3DD!3

Perhaps I liked this even more than Orient Express. Branagh is excellent as Poirot and his black and white flashback is the most powerful scene of the entire movie. Although your can hear the paper rustling as for the detective crime plot, the acting ensemble gets the very most out of it. Emma Mackey is just fantastic. And we get to see Armie the Cannibal in his last role as well. Really, really good.

A girl’s emotional explosion about her transformation into a red panda, combined with her desire to go see a boyband concert really isn’t my cup of tea. It will certainly achieve greater success with younger viewers than it did with me. But the Godzilla-style finale is a just so bizarre that I was gobsmacked with what that Mouse was trying to do. Certainly original, but I don’t feel the need to watch it again.

I am Manbat! Jared Leto in a strange variation on a dime-a-dozen Spiderman baddie & unknown Batman baddie is seriously bad. The senseless decisions, unclear motives and questionable rules for the functioning of this entire newly created universe are pitiful. The idiotic screenplay manages even to kill any potentially intriguing storylines and the nicely set up hero/baddie relationship is destroyed unexpectedly amateurishly. The obviously heavily cut ending with the footage of Keaton indicates that Morbius is for teenagers and movie consumers who don’t like to use their minds.

A well-made reimagination of Gaiman’s great comic book which is much more faithful to the original than I expected. Sturridge is perfect in the role of Dream and you can see how much Holbrook is enjoying himself as The Corinthian. The only downside is the casting of some of the supporting roles, which actively disturb the viewing experience. Lucifer, Death and Rose Walker simply do not live up to the potential of the comic book... Because Death was meant to be a likeable Goth that everybody ends up looking forward to meeting before the end comes.

A Disney romp with a simple story and a wide pallet of great characters. The dogs on the motorbike/sidecar with their Laurel and Hardy slapstick and Uncle Waldo were great fun. Beautiful animation, almost sickly sweet romantic storyline, snappy one-liners and comebacks. It isn’t a complete classic, but it reminds one of the days when Mickey didn’t always choose the safe road, and wasn’t afraid to experiment. We're not chickens. We're geese.

Hard to say if this is the final or the penultimate season, maybe both. It certainly keeps the quality bar high. Despite the occasional stilted dialog, this still is a great watch with wonderful pace, especially in the first half. Ed Harris pulls out all the stops and reversing the roles between machines and people is precisely the type of revenge I would have expected from Delores. The ending tries almost too hard to steer everything toward an ending which, while being rather depressing, promises something like hope.

Dead man walking... Chris Pratt pulls on the same boots he had in Zero Dark Thirty, where he was the one to put a hole in Bin Laden’s head and James Reece approaches things here in a similar manner. A professional for whom killing is his daily bread and he also has powerful motivation to uncover the ugly secret behind the elimination of his entire team. The slow death of the main hero, manifesting itself in fragmented memories of his family life, gives the series a touch of hopelessness and Pratt makes full use of this. This is a lively conspiration thriller, spiced up by Carr, a former sniper with the Marines, bringing us authentic military behavior, which, in addition to the bloody action, offers a good story that makes you want to watch the whole of The Terminal List in one go. The occasional screenwriting hiccup and neck-breaking dialog may be forgiven as cases of beginner’s imprudence. Where the fuck are my pills?

I was surprised to hear to a lot of people just don’t understand why this series was made... The short and mostly hard-hitting finger food for kids, meant to make fans out of them at the earliest possible age and to encourage them to buy the toys. Job well done: my daughter was over the moon, which means that I can buy her a Groot for Christmas, instead of a Barbie. Thanks! If only all toy commercials were this pleasant. The most entertaining episode is a variation on a horror story from 1972 by Stephen King horror story called "Battleground" and the finale, Magnum Opus, which depicts the creativity inside an innocent child’s mind.

Just my sort of Disney movie. No need to make a live action version of Pocahontas... Trachtenberg slowly but effectively builds the atmosphere in the style of the original Predator and carefully calculates where to pull out the trumps just at the right moment in the story. The camerawork, production design and the overall atmosphere swallows you up and doesn’t let you go for an instant in the second half. Midthunder is completely convincing as the young Indian girl and carries the entire movie effortlessly on her shoulders. Although the message that technique and details are much more important for killing than strength is rendered invalid with the pistol handed over at the end, which indicates what then had to happen in the epilog, but maybe the filmmakers are just preparing the ground for a sequel, who knows?

This will be an evergreen. This loud-mouthed and extremely entertaining Guy Ritchie-style gangster comedy combines with inventive Wick-style action with OTT humor. This time Leitch shows his best, not just as a great action director, but also as a good storyteller who doesn’t forget the point and somebody capable of alternating genres very naturally. The cast is wonderful. Pitt is clearly enjoying himself immensely as Ladybug, but Aaron Taylor-Johnson’s Tangerine does his best at hogging the spotlight. Bullet Train is a potential cult movie which has come under greater scrutiny and been played at movie theaters only thanks to Brad Pitt’s aura. Thanks for that, Brad!