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A Flash movie where Flash himself swears the fuck out can’t be that bad. The farewell to Snyder's world, full of winks and various mini-movies, shatters the multiverse and unfortunately leaves the worst thing in it: Ezra Miller. While his older version is quite passable, his younger drug-addled self is awfully annoying. Even his running style is terrible, and that’s why he’s at his best when he’s mentoring instead of running. Muschietti casts his spell, building the story around saving Flash’s mother. It works perfectly, and, despite the blatantly CGI time travel (of course it was on purpose, after all the pretense there was no money for anything better) the whole universe stuff works well, even if it doesn’t make sense and has lapses in logic – why does Kara speak English instead of Russian? The final clash is quite boring compared to the dynamic opening. The Batmen are all great, and Keaton is really enjoying his comeback. It's a solid popcorn flick that does have a few issues, but it's the fist DC movie I'm happy to watch again after a long time. The closing credits scene could theoretically help Aquaman a lot. PS: Sasha Calle is awesome and I hope we will see more of her on screen.

The Count arises from the death in a sequel drowning in the foolishness of one young Georgian. Hemsworth and Hargrave have put their hearts in Extraction 2 and you can see it. The 20-minute single-shot jailbreak scene goes a hair further than the passage through Dhaka in the previous film. One thing that disappointed me is how dark things are, there are parts where you can’t see anything. The tough one-liners and the bloody final confrontation in the church are a real treat. The visual effects are average, but it doesn’t matter. Surprisingly fine, however, is the glue in the form of memories of the hero's past and trauma.

A celebratory three-part documentary about a nice guy who liked to work hard and knew how to sell himself. Netflix only skims the surface and even though it offers some controversy it has Arnold to sum everything up in a sentence. Everything is a show and a bit of a sham, but it would be nice to see a more complex documentary, something longer, spicier, that would dig deeper. Don't the Netflix people  have any cut scenes?

I think most vegans who accidentally wander into the cinema to see this unconventional romantic road-trip will pass out and have nightmares for the rest of their lives. Marel (Taylor Russell) can't contain herself on a girls' sleepover and chews on her friend's finger. Her dad has had enough, so after a quick move he gives her money, an explanatory audio tape and disappears. The "innocent" girl goes in search of her lost mother and meets other eaters of human flesh. The almost meditative, relaxed atmosphere, underlined by Trent Reznor's haunting piano, is interspersed from time to time with gore with an unnerving soundtrack. The performances are top-notch, with Mark Rylance as the lonesome Sully leading the pack, but unfortunately, there is punishingly little. Chalamet does his quality standard, but he's no match for the old man. A surprising one-off with several very intensive scenes and a bit of an awkward ending. The question is whether it is the fault of the book or the filmmakers.

I had the picture book when I was little, but I never watched the Disney original until today. Well, it is considerably better, full of action, and uncut. Merlin is more of a mad time traveller than the legendary wizard, and his talking owl has more sense than him. I enjoyed going back to my childhood, and I think I'll start digging up other treasures tucked away in compartments of childhood memories for my little one.

The terribly long exposition wallowing in the main character's depression is a bit too much for my taste, but the moment Villeneuve starts moving the plot through the broken time lines, I was hooked. The bizarre tangle of events, coincidences and fateful encounters is further embellished by the narrator, who is the fish being butchered. Brilliant acting and utterly realistic. The weirdest romantic film in a very long time.

A buttload of ideas, a celebration of all the artists who gave each of the worlds a special and unique atmosphere. The action scenes are so awesome that you will want to go back to the cinema very soon, to enjoy and study them. However, it is not only the visuals that keep the viewer engaged, the script also deserves praise. Each character is well thought out, has a mini-story and evolves. The wisdom that the Spider-men/women share makes sense and is fun (because Spidy is a funny guy), every viewer will find something here. I, like Peter B. Parker, also had a daughter since the first episode, and did I identify my paternal stereotypes in him? Of course I did! And that’s how well the characters are written. Everyone will find something. It also has its own fatality and an unusual villain who got caught by a donut in the first film and then had a bit of bad luck. From nerdy scientist and third-rate villain to the destruction of the multiverse quickly and easily? Well, maybe not destruction... maybe, because we'll have to wait for the next part. So, to sum up: after the magazine ad, it steps on the gas pedal all the way to the floor and doesn’t slow down until the open ending.

An excellent crime drama that doesn't try to throw in unnecessary twists and turns and instead goes purely for its goal, focusing on a very strong emotional conclusion. Lie Kaas is solid, unemotional, I'm not used to him in such a role. It feels a bit like a pilot to a series, and why not, I'm quite curious about the other Department Q cases.

A B-grade noir that turns into a total mindfuck. Yeah, it’s bollocks, but very entertaining bollocks, where something is constantly going on. Made from the heart and featuring a well-fitting Affleck in the lead role – he really found himself in the role of a stoic tough guy, ruined by life and pissed off at everyone. It surprised me a bit, so I’m giving it a slightly higher rating.

A scrumptious noir starring the great Orson Welles in an unforgettable role as a cop with a genius nose for the perpetrator but a penchant for chocolate or possibly stronger drink. A perfect contrast to the sleek Charlton Heston with his Mexican moustache, young mistress and unbreakable moral compass. The magic is in the details and between the lines. Touch of Evil has been copied many times, but there will only be one original.