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I understand that all the participants in the project dedicated a considerable amount of time to it, but they did not have much luck in their timing. Jonathan Dayton and Valerie Faris have filmed a pleasant period spectacle that, without any subtle nuances – quite the opposite – fights for women's rights then and now, whether in sports or in life. However, they did it shortly after a thematically similar (and narratively more generous due to the TV format) show, GLOW, had appeared on Netflix. Despite the traditionally excellent Emma Stone and the unbelievably spot-on casting of Steve Carell, it is a disappointment when we reach the actual Battle, after significant historical facts are omitted and a few too convenient twists are added, despite the use of the exact dialogue. I did not want to believe that this clichéd and rather TV-esque production is supposed to be that historical turning point.

Do not dwell on the past and all sorts of "what ifs" – this is advice that everyone knows, everyone likes to give, but few follow. Similar pondering has various consequences such as various troubles or at least unpleasant surprises. The author has had enough experience in relationships and obviously shed some tears, so none of the participants is a purely positive hero, but despite the mistakes on all sides, nobody comes out looking foolish or unappealing.

Strangely bitter, as if Kay Cannon started writing for a completely different series. The nostalgia for youth and complaints about various parts of their own bodies are downright scary and do not at all fit the teenage target audience, who probably couldn't understand what is being talked about, as well as the age of the main heroines, who are supposed to be between their twenties and thirties. The second growing problem is the absence of any recognizable male characters. Jesse and Bumper disappear from the scene and are replaced by a generic group of soldiers or southerners, never surpassing the label of anonymous handsome men. It is quite difficult to dig your way out of such a catastrophic start, especially when John Lithgow plays the most undignified role of his career. When I see Anna Kendrick getting bored and delivering most of her lines in a neutral manner, it makes me sad. And it gets even worse when I look at the best moments from past installments and even the uneven original (especially the playful second one) feels like a selection of genre gold.

A film full of irony. Partially because of Sandra Bullock, who phones it in the entire time and somewhat cruises through the heist, leaving the attention to others and allowing Anne Hathaway to effortlessly become the queen with her cheeky role tailor-made for her. But mainly because the whole gang sticks together only by chance, and the viewer is only on the same wavelength with them at pivotal moments – all for James Corden to walk away with all the glory at the very end. For how half-heartedly the whole spin-off behaves, it doesn't even reach halfway in the genre.

Luckily, Wade wasn't kidding this time either. It is indeed a family film. Without it, the puzzle of gags, charming lines, over-the-top situations, and breaking of the fourth wall would fall apart, but this time the plot foundation is even stronger than before. The first installment took too long to see what it could get away with, the second one jumps headfirst into genre clichés and isn't afraid to undermine them so much that I couldn't believe my eyes (the X-Force airdrop). I didn't trust David Leitch at all, so the relief that Ol' Red is in good hands was ultimately more than surprising.

Despite the adorned image of a functioning family, I cannot see past the fact that a courageous father who saved his daughters from the bleak fate of Indian girls would forget about similar intentions when his only son was born and would only devote himself to his son. Thanks to the excellent Aamir Khan, this flaw can be somewhat overlooked, and as long as the emphasis is placed on functional and surprisingly pleasant family humor, Dangal is in the best order. Unfortunately, the first half only serves as a springboard to the purely athletic second half. And though it may be portrayed artistically to the best, the viewer merely checks off dozens of obligatory training and tournament clichés, which given the generous length, is all the more disappointing.

Fullmetal Alchemist will probably remain my favorite anime forever. I started buying the manga in Czech as it was being released, and no matter what form I see the story of the Elric brothers in, I always have tears in my eyes right from the very beginning. As time goes by and their abilities develop, I passionately root for them, while I crush the seat in anger at Lust and the other despicable characters. The stories from Amestris have been deep in my heart for quite a few years, and most of that time, I've yearned to see them in live action. And Fumihiko Sori has fulfilled that wish for me. After I heard the first reviews, I was nervous about the result, but now I can't believe it. Adaptations obviously have a hard time, whether they completely deviate from the original version or – as Fullmetal Alchemist shows – even when they are the same as the source material. The sense of humor, the appearance of the characters, the chilling moments, and twists, it's all here. Moreover, Ryôsuke Yamada is a more perfect Edward than I could have ever wished for. I can forgive several necessary plot omissions, shortenings, or combining of multiple characters into one in favor of the dreamed-of whole, which presents the theater of the homunculi, Stones, and, above all, alchemy with a great pomp, despite having been seen many times before. I take the commercial failure in Japanese cinemas quite hard because this story deserved to be told and worked up to Hohenheim and other legends.

I've had the feeling for some time now that with a bit of luck, Lucy Hale could belong to the talented new generation, and I'm dead certain of it with Kathryn Prescott. Their joint involvement in the dramedy genre meant an obligation for me because Netflix has a nice lineup of "postponed" films in its repertoire, a collection where a few true gems lie hidden, waiting to be found. And yet Dude isn't one of them. Its fatal flaw is genre imbalance and the inability to decide when to be dramatic and when to be funny. Sometimes even I myself have no idea which string Olivia Milch wanted to play (masturbation in restrooms, addictive substances in the car), and out of all of it I ended up feeling confused more than anything else. The movie also cuts things off at the stem by unnecessarily introducing a serious topic (the bedroom episode with Mike) but treating it rather poorly, and fails even to properly light up such a clear warning sign. It only successfully wraps up one of the storylines; fortunately, the most important one. By the end I believed every word of all the relevant participants about coping with the loss of a loved one and accepting one's own grief, and with the possible exception of those moments related to Thomas and longing for what was and contemplating what might have been, I believed that there must have actually been girls living like somewhere, sometime.

I often shook my head because the script was deeply submerged in nostalgia and was constantly throwing in old Hollywood names just to show how great Phil is. But when it decides to tell the story we came for, Café Society becomes a smooth and nervous retro with a sweetly sounding string of longing. 70% and rounding up precisely for that infallible final note.

Earth is closed today. When the actors, creators, and producers proclaimed that the last decade had led to this exact point, they were not lying. However many such encounters  we've experienced throughout the series and left the cinema highly satisfied every time, it was always obvious that it is fundamentally about the characters of the Avengers and only secondarily about the definitive fate of the city, state, or planet. Everything is different in Infinity War, and a universe teetering on the edge is recognizably at stake from the very beginning. There are casualties, ships are falling, moons are falling, and for an hour and a half I am staring at the screen in astonishment, knowing that this is something I have longed to see, perhaps even more than I was willing to admit. The cooperation of Iron Man with Doctor Strange, the verbal duels of Thor with the Guardians of the Galaxy, Cap with Black Widow and their emergence from the shadows – and above all, the fallen Titan who takes the concept of division by two far too seriously. I had a great desire for the film to shake me up. In this regard, the reality exceeded expectations when my heart was beating so fast that at three moments I thought it might jump out of my body. This time, the Avengers are not just redefining team-ups, not even just comics. This time, they are redefining blockbusters, and they can only raise the bar higher again next year.