3DD!3

Such nice people. Such a nice movie. I last played football in high school and I'm about as good a player as Michael Fassbender, but still, Taika Waititi's laid-back comedy worked wonders for me. The bizarre episodes of exploring American Samoa and the training montages are topped, unsurprisingly, by the first game. Cool Runnings but with football. But the best and strongest thing Next Goal Wins is not the comedy. At the half-time speech, the film switches gears for a moment and, thanks to Fassbender's strong performance, also hits you incredibly hard; it brings out the darkness and unexpected cruelty of the world. The only way to combat this is by enjoying life and trying to have fun, not by spinning in a spiral of self-destruction. I think that's what Waititi meant.

A great plot with a tedious delivery and a few final lapses in the logic of the world – the ending in the taxi in particular doesn't make sense. It should have been a bit shorter and should have avoided the safe route. I'd really like to read the comic (not out here yet) because I liked Si Spencer's “Constantine” a lot also thanks to of the great wisecracks and interesting twists.

A poorly made monstrosity with terrible attempts at acting from a silly script. It's not funny, it's not good. The final twist is unexpected, but it doesn't matter because by that point I hated all the characters.

That was bullshit. The plot doesn't make any sense, the effects are lousy in places, and the weird slow-motion spoils all the action. Tarzan comes across as bland to the point of being unlikeable, but it's not so much Alexander Skarsgård's fault as it is David Yates' dull direction that trips him up. The weird tree-running is eye-poppingly digital, as are the animals, and unfortunately not even Margot Robbie, who quite illogically spends her days in the Congo wearing a dress that doesn't even shine in the water, can save the day. Christoph Waltz as the villain is incredibly dull. I'm afraid Tarzan will be off the market for a long time.

An uninteresting visit to Oklahoma without any supporting idea, and it’s essentially pointless. Soulless. The inconsistency in the writing of the characters is almost frightening. For a while, Maya seems to want to liquidate Fisk's empire and no one wants to help her, then she doesn't want to liquidate the empire, but the same people tell her she has to. I still don't understand what the main character was up to, and her behavior towards her loved ones and the Kingpin lacks logic. Alaqua Cox's performance is odd, but I could only tell when she was angry and when she was confused. Vincent D'Onofrio plays his part, though the script doesn't make it easy for him. Charlie Cox doesn't have much to do and the action is alright. An incoherent mess, with no emotion and no point, and really weird dialogue.

A job with fishermen, family ties and some stolen drugs. Brian Helgeland used to be a guarantee of quality, but he hasn't been doing so well lately. This story about two stepbrothers, breaking the rules, and the price to pay has no traction. The first hour, which is purely about fishing + camaraderie/brotherhood with no substantial plot, could use a better driving force than the yowling Toby Wallace. The quirky dialogue and odd behaviour are realistic but quite boring. Then Tommy Lee Jones comes on the scene and saves the whole thing with his brooding fisherman who tosses in a bit of wisdom here and there and finally gives the film a satisfying point.

I found it more entertaining than the first one. I'm going to slightly overrate, because after the delays, the reshoots and the Amber Heard shit, it could have been a lot worse. James Wan delivers an entertaining romp that paces well, looks good, and that gave up any larger ambitions by the time it went to the editing room. Global warming being the fault of a black man with his head in a fishbowl and input from the UN it’s something I can’t consider ambitious, but a subversive attempt at comedy. The scenes with the baby, the cheeseburger and the cockroach, or the jogging are very good and make up for the over-seriousness that bothered me in the first one. Jason Momoa relishes the role and squeezes the most out of it. DC actually didn't end up doing too badly. “I am Aquaman!”

The visuals are top-notch, not only for a Czech film, but on a world scale. The shots of the futuristic Prague must warm the heart of every Czech. Awesome cinematography by Filip Marek, plus a dramatic score that mimics a weaker Zimmer, and a pretty decent story that makes sense and is coherent. Unfortunately, though, to its detriment, the film is overcomplicated, terribly talky and doesn't bring much that's revolutionary, plus the twists are like from a film school. It’s like a crime TV-show but set in the future. The uneven cast and the little action show the limits that should be the focus for next time. Robert Hloz, however, did an incredible job and hats off to him for making it. Ironically, the "terrorists" were the most interesting.

Solid craftsmanship, wonderful story. Robert Zemeckis' now classic intellectual sci-fi film about whether we are alone in the universe features an excellent Jodie Foster, ably seconded by a young Matthew McConaughey. The gradual narrative doesn't forget the broad scale, showing humanity in all its gullible and skeptical scope. On reflection, the three-body problem is a dark answer to the questions raised in Contact. It fits together beautifully for me now.

An atmospheric relationship drama with interesting performances. Unfortunately, the script is as dodgy as the leading lady's memory. Spending an hour and a half portraying the world and having the interesting, supporting stuff taken away in a moment is the most frustrating part. The motifs of the relationship between men and women in contemporary society are stripped away, killed without proper context. The behaviour of some of the characters is downright baffling. Chris Pine and his departure was supposed to mean what? But Florence Pugh does a great job, and even the bumbling Harry Styles is a sight to behold. Olivia Wilde's brilliant direction saves much of the film, but the crumbling story at the ending trip her up. The visuals are great, though. A more assured script next time and it'll work out. John Powell's score is superb.