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The now classic that introduced Asterix and Obelix to the television screen. It's not as elaborate and there's less subversive humour compared to the comics. It certainly doesn't have the quality of later sequels, but it's still solid entertainment where the simple antics of the Romans will keep the kids reliably amused.

The decline of male role models in fairy tales is sad, but what scares me here is more the overcomplication of motives leading to possession by evil. Yet the primary one - not fulfilling all wishes - is not satisfactorily explained. The attempt at realism thus comes up empty, and the kids just won't get it. Otherwise, the European Union, America and Russia's approach to government are mixed together in one fairy tale. Disney adds songs, animals and beautiful visuals. It's all quite mechanical, but in trying to be original it forgets that every good fairy tale needs heart rather than weird half-truths. Encanto was much better

A suspenseful, technically well made survival thriller, unfortunately with a mediocre and rather wobbly script. Idris Elba and his two restless daughters go to South Africa to reminisce about their mother, and on the trip they encounter the devious and vengeful Simba. Nonsensical decisions needlessly clash with terrific direction and amazing cinematography. Steven Price's score pulses brilliantly and the acting is pretty good too. The pleasantly grounded Sharlto Copley was a surprise. And the lion looks really good.

Godzilla -1.0 is a film about the tragedy of inaction and fear and the motivation that drives individuals to action and the ultimate sacrifice. The opposite of the cheerful American fooling around, made for relaxing entertainment I saw a few days ago. The Japanese open old wounds here, using a metaphor derived from the two nuclear bombs that Oppenheimer served up to the US military for quick use. Broken people slowly getting back on their feet after a lost war, only to be trampled by another disaster. Stunning destruction, backed by a roaring musical score, vivid characters where you care who survives and who doesn't. Surprisingly, the main character, a coward, lives.

Godzilla is enjoying a vacation in Europe and Kong is looking for more apes in the hollow earth and has a toothache. A modern version of the Verne films, which degenerates into unadulterated Kaiju-porn at the end. Swashbuckling battles, solid visual effects, 80's soundtrack backed by Holkenborg synths, tremendous destruction and people who don't get in the way but are props for the main fighters. It's rubbish and digital crap, of course, but it's fun and even in neon colours with a pink Godzilla who justifies the change by sucking out nuclear power plants in Europe to fulfil his part of the Green Deal. It's got a bunch of subliminal messages. The villain is OK, but the main asset is Adam Wingard's wacky ideas, which somehow manage to get implemented. The most entertaining entry in the franchise.

A swashbuckling, raucous and modern adaptation of Dumas' classic. More emphasis is placed on the action scenes, which are gritty, dynamic, and with great choreography. There have been so many versions of “The Three Musketeers” that I'm not even sure how it was supposed to be done, but the snipers in the church is a very good sequence. Eva Green is incredible as Milady, and overall it's a very strong cast. The ending is outrageously open and I'm looking forward to the second one.

About the same as the first part. The battle is maybe a bit better, because we have lightsabers in a bigger extent. The script is a big mess. The idea is there, but Zack Snyder can hold it with all the weird dialogue and nonsensical behavior of the checkerboard pieces. I want to see the uncensored version to see if anything interesting can be done with the material or if it is just bullshit. To be continued. P.S: There's still not enough of Anthony Hopkins' Jimmy out there.

Texas' revolt has done Civil War some fine advertising and A24 can celebrate. Alex Garland is keeping his head down with the script and direction. The artistic arrangement is there, but he still focuses on the rawness, underscored by black-and-white photography by up-and-comer Cailee Spaena (the kid from DEVS), and serves up a classic road movie through the disunited states of America. The scariest stop along the way is the one at Jesse Plemons, and it towers over the entire film like the top of the Everest. I understand why Garland doesn't explicitly state the reason for the conflict, though it is implied, but I missed that very conversation whose absence Wagner Moura laments. The excellent Wagner Moura, by the way, easily nudges the brooding Kirsten Dunst. The finale is predictable but formally breathtaking. Great soundtrack.

The good, the bad, the ugly... Fallout mode. It's got pace, it's got cynical humor, it's got bloody action, and it's got a very timely theme. Walton Goggins is impeccable in both timelines and he also has the most interesting role. The others act like morons at times, but you'll forgive them for the perfect atmosphere. Jonathan Nolan is a fan and has looked after every important aspect of the adaptation. The twist is downright delicious, even though it was perhaps foreshadowed well in advance. The finale is taut as a string and Kyle MacLachlan rocks it incredibly. Even though it looks like chaos reigns, that doesn't mean no one is at the helm.

Sly talks about surviving and life, even if it's really bad. That's nothing new, he already did it in Rocky and Rambo, but here it's given context by his friends, family and a few others. The documentary is not lacking in interesting facts that some people know and some don't. I didn't know that the final monologue from the first Rambo – "Where the fuck are my feet?" – was written by Stallone. It's stilted and avoids major controversial topics, but it packs a punch and moves along quickly. A documentary full of doubt, even philosophising. It even has minor plot arcs like forgiving his father and moving out of the house. It was very good to watch.