3DD!3

The way of the just... Bosch is on the trail of stolen cesium, Irv is running for office and J. Edgar is stepping on the heels of a Haitian mafioso. Powerful dialogs, emphasis on detail and the great Titus in the title role of police bulldog. The creators try very hard and at the end things get fraught, almost in 24 style, but personally I don’t mind a bit. I hope they squeeze all they can out of the final series. You better hope you serve all 11. Every minute of it. No matter how long or short it is, I'm gonna be there when you get out, waiting for you, you fսck!

An interestingly filmed sci-fi about paramedics who, alongside the regular junkies of New Orleans, start to figure on the list of bizarre cases of severe harm/death connected with a new synthetic drug. The original topic is supported by a stifling atmosphere and solid acting performances. Directors Benson and Moorehead mainly tell the story of two pals who end up in slightly different shit creaks and the leaps in time are a clever tool used for telling us what is most important for leading a happy life. An inventive indie movie that will give fans of this genre pleasure.

The way the makers fooled around with the chronology of the storytelling makes viewing more difficult. And the chaotically layered scenes give away too much of the future. And also, it seems like the central character is Harold, and not Stu. We’ll see how things pan out.

These Returns of the Joker are always full-on. The surprisingly violent flashbacks draw on the comic book Death in the Family and, even though they slightly change it, I wouldn’t say this was a bad thing. The Joker’s technological advance in the future is just a clichéd laser beam that cuts through concrete, but his lines are as snappy as ever. I was very pleasantly surprised.

The scenes with Hopkins are excellent, but compared to the book this movie is rather disappointing. The "Low Men in Yellow Coats" (as the original title of the novella reads) are now FBI agents and this movie completely ignores any connection with the "Dark Tower" saga. All that remains is a skeleton of this about growing up which, while it works quite well, it doesn’t enthrall.

If it weren’t for the over-rushed ended, this could have been perfect once again. But Pixar is stopping making things for kids. Soul is a grown-up, complex, in places almost a horror movie and I would say that half-pints just won’t understand it. But still, this is first class work. A beautiful world and loads of imagination.

Nick Cage on the lively history of dicks, bitches, shit and good old damn. Professional interpretations by linguists alternate with comedians, all rude and some homosexual. Each word is interesting/entertaining to varying degrees, so weak episodes alternate with great ones.

A great drama focused on the concept of somehow controlled alcoholism. Vinterberg again captures important details which he dresses in a plot about real problems of our age. The acting is top-notch, Mads is cleverly hidden away at first, only to become the powerhouse of the movie in the finale. Alcohol as a friend and as a destructive power. A picture about weaknesses.

I was looking forward to a bold, purely female comic book movie with a strong heroine, fearless in her emancipation from the pernicious Justice League. But I was seriously disappointed. I don’t mind so much the weird way they keep hitting each other, or how naively (= eighties style) Wonder Woman is approached; it’s the message that bothers me. It’s been a long time since I saw such a dumb, illogical story offending women, men, children and human intelligence in general. The lesson is literally terrifying - dreams are bad, make good with what you already have - and seriously modern. Gal Gadot still looks fabulous and Pine strangely enjoys being in his role. Wiig isn’t comfortable in her role in any position and, after his praise-worthy performance in The Mandalorian, poor old Pedro Pascal really hits bottom in his role of megalomaniacal loser who (doesn’t) want to be with his son. And it looks like Star Wars: Rogue Squadron is way up shit creek, lacking the proverbial paddle in the hands of Patty Jenkins. P.S. The explanation of Linda Carter’s tiny cameo is really annoying. Now the Yanks have their very own Carry On Doctor.

There are a couple of decent jokes, but otherwise it’s boring. You could take it as a weak variation of Who is America. In the end, it's just a few jokes at Trump and Johnson's expense, with the Corona boogeyman surprisingly in the background.