Kaka

Breathtaking dialogue improvisation in the director's tightly grasped concept of analysing the breakdown of a relationship. Precisely delivered by both leads, the emotions bubble non-stop and when it gets to be too much, Hagai Levi intersperses it with some brief camera shots of a snowy cold Boston, enhanced by a depressingly cut single-note musical theme. Purist, simple, maximally effective.

If the script of the third Kingsman was a bit better than horrible, it could have been a solid ride, because Vaughn is able to reflect the contemporary political situation through his specific craft, he wittily alternates recent history and is not afraid to use subtle and daring humour and a distinctive directorial style to appeal to a wide range of audiences. In this respect, it’s perfect, but we want more from a film like this than ironed-out visuals with a plethora of familiar faces in the breakneck action scenes, which are good and some even fantastic.

At times Death on the Nile looks like a modern theatre play, at times like a largely impressive colouring book, which is inappropriate for a film of this type. The whole thing is a little bit flat, sweaty, going for power, or rather for effect. Branagh's Poirot is OK, but the rest of the cast is mostly jerking and prancing around. What's missing are real visuals, decent camera work, real sets and, most importantly, a better plot.

Great job with the lead actors, excellent dialogue and loads of interesting, supporting ideas about relationship issues. It seems to be a complex work, it will be interesting to see the next episodes and the development of the main characters.

An indie relationship film with just the right balance of coming-of-age drama, crime thriller and teen comedy. Shailene Woodley is superb. Plus for the filmmakers' efforts to present the teenage fable as realistically as possible, including slightly more explicit scenes with sexual overtones, where a lot is implied but just enough is shown. The ending is passable, but predictable. A small, low-key film that's dense and suspenseful enough for one viewing, but not for a second – there's nothing more to discover.

A film where the protagonists look at each other in different acting positions and almost all the time, where the music supports the overall tension and a kind of invisible suspense, with the camera taking rolling panoramas of Montana. A lot could happen, but in the end nothing really does. A poorly made film by a director who obviously wanted to replicate the fragility and poetry of Pian, but incorporating it into a gritty western doesn't work. I don’t get the Oscar, I believe it put to sleep more than one viewer. And it almost put me to sleep.

Right between 3 and 4 stars. Comparisons with the films: Alan Ritchson's Reacher are undoubtedly better adaptations of the book, with theirmusculature, their buzz, and their dry catchphrases; and Tom Cruise is a better actor. The Reacher series honours the source material better and more accurately, but it loses its pace quite dramatically in the middle, the storytelling around the criminal conspiracy is not fully rendered and some of the actions of the main and supporting characters are very questionable in places. Cruise, as usual, threw himself more fully into the action and although the show's creators, not to mention the lead actor, are not afraid of it, they don't have Cruise for stunts. The bottom line is that while the films can be embraced by a broader spectrum of viewers and especially the first one works well as a "universal" crime drama, the series will be more for die-hard fans and lovers of 1980s nostalgia and the smell of good old-fashioned action heroes.

Too bad about the bloated, overly action-packed and overall overdone finale. When you have a explosions and other technical flourishes, but lack a budget, the result is usually shit. And so it was in the last episode of Reacher. If it was a feature film, it wouldn’t even be average, because it's got all those bad trademarks of the failed 1980s and unfortunately the last episode doesn't even look very parodic. In this episode, Reacher became a heroic good guy, which suit him, he's much better as a wily maverick with caustic humour and big fists teetering on the edge.

Probably the highlight of the entire series. A spectacular unraveling of the case, an effective ambush in a house, and Reacher with a B and a dessert bar doing good for most of the time he's on set. That's the way I'd imagine the whole series would be: fast pace that leaves no room for missteps and too much talk.

Hectic, whiny, Spider Man soap opera. Or when you don't know what to do with the story, make a hodgepodge with time planes and multiverses, everything goes better afterwards because it can basically be about anything – and you have unlimited space for action set-pieces. I don't understand the enthusiastic reactions because it's a grueling 150 minutes. A fine return of friends and some tried and true bad guys, but in real time there's absolutely nothing going on.