D.Moore

I am watching Hayao Miyazaki's films in chronological order, and I like how his work evolves over time, but his signature remains safely recognizable. Princess Mononoke is another story with a strong ecological subtext, but it is one hundred percent serious fantasy with very few moments of lightness, but with a large number of magical and poetic scenes, and with characters who are by no means clearly divided into good and bad – each of them can be understood with a certain vision of the world, which adds to the story's impact. The monster finale is awesome, but there are plenty of memorable scenes.

It's cute, it's funny and smart, it looks and sounds beautiful, but I felt like I'd seen it before. Rather than the copycat of The Lego Movie that the trailer smacked of, Barbie ends up reminding me of a run-of-the-mill but still more than good Pixar film. But I really like the campaign around the film, which for the first time in a long time (at least where I live, anyway) managed to get a lot of people excited about going to the cinema wearing something pink, from a baseball cap to a bathrobe, and just go have fun. That's good.

In many ways, it’s exactly the film I expected, in many ways even better. This time Christopher Nolan handles a controversial issue with precision not only as a director but also as a screenwriter, because, though it’s true that in Oppenheimer "they’re always talking", all the monologues and dialogues are written in such a way that you don't drown in them. Yes, their weight may sometimes pull you under the surface for a while, but not for long, because each of those scenes ends with a clearly understandable conclusion, which in turn is the basis for the next scene. The chaos (however affably reckless) of Tenet, which punishes even a few seconds of inattention, is not repeated here. All of this with an incredibly great cast, led by the trio of Cillian Murphy, Matt Damon and Robert Downey Jr., in a clever presentation of two different perspectives on the same thing that intersect at the end with a chilling thought that lingered with me for a long time.

I liked the previous missions under the supervision of Christopher McQuarrie better, but there is no question of any big disappointment. For example, I don't have a problem with the fact that there's a lot going on in the film, but I was getting a little annoyed with how long it was going on, and that there were certain things associated with the Entity that we would have immediately laughed off in Fast and Furious, for example. I also wasn't too keen on the villain from Hunt's past, who appeared kind of out of nowhere and then acted accordingly – somewhat bland. Nevertheless, the film is great fun, the action is terrific (the stuff that happens on and in the train are like something out of a Buster Keaton slapstick), and the humour is natural. I enjoyed it as much as the new Indiana Jones, with the only difference that I won't go to the cinema a second time.

It's a great episode, but I didn't realize it until about half an hour in. By then I was wondering what had happened to Black Mirror, and in the context of the current actors' strike and the reasons for it, I asked myself whether Charlie Brooker had predicted the future, or if the present had caught up with his fears.

I share a love of flying with Hayao Miyazaki, so I was really looking forward to Porco Rosso, especially since I had no idea what to expect besides a pig pilot. And the result? Well, let's just say that this animated film has one of the most beautiful scenes I've ever seen – that WWI flashback is just beautiful. And the rest of it is worth it too. The alternation of genres, the storytelling where what would otherwise stand remains sort of in the background and hidden in hints, the really great animation of the aerial combat, the surrealism and the unadulterated emotion at just the right time. And the ever-present wisdom: better to be a pig than a fascist.

A beautifully positive film. It doesn't take much effort to imagine that today, while delivering packages, Kiki would face a malevolent dark witch bent on her life and world domination, and in addition to unraveling a mysterious family history, the film would be two hours long, full of action sequences, and a sequel would be inevitable. But nothing like that was apparently deemed necessary by Hayao Miyazaki in 1989. And that's only a good thing.

I liked the opening and the brilliantly built-up finale, but between that, the new Evil Dead was nothing to write home about. What surprised me was that, compared to the film that started everything in 1981 (for a couple of bucks), this one is rather mild. What pleased me, on the other hand, was how they didn't mess around with it (thank you for the reasonable running time), and that there was no lack of black humour either.

The source material is one of my favourite comics of the last few years and the film certainly doesn't put it to shame, on the contrary, it keeps up with it. What matters is that despite some changes, the most important thing – the huge heart – has remained. If I hadn't seen Spider-Man in the cinema, Nimona would be the best animated film this year. It's impossible not to love the hyperactive main character, the futuristic medieval world in which the story takes place looks absolutely fantastic, the animation is original and beautiful (all those metallic reflections). And when it comes to emotions, don't tell me anyone stays cold. It’s impossible. 100 points for Netflix.

A rather lame answer to Rosemary's Baby and The Omen, probably interesting only for fans of Christopher Lee and B-movies of various kinds.