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Marvel has secured its standard at the turning point between the second and third phases of its immense universe. The solo films have their own power, humor, and clear goal, while the team movies aim higher with their ambitions and allow the heroes to deal with a more general problem that troubles all of society. And then there are the Guardians of the Galaxy, who break everything and triumph with their detachment from the rest of the events. I don't know how James Gunn does it, but whatever the fans want, he seems to be able to satisfy everyone. Teamwork, squabbling among the Guardians, strong individual stories, a unique enemy, switching sides, the development of familiar supporting characters, touching catharsis, and in the background, once again, an original and unmistakable song soundtrack perfectly supporting jokes like those of a rather stagnant teenager. I consider the change in mood during the final battle a surprisingly great risk, since in the first movie, even at the most dramatic moments, there were quips and all kinds of silliness, while now the atmosphere freezes for a decent period of time at the critical point. This is where the series matures to some extent and next time will have to come up with something new. However, one specific post-credits sequence suggests that this will not be a problem. Many thanks for this fireworks display of ideas that never ceases for a minute.

The essence of the legendary fantasy Inuyasha as viewed through an extra pubescent, romantic, and passionate lens. It's not easy to get used to the fact that a significant part of the characters shout and behave crazily most of the time (and that it takes an unbelievably long time for the duo of domestic deities to get together), but this emotionally narrated peaceful fairy tale quickly won me over. Thanks to Nanami's perspective, there is a cheerful delicacy throughout the entire series, and the carving of Tomoe's heart is often touching. With the help of original supporting characters and high school gags, it even aims surprisingly high, suggesting that the next story can confidently aim even higher in this unbounded world.

Season 1 – 85% – Watching Twin Peaks during the show's inception must have been a pleasure like no other. This complex experience at the beginning of the 90s, when carefully interconnected series were not yet common, felt like a revelation and even though we have witnessed many things during the golden and silver age of television, the unmistakable atmosphere still works perfectly in 2017 when I first encounter Agent Cooper. The investigative, relational, and societal aspects of the storytelling intrigue me to the maximum and I am eagerly looking forward to subtle hints about the expansion of the local mythology. Additionally, I find only those distinctive David Lynch touches (the dwarf) to be too prominent in the overall picture. Thanks to the perfectly written and portrayed characters (Dale, Norma, and Shelly are currently leading), I am wandering into the local woods with increasing joy and excitement. Season 2 – 65% – It has been a long time since I had such a question mark in my head, which represents at least somewhat indicative percentage rating for the second season of events and incidents from the unassuming town with woods and a waterfall. When Cooper is at the center of the action, completing the investigation into Laura's murder and surrounding himself with flawless supporting characters (Denise, Gordon, and Annie deserve much more screen time), it is still an almost flawless series full of great scenes. However, there are a lot of characters that I dislike and most of the time they annoy me immensely. Due to the many storylines of Ben, Jerry, Leo, Bobby, James, Hank, Nadine, and Pete (the clumsy acting from Jack Nance included), I was not far from giving it a lower rating. The salvation of Twin Peaks lies fortunately in the loving and friendly relationships of the better characters. Dale + Audrey, Dale + Annie, or Shelly + Gordon are instant bonds that I cheer for, and thanks to Angelo Badalamenti's undeniable soundtrack, I am regularly moved by them. This makes me struggle even more with the changes in individual moods, the impossible side stories (James and the mysterious unknown, Josie's catharsis, Nadine the wrestler, devilish child Nicky), and the (non)development of the popular mystery storyline. All the possible owls, Bob, caves, and secret entrances and rooms seemingly do not lead anywhere for a long time, and when we finally get to those places in the finale, I can hardly contain my disappointment with what I find there. Although Lynch still entertains me with his approach, using those meaningless scenes as storytelling points seems to be too much. Watching the famous last shot, I would have taken it as a decent stab in the back in the 90s. Seeing it now, with a jump almost a quarter of a century later, I am simply afraid. Fire Walk with Me – 80% – David Lynch and his beloved town exactly as I like it. He returns to the roots, tells what happened before the beginning, and still presents me with doses of Agent Cooper. Only the excessive amount of scenes with the Dwarf and his gang prevents it from receiving the highest rating. Primarily, it is a challenge to the fire's tragic story of the most famous local anti-heroine, whose fate I finally experience firsthand. I can mourn her ruined life even more, knowing that it is not just collective sadness. The Return – 80% – A lot of silence, a lot of panic-inducing noise, a lot of scenes whose meaning I have no chance of grasping, a lot of dead ends, and a lot of moments when I am not sure if I am watching the crucial point of the whole story or just a joke from Lynch stretched out for several minutes. The latest chapter resembles the old episodes only in hints, never allowing the viewer a complete understanding of what is being seen. Yet, it manages to captivate with tremendous force, making me marvel at Kyle MacLachlan's fantastic triple role, the touching moments, which surprise me the most because I never expect them in the given moment, and every cameo appearance of anyone familiar. The aura of Twin Peaks does not disappear; on the contrary, it thickens to unexpected dimensions. Although we are not destined to see the final resolution and the answering of remaining questions, I remain satisfied. And I know that I will want to come back here, even though after a slow viewing of the whole series over four months, I will need to take a deep breath. It just shouldn't take twenty-five years.

