3DD!3

Esmail raised the bar even higher before the end. At its core, Mr. Robot remains an intimate social drama, but what happens to the world around it adds an even more devastating depth. Now is just about tapping the ball into the hole.

An alternative history of astronautics, where it was the Soviets who first landed on the moon, offers a quality mix of drama and space action. First Man meets Mad Men. Nothing to fault in acting terms, Kinnaman dominates and the girls now getting more prominent roles on the wave of feminism are just fine. The final, post-credits scene inviting you to the upcoming season is great. First rate.

Bay rulez them all!  A mediocre story about a team who kills evil bastards and stage coups d’etat in exploited countries that Wernick and Reese gave a non-linear narrative structure, Dead Pool-style humor and a cool giant magnet that has its say in the final act. Lots of blood, headshots, cussing and beautiful shots of wonderful models in spectacular action scenes, all of which are typical for Bay. Reynolds plays Reynolds and the rest of the team is well cast, but you’ll remember just the stats and the great lines. The backstories are routine. I have a feeling that Bay visits the same website where I go for wallpaper and then he makes movies in the most amazing locations. I didn’t expect we’d get this far.

The gloomy direction that has little to do with space conquest gets under your skin and doesn't let go. You can do a lot of things in ten days. This is going to be even more interesting.

Crazy shit on the Moon. Playing back scenes from this series is an indication of gradual loss of sanity is both funny and scary at the same time. This runs on the spot in terms of technology and I’m impatient to see some Soviets already. The lesbian scenes just slow things down. But maybe they’ll lead somewhere.

The chat with God in the bar explains a lot. The coherent and self-fulfilling future may seem rather cheap, but it makes sense if you give it some thought. Irons is awesome in this episode. It’s Veidt’s move. Wait for the post-credits scene.

Sluggish pace and cheap twists, and the effects aren’t very good, either. The only things worth noting are the wisecracking Bridges and the hellishly sexy Alicia Vikander.

An outstanding adaptation about spoiled noble prima donas and a fair-minded Jewish money-lender who the law wants to cheat out of what is rightly his. These days this story has completely different contours than when it was first written. Radford’s directing is sure-handed and, in acting terms, this is a recital where Al Pacino clearly rules. You can’t help rooting for him.

Visually captivating rock climbing. It’s brilliant how they hook the viewer, with the likeable protagonist managing to come across as a nice guy, but also as an incomprehensible fool. Beltrami's music is perfect.

I had to take one star away for the missing swear words, and another for the missing blood. The new scenes with Savage work excellently and changing his one-liners was a super idea - some of them seemed better than in the original cut.