Kaka

Too complex a subject for only one hour. There are a lot of things, moments and information that fly by too quickly and a lot of times key situations just skim the surface. I wanted more info on how the filming of T2 or True Lies went, but the second episode is so fast-paced that there's a lot but nothing proper. This makes it a bit worse than the first episode, but still a decent job.

Cleverly conceived, intelligently spoken, engagingly narrated. Arnold seems to have finally made a proper documentary detailing all three of his greatest achievements. I'm sure most people are looking forward to the second episode, but this one is also interesting to watch. It moves carefully and slowly and chronologically forward, showing Arnold at the height of his physical powers as Mr. Universe and Mr. Olympia. Good as a probe into this particular sport in the 1970s, and also as the story of a legend.

A fine-tuned 80s spy thriller, with brilliant grey camera filters, cool retro sets and ambiguous characters. The Departed meets Heat with an original eastern feel. The script could perhaps use a little more work, and some of the editing may be too dynamic and not very clear, but these are minor flaws in the beauty of this Korean film that has not let Hollywood shame it. And the gunfight in the middle that pays some homage to Michael Mann will warm the hearts of the hardcore fans.

If Chris Hemsworth is the successor to 1990s Sly and Arnold, I say yes, thumbs up, because that is exactly how straightforward Extraction 2 is. And that's why it is subjectively a notch higher than the overly mythological and monumental John Wick: Chapter 4. Hemsworth gets his hands dirty, bleeds, burns, shoots down helicopters, kills with a screwdriver, and at least half of it is in one take with no cuts. Anyone whining about the bad visual effects should realize that this is not an A-list blockbuster going into theaters and costing 150-200 million, but it’s made for TV and costing barely a third of that. 9 times out of 10 there are more breathtaking scenes than most genre films will allow you to dream of, in fact I haven't seen anything this intense in a very long time – this is how The Grey Man should have looked like! An exemplary tribute to the craft of action, a masterful work of cinematography, editing and fight choreography. Come on, let’s have a threequel because Hemsworth is king.

You can see with Sheridan that he has a positive relationship with what he is filming and talking about. He gives Yellowstone a specific touch, keeping an eye on the details, the various cowboy traditions and rituals, respectful of this particular way of life, but also cinematically sweeping and complex. The first season had a simple task: to outline the main plot and introduce characters that are so complex and internally torn that those 9 episodes are hardly enough.

A balanced episode that doesn't look like the last one, probably because it wasn't planned to be the last one from the beginning. Everything is relatively calm heading into the finale, which remains open and ready for the second season. Rip is once again the darling of the crowds and the cowboy vibe permeates this episode all around.

Rip and his past are the main domain of this season, his character is very well written and brilliantly acted. It's also interesting to watch Beth, whose schemes seem believable and realistic within limits, which is a nice change from most of the others. And to make matters worse, the son and father have a little squabble. All the character work is top-notch, it's just that the accidents and killing are maybe too much in the context of the nature of the series.

An adventure episode with some typical western elements, a magnificent bear, Japanese tourists and one exceptionally gritty scene. Gradually, it seems that each episode reveals the secrets of one of the characters. Here we start to get under Rip's skin and it is quite possible that he will be a big favourite for many fans of the series.

The original and formally less attractive version of Vanilla Sky, which,, though less mainstream and appealing at first, is very suggestive and original – proof that Spanish cinema has nothing to be ashasmed of. Compared to the American remake, the budget here is much smaller, the main male star is absent, and yet it's a well-crafted film full of distinctive moments and mindfuck scenes. If it was darker, psychologically stronger and with a bigger pull, I would rate it as positively as Vanilla Sky, where I was carried away by the New York set design rather than the originality of the story.

A French suburb, racial issues, riots, street fights and protests, black and white handheld camera. Hate may have ambitions to offer a complex viewpoint like, for instance, In the Name of the Father in the UK, but in the process the viewer finds that it actually skims the surface and remains merely shocking, without a broader dimension, like, for instance, Romper Stomper. It's not that the theme and its handling have no value or meaning, but one day of assholes fooling around in a concrete jungle with a few raw moments does not a legend make.