The beginning of a phenomenon after which TV series were never the same. If it wasn't for the arrival of Agent Cooper and the audience fever that followed him, it probably wouldn't have been possible to venture into the woods in The X-Files a few years later or to enjoy the mysteries of golden geese named Lost and Desperate Housewives for another decade. The very beginning of all mysterious escapades starts with the finding of a corpse and starts modestly and appealingly. I eagerly await every clue and even though I know I won't get a resolution, I look at everyone present as a potential murderer, whether I like them or not. I only try out detective stories when they have a glimmer of a different genre within them, and luckily there are several of those here.

Season 1 – 90% – Rejected by critics, surprisingly mocked by viewers, but almost lifesaving for me. While Daredevil balances action and drama and reaches the limit to which a serious comic can go, its followers Jessica Jones and Luke Cage were much heavier personal (or in the second case, social) dramas, and although both were great achievements, I began to feel slowly that I needed a break and a change of mood, so that I didn't have to reach rock bottom for the third time in a row. Maybe that's why I'm advocating for Danny everywhere I go right now. This guy with the iron fist has his inner demons, but he doesn't forget to fool around, surprise, and entertain just as I could wish from such a concept. In combination with physical Tom Pelphrey as the unpredictable Ward, with David Wenham's life portrayal of all-knowing Harold, and especially with the charming Jessica Henwick as the irresistible Colleen, I couldn't understand why so much dirt was poured on this successful ride from every angle. After a few negative reviews, suddenly a bunch of viewers found themselves as judges of whether the action is top-notch or believable, which seems more than ridiculous in the case of those commentators who haven't seen an action movie in a year. But for me, the action side of things is just the icing on the cake because it brings more fights than the previous two Defenders combined, and the showdown in the rain in the penultimate episode is such a suspenseful and fateful study that the silence still resonates in me. Iron Fist becomes an integral part of the story structure and he can be the much-needed spice that will make the future team-up the peak of the entire universe. Season 2 – 75% – The somewhat breathless effort to connect all the themes from the first season is appealing, but sadly it doesn't work out in the important area of the main antagonist. Davos, his stubborn expression, and his de facto singular purpose and goal are evidence of that. On the other hand, I'm delighted that the seemingly ungrateful task of continuing the life struggles of Ward and Joy remains perhaps the most interesting storyline. Colleen mostly serves as a moral compass for the titular hero or for the whole neighborhood, and the resulting troubles with gangs lack zing and thus signify an incomprehensible inclination towards the style of Luke Cage. And I don't understand that because the mysterious fantasy was precisely what set Danny apart from the rest of the universe, and its minimization (or rationalization, see the rituals) degrades the original face of the series. Despite all this, the eternal blond goofball is still likable to me, and I cheered for him until the very commendable end. I can accept that ending a generic happy ending, even though it's a bitter pill to swallow, given the not surprising cancellation and the implication in the last five minutes of a potential next season.

Season 1 – 85% – Three wonders in roles that make me love them even more than before. The unpleasantly believable atmosphere of the all-knowing and sensation-seeking small town dissipates unnecessarily in the generous seven-hour space, but the technical side and the exceptional performances of the actors make Big Little Lies a well-deserved event. The finale adds a beautiful crown to everything, as I did manage to guess the side points with luck, but not the identity of the victim. I would just prefer that it not get recycled, stretched out, or imitated. The girls would look best if they stayed quiet in their little bubble like this. Season 2 – 85% – In the end, this unwanted addition flows with the same strength as the original. The echoes of key decisions are appropriately burning for all five women, and their partners or counterparts are as uncertain as can be. The second season can stand on its own even in unremarkable family gatherings, and thanks to the arrival of Meryl Streep as Mary Louise, watching it becomes a necessity. It's just a pity about the last episode, which brings all the expected emotions but forgets about at least some of the unexpected ones.

