D.Moore

A great idea, an excellent Nicolas Cage, Woody Allen-like marital dialogue... And such an unnecessarily VERY rushed ending, I felt sorry for it. It's as if someone suddenly noticed that the budget had been slashed and there were only a few dollars left. Too bad, too bad, it felt completely like a sudden awakening from a dream you didn't care for.

If Woody Allen is really saying farewell, and I think he is, he's saying it nicely, because Coup de Chance is a pretty nice movie. The setting in France and the French language in general add a nice touch to the familiar love triangle story, and the cinema-going public is just waiting to see what it leads to this time. Don't expect something like Match Point or Cassandra's Dream, more like Irrational Man. If you've liked Woody Allen for a long time, you'll be pleased. If you're just about to discover him... Well, I can't help but envy you.

As with Ms. Marvel, it's a shame this series didn't maintain the quality of the first episode, but sort of petered out over time. That doesn't mean it's bad, but that it could have been better. Like Ms. Marvel, Echo has an absolutely great heroine, played brilliantly by the likeable Alaqua Cox, and it makes a really honest effort to distinguish itself from the rest of the Marvel output (and not just with blood). Still, rather than being important to the development of the MCU, Echo is mostly important to the disabled and to the descendants of Native Americans. But that's not a drawback, on the contrary, I applaud the series for that!

A flick that really lacks a story, but has everything else, imaginable and unthinkable, to spare. And it also has the funniest dead body in the history of cinema.

An above-averagely filmed average parable whose plot doesn't surprise much and whose characters (with perhaps one exception) hardly step out of the tightly packed boxes the script has assigned them. And while the message is commendable, We Have Never Been Modern ultimately comes off as rather ham-fisted. It's a pity that the they didn't reach for, for instance, the story of Zdeňka Koubeková/Zdeněk Koubek from the same period, which is more interesting and, more importantly, actually happened.

The plot unfortunately isn't presented in a believable way and the film also has one of the most unnecessary nude scenes in cinema history, but all in all it wasn't bad. Mainly due to the pretty good chemistry between Jennifer Lawrence and Andrew Barth Feldman, as there is certainly no question of the script being engaging or original.

It has been a long time since a performance has captivated me as much as Emma Stone's here. I was cautious, because Yorgos Lanthimos's The Favourite didn't impress me as much as the rest of the world five years ago, and yet at least on the surface it seemed like a relatively normal film. Poor Things isn’t like that, it was immensely enjoyable from the opening scene. Victorian surrealism, strange scenes alternating with stranger ones, and gradually everything starts to make sense, but you still have no idea where it's going. I'm sure the film is brimming with all sorts of psychological and philosophical meanings; double, triple and multiple meanings that can be gradually revealed, but aren't necessary. It can stand without them and conveys its message easily to everyone, however bizarre the story and its protagonists are.

An insightful and, most importantly, lighthearted Christmas superhero story where neither the Earth nor the universe is in danger of extinction and it's "just" about one criminal plot and one man getting home for the holidays. In Joss Whedon's Avengers, Hawkeye was the least interesting character, and I was sorry because Jeremy Renner is a likeable guy. But the Russo brothers afforded him a number of opportunities in subsequent films, which he has taken advantage of, and this series definitely makes him a really great character. The fact that Hailee Steinfeld is as important to his story as he is doesn't bother me at all, because she's simply a hit too.

Great film, exactly the kind of biopic I like - they pick out one important chapter in the life of a particular person, and when well written and filmed, they manage to say everything that matters. From that perspective, though, Ferrari is a bit more cunning. It may be about Enzo or Piero, it may be about both at the same time, but it’s most likely about the name Ferrari and its bearers and wearers. Michael Mann has it down to a tee, from the opening black and white scene with the eye-popping rear projection, to the quiet and loud dialogue and the amazing theatre scene, to the racing sequences with the camera damn low to the road, and the crash scenes (the ugly visual effects in the trailer is thankfully not so ugly  in the cinema). Still, it's not the roaring engines that propel Ferrari forward, but the brilliant performances of Adam Driver, who is once again someone else entirely and can steal any scene, the vivacious Penélope Cruz and her perfect counterpart Shailene Woodley. Daniel Pemberton's stamping music and the beautiful cinematography complete the experience and enhance it. Once again, a true big screen film.

I like Zack Snyder, I consider his comic book movies to be the best ever made in the genre (yes, I'm talking about the recent ones), and I like him as a person for his passion for the cause. However, what the hell was this supposed to be? I don't mind that the film rips off/draws from wherever it can, the trailer had already prepared me for that, but why on earth is it so... Empty? Stupid? Bloated? Boring? If the opening shot makes you giggle like a teenager and the following monologue, which is supposed to explain what kind of world we're in, doesn't explain anything, let me tell you that it doesn't get any better in the next minutes, tens of minutes, two hours. Perhaps only the desire to mock will pass you by, because Rebel Moon isn't worth that either. In This is the kind of film that would have ended up on videotape at best in the 1980s or 1990s, even though its creators were convinced they had made a masterpiece. It didn't work this time, Zack, and I don't think the second part will fix it.