Kaka

Ritchie is a bit restrained this time and delivers a witty action-comedy with direct, typically British humour, which is not for everyone, but it has a sophisticated script and McConaughey as an alpha-male who is hard not root for. A film about drugs presented in such a way that it makes you believe it’s cool to be in the business. Of course, as long as you don’t complicate things, as is the case here. Among the superb, I would put Hugh Grant on top. After the insane mangling of the classic King Arthur, this is finally a return to waters Ritchie understands and relishes. The result does look accordingly, too.

The umpteenth take on the Vietnam War, this time from the perspective of the Australian military, with the involvement of Australian filmmakers and actors. The visuals are OK, but there is no groundbreaking style of filmmaking to speak of. Danger Close shines with the precision and directorial virtuosity of Mendes (1917), in contrast with a routine editing and limited budget. Fans of war films will watch it, and that’s about it.

Impressive. These small independent low-budget raw American dream stories are filmed in such quality and thank God for every such contribution. This one has some similarities to American Honey, only that it’s shorter, faster and less sprawling, so it's more focused on the interaction of the main characters and their ensuing transformation. It is rare to see such a brilliant and perfectly coherent consistency of a strong "cinematic" story and at the same time a very interesting look at the real issues of contemporary American teenagers (social networks, easy access to drugs). It’s not getting five stars only because the first half is a class better than the “farewell” second half. Still, it's a powerful, sensual experience, artfully supported by an electrifying soundtrack and Trent Reznor's typical nervous tones.

A procedural that, thanks to its extremely soft sensitive topic, seems to be angling for the Oscars, but it’s not that sensational. It's just one of the many corporate American #metoo type of stories that has great performances, timing and editing, moves very quickly and actually has a solid narrative value, but will eventually be forgotten because something other than militant feminists vs. conglomerates, or flamboyant Trump, will be in vogue.

A bit weaker and less gripping than the first season, but the ending builds an interesting bridge between Season 1 and 3, with something that Felix started grandly, only to (probably) lose control of in the third season. Luna is terrific once again, and the writers aren't afraid to show with lucid clarity the few clean mistakes made by the otherwise great drug kingpin and business visionary Gallardo. I’m looking forward to the next season.

The best episode of the whole series and just a hair short of a full rating. This is how I imagine the plot and its outcome. Two over-the-top dialogue scenes and the overlap of Felix's capture will be on full display in the next, third series, where things will get unleashed.

A gauntlet thrown down to all the cinematographers and one of the best films of all time. Similarly to James Cameron's Titanic, Sam Mendes works masterfully with set design and visual effects, which are not "for effect", but subtly create the story (or are an integral part of it) and help to enhance it in key scenes. Breathtaking work with sound and overall amazing cutting-edge filmmaking for lovers of impeccable craftsmanship, who don't necessarily need a very sophisticated story or screenwriting flourishes to satisfy their fantasies – you won’t find that here. But on the other hand, how many filmsshot in one take without editing are there?

A season finale that actually repeats its concept for the umpteenth time and therefore leaves the viewer basically immune and somehow uninvolved in the whole thing. I'm actually looking forward to the last few episodes when it will be over. Still good and suspenseful filmmaking, but unfortunately one-note.

A wild finale with the election and Acosta saying goodbye in style.

Clouds of chatter and no progress. Mexico volume 2 is beginning to lose momentum and fails to keep the viewer's attention at the level of its predecessors.