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An adventurous romp through time and space. The story grabs you right from the start and doesn’t let go. Pixar came up with an unexpected idea of making this movie featuring the hero who was so important for Andy from Toy Story. Lightyear isn’t so much for today’s kids as it is for people who were kids back in 1995, a bit like Andy. The only thing in this movie that maybe has anything to say to the kids of today is Sox the Cat. The movie is amazing in visual terms. A wonderfully designed and created spaceship and beautiful alien landscapes. A feast for the eyes. Giacchino’s music is great again. Will there be a sequel, or a solo for Woody?

A shame about the constant time-wasting and the absolutely excruciating dialogs about Vanya’s transformation into an unpleasant boy. All discussions about relationships here bore one to tears and the first half would be absolutely unbearable without Number Five and his storyline. In comparison with the comic, this isn’t in any way bizarre. This is a completely different level of madness, which Way and Bá are specialists at. The screenplay deserved greater care, but if this is the last season, ok; it was fairly easy viewing and nice.

I haven’t played the game and I enjoyed this. A modern Indy with lively action, snappy one-liners and entertaining heroes. But it isn’t particularly clever, but at least one twist had me surprised. Two opulent action sequences - the plane and the boats work smoothly, but ignorance of the laws of physics is sometimes a bit annoying. Quite soon, Tom Holland stops being so reminiscent of Peter Parker and in places carries the movie effortlessly on his shoulders. Most of the time, Wahlberg is a self-centered bastard, but reels off some great one-liners. I’m still disappointed that it wasn’t Carnahan who directed this, but in the end it worked out really good.

The Gray Man is about as sophisticated as Arnold’s Commando, but the opulent, senseless destruction and action led by the highly amusing Chris "Lloyd" Evans is well worth it. Exotic and more familiar locations run past you like on a conveyor belt. Gosling enjoys his bored, idiosyncratic agent and Billy Bob is pretty fine too. A pleasant Netflix B-movie which is all the better for the fact that I and my family had the chance to watch the best scenes of it being filmed. "Get comfortable" like we're going to Prague, or... or, like, jail comfortable?

Baymax basically walks around town, helping people, animals, whether they want help or not. A pleasant development on the original movie, but the episode with the lesson about LBGT+Q and first period was a little weird. The human characters are rather 1D. The best ones, apart from Baymax, are the cats.

The Duffer bros reveal history, explain and clarify, shock and amaze. Despite the bother of a series of ritual murders, season four makes it to a grand finale, tying up all the loose ends in an unbelievable ending that leaves the door wide open for lots more adventures. I was surprised by the number of dead bodies and horrifying injuries and the mind-pitting duels are done excellently. The perfect accompanying music is enhanced by hits from the eighties, my favorite being Master of Puppets. P.S.: And we get a whole lot of other period details, be it Conan’s Sword, King’s Talisman and the series has at last reached the year of my birth, 1986!

When you think about it, The Boys is the last purely comic book series to maintain its brutality while achieving mainstream success. And despite the extreme violence, it observes LGBT+Q standards, be it the homosexual Ant-Man sneezing on somebody’s dick or the heroic Maeve, fighting against the evil white man. Even so, these excesses don’t come across cheap and are wrapped in an intelligent story that makes sense and holds up a mirror and mainly it’s peppered with quality one-liners. The unexpected ace of the series is Jensen Ackles as Soldier Boy. The variation on Captain America turns into an unexpectedly complex character in the end and his scenes are some of the best of the movie. The ending is slightly cheap, but doesn’t spoil the overall good impression the series gives. So far, the best show this year.

Dads and their daughters will love this movie. As will hard-ass homosexuals and superhero lesbians. Taika Waititi takes all contemporary popular trends, then shakes them up and stirs them, making fun of them all. Sometimes good fun and sometimes even better fun. And then they add goats, whose audio is reminiscent of Natalie and Tessa’s Annihilation, a load of big-headed gods who behave like they are in the House of Representatives when TV coverage goes dead. Bale’s Gorr is the powerhouse of this movie; at the beginning he’s moving, in the middle surprising and funny, and in the end every daddy ends up with his head in his hands, wiping away a tear. Both of the first Thors are fine and Love and Thunder brings a good conclusion to the romantic storyline of the first two movies. Hemsworth is now in great form, after working out with the Guardians of the Galaxy, and Portman enjoys her role much more than before. Ragnarok was better and more consistent, but this is even more playful and out of control. If it’s going to be anything like this, I’m really looking forward to the sequel... But expectations difficult to live up to.

An energetic romp until the overweight, stoned ending. Baz Luhrmann piles up opulent shots, attractive camera fly-overs and the remixed and reimagined Elvis hits in the background pull you into the story immediately. Hanks’ unreliable narrator, denying any responsibility for the King’s stagnation and eventual decay, is an unlikeable, calculating bastard. His typical economic dodging, the merchandise scene and the corporate over-emphasis on security are the essence of everything that is bad about today’s world and Tom "America’s boy next door" Hanks lays it on us with great verve. Austin Butler is uncompromising and dedicated as Elvis, very faithfully copying his expressive dancing style; Feyd-Rautha is in good hands. The story follows a classic rise and fall pattern, while also going up interesting side roads, whether it is the luck of a white kid who was lucky enough to grow up in a better and all-round righter (black) environment. The timing of the premiere of this movie at the end of a PROUD month is a master stroke straight out of the Colonel’s textbook, the parallels are crystal clear. And Parker’s efforts to keep the King away from politics, family rows, disintegration of marriage, et cetera, et cetera, et cetera. But it never runs on the spot. A most quality memorial to a legend.

I saw this once as a young boy, so it’s heavily nostalgic for me. Sheen and Douglas give very mediocre performances, but luckily the theme is sufficiently sturdy, so it doesn’t matter. The idea of a modern (modern in those days) aircraft carrier on the eve of the Second World War gives you goose bumps. In comparison to Marvel’s alternative universes, this perhaps doesn’t seem so shocking, but back when it came out, it really was something. I’m surprised that they never made a remake or an upgrade using the 9/11 theme.