Pearl Harbor. Fortunately, this time Roland shows pathos only at the end, and then only to a degree that is easily digestible. So bottom line, as long as the viewer can survive the rather unentertaining structure of the military moves on the chessboard, the bunch of guys in uniforms is pretty cool and the visual effects, although too artificial in places, are quite watchable.