Season 1 – 80% – A charming comedy well cast that is unafraid to entertain. Brilliant verbal battles, visual grotesquery, fecal flashes for connoisseurs, and bitingly satirical variations on Desperate Zombie Housewives, not only because of Ricardo Chavira's presence – it's all here and you can take your pick. And the perfectly played duo of Drew Barrymore-Timothy Olyphant, with contributions from the charmingly peculiar Liv Hewson, combines believable family moments with a pleasantly uncertain anticipation of everything possible and impossible that could come in a given moment. The extension to another season is somewhat surprising, as Santa Clarita Diet has long resembled an uncompromising one-off snack, but the return to reality next door will be all the sweeter when hunger strikes again. Season 2 – 100% – Almost every line perfectly delivered, subtly escalating subplots leading to an unpredictable finale with a hundred twists, crazy dialogue and situations supported by a barrage of star guests. Santa Clarita has sat down to a phenomenal feast this year, dispelling thoughts of prolonged snacking after just one episode and proving that not all pearls on Netflix receive the attention they deserve. A piece straight out of the most luxurious catalogues of murderous rooms. Season 3 – 90% – A progressively more complicated screenwriting challenge with no equivalent anywhere on the TV scene. No matter what situation the creators found themselves in, no matter what unimaginable character crossed paths with the Hammonds, the viewer would find themselves in a completely different situation two or three episodes later, with an even crazier dynamic. Although the last episode cannot be taken as a complete finale, and its cancellation broke my heart like nothing else in a long time, I am somewhat grudgingly grateful that we got at least these three seasons. And even more so for the fact that this bizarre snack found such a devoted audience that will mourn it for years to come.

The unique TV format lives on for at least a little while longer, and despite my initial concerns, I'm glad for it. 24: Legacy fulfills everything its title promises and carries on the original 24's legacy, drawing inspiration from it. However, it sometimes shamelessly steals from it, and not just in a good way (the hierarchy of villains from the first season is more or less repeated, including several key twists), but also in a bad way, when at the most suspenseful moments we always return to characters who aren't that interesting. Those who used to complain about Kim Bauer's overused troubles will certainly enjoy Eric's close relatives' escapades. One small downside I see, though, is that the most interesting character is not the main hero himself. Corey Hawkins tries to make the most of every scene, but it's Miranda Otto as Rebecca who steals the season with her subtle charm and unwavering charisma, and Dan Bucatinsky as the initially unremarkable Andy is a believable and surprisingly determined geek next door. In the end, Eric himself occasionally seems like a sympathetic plot mover, but many things happen to him more by chance. The fourth star in the rating is not only due to the connection with one of the most beloved characters from the original, but mainly because of impressions from the last episode, which unnecessarily cheated on the final shootout but brought even stronger emotions in the aftermath for all involved. The sharp decline in viewership and subsequent cancellation is disappointing because there was only room for improvement here.

What can I say, Rupert Friend is a great actor, but no matter what he does, he can't get into the skin of the bald killer. The cringy lines he has to say, and above all, the far-fetched script serve as his excuse. The widely loathed Skip Woods has always seemed to me more than a skillful writer, because I still enjoy the first installment to this day and I have a weakness for X-Men Origins: Wolverine. But here, in partnership with Michael Finch, those micro sci-fi elements from the game series are taken shamefully far beyond the bearable limit, and they make fools of themselves with the various plotholes, B-movie twists, or an invincible villain. In such misery, trademarks like rubber duckies or unnecessary (yet completely unnecessary for the plot) disguises won't help, nor will unnecessarily overblown (and therefore fatally un-Hitman-like) action. The second star is out of pity for Rupert Friend and Zachary Quinto, but the third time around I would rather not risk a similar experience. Agent 47 deserves anything but film hell.

I generally support pioneering approaches, but you gotta carry the idea through to the end. Interactivity is very tempting, but it stumbles upon technical imperfections, meaning that when the application isn't getting stuck, at the very least the distributor's Wi-Fi will crash. Even without this flaw, which doesn't allow for immersion in the story, it is still a half-hearted spectacle. In terms of the plot, it is actually the most average thriller, where scenes often awkwardly follow each other (at least in the version I chose). This is why I am giving it such a low rating despite the diligent entertainment of the concept as a whole. Though the audience mostly evaluated only minor details almost until the very end, suddenly it was over based on a single choice, without a chance to recover from what is happening on the screen. After exploring other alternatives, I see that the viewing audience on FilmBooster ended their own versions of Late Shift in probably the worst possible way, which makes the wasted opportunity that much greater.