The first episode with the series' Julia Pennyworth. Casting Christina Wolfe was a classic whitewashing drama because in the comics she's the dark-skinned daughter of Batman's butler Alfred and Mademoiselle Marie (but only since 2014). Originally, everyone was white, and Julia started as Julia Remarque, whose…

A film that offers some impressive moments, but as a whole it mostly skims the surface. It deals with a few key themes, but it is mostly too thesis-like and one-dimensional. A raging America where we get no introduction and a miserable, rushed conclusion. Jesse Plemons steals for himself what is undoubtedly the film's…

It’s too colourful, too CGI-laden, and Jennifer Lopez runs around with her big ass at the beginning and admits in one of the dialogues that she has wrinkles and covers her grey hair because nobody gets younger, and for that she gets my nod because her Botox colleagues in the industry probably see it differently. You…

The 61st Disney feature film is a modern blend of classic adventure stories from the Earth's core. The family dynamics are reminiscent of Indiana Jones, but one can practically recall anything from Verne's works to Narnia or Pellucidar. In the context of Disney films, the theme continues from Atlantis: The Lost Empire…

An extraordinarily gentle, quiet and slow film with a pure melancholic soul. It starts out as a profile of overpopulated, rain-soaked Mumbai with a look into the lives of two friends living there and later shifts to a calmer, quieter place. As the debut fictional film of an experienced documentary filmmaker, All We…

If only Hitchcock had been in a position towards the end of his life where he could have chosen his subjects freely, unrestricted by financial concerns, and could have enhanced his reputation in the field of political thrillers with, for example, an adaptation of a Frederick Forsyth novel. The plot of Topaz is…

We love snow … khaki coloured. An escapist film in which there is not a hint of realism (even a community theatre’s set designs are more convincing) and which uniquely connects a holiday of peace with adoration for war heroes. The choreography of the dance scenes and the work with colour are thrilling. It’s just a…

If Demy had only put as much care into the banal plot (the simple chapter titles top everything off) as he put into the colour coordination of the character’s costumes with the setting. Because there is no dancing and the singing is strange, the colours are also the most musical element in the film. Of course, there…

Crippled animals, crippled souls. Guilt, punishment, responsibility. Nykvist goes into details, Bergman goes deeply into the dialogue. The proximity to the actors, their faces and feelings, evokes the impression of oppressive intimacy. The director closes us off with them in a single, austerely furnished room.…

Who knows what we would find if we looked for a woman behind everything? We will actually find one behind Jean Renoir’s debut. Because he didn’t manage to find an appropriate screenplay for his wife, Catherine Hessling, he wrote one himself and directed it in cooperation with Albert Dieudonné (who later starred in…