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A more than welcome spectacle, which greatly enhanced my summer of 2010 with its honesty, straightforwardness, and surprising consistency, when I consumed it in larger doses than usual as a necessary pick-me-up. And yet it is precisely this inability to change the spirit of the narrative that prevents me from giving That '70s Show the highest rating even though I will remember Hyde's social hardness, Eric's emotional hardness, and Kelso's hardness regarding everything with a very big grin. The positive atmosphere far surpasses any sourness from the cast changes in the final season and everything related to it.

The introduction gives hope that this time it will finally be a functional sci-fi world where the central idea will succeed. However, the remaining two volumes prove, as expected, that it will not be about the characters or the development of the plot this time either, but will once again be about a few impressive images stitched together so superficially that I will be sending Ridley Scott dozens of thank-you letters for (at least for now) canceling plans for Alien 5 with Sigourney Weaver. As it happens, Neill Blomkamp tragically underuses the main star, occasionally adopting the mantra of "dirt, blood, aliens", and occasionally failing. He has been making the same thing for twelve years without trying to move anywhere. Which is fascinating, but all the more frustrating.

A show which I never realized how much I was missing until I got it. Compared to previous sequels, there is a minimum of excessive inserts or unimportant characters, no side plots that slow down the fun, and definitely no psychedelic moments that don't fit well as part of the saga. Revenge takes the best from the previous installments, so the series once again becomes a benchmark for adventure, and possibly closes something that started fourteen long years ago. Jeff Nathanson rightfully bets his screenplay on the fates of old acquaintances, because he knows well that it is they who made Pirates of the Caribbean a beloved story. If the Pearl never sails again, a huge thanks for all the fish. If a sixth voyage is still in the works, I can't wait.

All the ingredients you need for an adventurous tale are abundantly present here. Beautiful locations, a stunning damsel in distress, a courageous hero who goes to great lengths, and a mysterious tale as the central theme. But what's the point when there is a desperate lack of substance and balance? Nick is too arrogant in the beginning and then unbelievably noble as time goes on. Ahmanet spends most of her time in dried-up form, so there is nothing specific to fear, and Vail, the joking friend, is pure evil with his boisterous approach. The biggest joy is the fact that Russell Crowe didn't just drop in for a minute, but it is truly disappointing to find out that perhaps every other line was written by a different screenwriter, turning a potential blockbuster into almost a self-parody. I don't want to do a disservice to The Mummy, as I was mildly entertained at times, but its perplexing genre inconsistency, strangely anticlimactic epilogue, and absence of any new idea, where the only adrenaline moment is the airplane crash shown in the trailers, left me feeling frustrated just a few hours after watching it.

An escalating copy of the non-functional first one, in which most of the participants make fools of themselves and the local reviews make a fool out of me. For me, a  bunch of slick head shots do not make for an unforgettable action flick, and if it weren't for the unusual initial destruction of the car, the only scene where Wick maintains the position of an honest worker, I would rate it even lower. Derek Kolstad has made too many foolish decisions this time, cramming bits of Kingsman into the mythology and having the main characters recite ridiculously trivial life mottos. The peak of all the confusion comes with Laurence Fishburne, whose performance and the entire subplot make a bold leap into the toilet. The rescue comes at the very end, which finally justifies the long-standing lack of compromise, but an open ending is a risk that is just begging for a proper punch in the face in the event a sequel is never made.

In the film universe of the DC stable, which lasted for ten years, there was a flash of the best times here, because it stopped trying to cram in all genres, themes, and directions. The trailers may have promised explosive action interspersed with perfectly timed jokes, but the reality is completely different. For Wonder Woman gave rise to a charming, genuine, and authentic fairy tale right before my surprised eyes. It contains the archetypal battle of good against evil and lessons about their intertwining and necessity. It has faith in love and its power. And it also has a princess, who incredibly suits Captain Trevor and whose dialogue debut screenwriter Allan Heinberg gave his soul to. A beautiful spectacle with all the attributes of old-school adventure traditions.

Comparisons with the revered series Black Mirror are most fitting because both works are connected by the same era and format of standalone episodes. However, while the British phenomenon became unnecessarily depressing and therefore stereotypical shortly after its beginning, Dimension 404 enjoys a plethora of possibilities related to the science fiction aspect and frivolously plays with them. It offers everything that the genre-fanatic desires, whether it be games, series, movies, or dating, in a charmingly original, pop-culturally pleasing, and above all, entertaining manner. In addition to its fluctuating moods, which are unafraid to evoke both emotions and laughter, I am fascinated by its excellent cast, which offers a decent number of my favorite TV series actors (including Lea Michele, Ashley Rickards, and Megan Mullally).

Probably the only sequel of a successful movie that perfectly transformed the proven rule of "more of everything" into "less of everything". The characters are templates, the dialogues are random clusters of words, the eroticism has one new idea for every ten routine numbers. If Jamie Dornan weren't obviously suffering from his presence in the skin of Mr. Grey, even I wouldn't forgive putting up with the laziest script far and wide.

Ridley Scott stands at the threshold between a spiritual continuation of Prometheus and an honest addition to alien encounters. He is slightly more successful in the first case, when I forget to breathe during the dialogue of two androids, my brain is racing in a pensive atmosphere at full speed, and somewhere in the background, a quiet voice whispers to me that many people will hate this chapter precisely because of those calm passages. The bloody meetings with the legendary adversary surprisingly do not have as much space as the trailer campaign promised, which explains the incomprehensible departures of viewers from the cinema long before the true beginning of the uncompromising confrontation. Because I have long admired the entire mythology of the xenomorphs and I happily watched Prometheus twice five years ago, I remain content. However, I am saddened that there was so little missing for the highest rating, specifically a slightly unfortunate necessity of a dramatic arc that Alien: Covenant must close in a separate chapter. I would easily leave the plot and mood scissors open even wider, and I would completely put the editor's scissors aside, because two hours are really not enough for perfect immersion.

The more obvious the complexity of the plot twists in which the gang has been throwing itself five installments in a row, the greater my excitement for the resulting film. Just a while ago, I was worried that there was nowhere to go, nowhere to build expectations, and nowhere for the characters to go. However, for a long time now, I have seen that none of this is necessary. Vin Diesel, from the position of the main face, incorporates all conceivable fan wishes into the scripts, including the dream (and surprisingly perfect) portrayal of the main antagonist. In the slower passages, he murmurs several phrases on the theme of "My Family" with an incomprehensible bass voice, and at the same time, he manages to come up with a surprise that no one expects (this time it is that stealer of scenes, Jason Statham). Various criticisms of physics or logic have never been more pointless. This saga operates in its own universe, and I will be happy if it continues at similar two-year intervals for a long time.