DaViD´82

It doesn't work by itself (yet), but purely as a garrulous follow-up prologue before the first regular chapter, it is pretty good. It does not embarrass the brand, the visual stylization fits like a glove (it's a pity that it didn't take the musical themes from the games) and lays the foundations well enough to build big things on them in the future. I hope it works out and I trust Warren Ellis. | S1: 3/5 |

The Pilot (10x01) 2/5: He's good. She's good. There is no plot. I am not saying it´s not good, it is simply missing. I understand that they wanted to devote enough space to the new companion and approach it from her point of view, but to write "a puddle that is not a puddle" and to end it like this, it is simply not enough. Smile (10x02) 3/5: It's very... Lovable. An idea and a start comparable to Silence in the Library, emoji noJamie Vardis sent shivers down your spine, the Valencian design of the colony is magnificent, but the creators were not successful in terms of making a functional whole out of these elements. In addition, the plot, story line, point and the way everything ended up is an unworthy copy of The Empty Child / The Doctor Dances. Thin Ice (10x03) 3/5: "Delayed anger fades away, it melts like brittle ice." One of those potentially not only mediocre episodes that would use a striking half-hour, but in terms of the whole footage and does´t go smoothly and there are sometimes blind spots. The only thing that keeps it afloat, I mean, above the ice are the one liners when Doctor and Bill are becoming closer. If it weren't for one really impressive speech, it would be an episode you will hardly remember, at least until the start of credentials. Knock Knock (10x04) 4/5: "Freaky Scooby Doo house." In terms of structure, this episode explicitly calls for being the first episode where Bill meets Doctor. It would definitely be more stylish than only above a malicious puddle. In any case, a really good use of genre clichés, especially in the first part. On top of that, magnificent silent competing Suchet and Capaldi. The only drawback is a mediocre, doctoral style impression and an unused "returned knock on wood". Oxygen (10x05) 4/5: The invisible hand of the market is capitalistically driven by the vacuum through autonomous robotic space suits with corpses in them. Well, just go for it. Each season must have its episode on a space station with the rest of the crew in life-threatening situation. Most of these "profile" episodes are successful. However, few of them are great, if you strip away politically motivated content of course. Extremis (10x06) 4/5: An excellent premise, a magnificent balance of chillingly disturbing moments (and it's not just about those zombie monks) and funny moments (pope in the bedroom!). From Nardole, it is improving episode by episode and it´s becoming much more than just "second-rate comedy sidekick", high stakes, tangible tension and perfect gradation. And then comes the final contradictory twist, which makes me confused, whether it's a cheap shot or an infinitely sophisticated play with a narrative cliché. The Pyramid at the End of the World (10x07) 3/5: Love is consent. The start and finish of the episode were successful, but what is in between is only mediocre. Sadly.

As expected, Sheridan presents himself as a significantly better screenwriter than a director. Even so, he is not ridiculous in his new role, he certainly does not spoil anything (he even delivers good performance), but surprisingly he cannot take full advantage of the possibilities that his own topic provides him with. And where it is more than obvious it´s the work with the environment. Where Villeneuve/Mackenzie (and I'd bet Sollima too) work with the sketched environment of arid depopulated plains as an integral part and reflection of the soul, almost the main character, so all the whining of the freezing wind, the crunching of snow under snowshoes and endless freezing distances do not fulfill this role to the extent that would be appropriate. In the beginning, they do (and in a captivating way), but it then it seems that he said to himself as if he has already given too much space to it, and in the second half he takes the ruthless landscape and its role for granted. And this is an unjustifiable mistake for a this kind of movie. Otherwise there is nothing to complain about. It's exactly the dense minimalist taciturn "McCarthy" supra-genre rough old-school contribution with an overlap building on the magnificently profiled characters that one would expect from Sheridan.

Excessive in terms of stylization, deliberate affectation, which more successfully than unsuccessfully tries to be funny using sophisticated socially biting absurd situational humor with sharp one-liner dialogs (and no, it's not as much a contradiction as it seems). By all accounts, it shouldn't work, but thanks to Tina Fey, the dialogs and the cast (led by the charming Ellie "Chica Hamburges" Kemper) it works despite all expectations. Perhaps sometimes even better Studio 30 Rock, which is more then just similar. The biggest difference between them is that the "boyish" character (and therefore the style of humor) à la Jack is missing. In any case, it is completely undeniable that this is a true "love it or hate it" movie. This is really not for everyone. | S1: 4/5 | S2: 3/5 |

It took fifteen years and required six attempts, but in the end they managed to turn Spider-Man into a successful movie. It's not Spider-man. It´s more like Iron Man Junior, but even this is enough. Sometimes Parker's high school fateful melodramatic adventures were more successful, other times Spidey's acrobatic moments. However, Waits manages both approaches by acting as two communicating vessels, which goes hand in hand with the fact that, for the first time ever, the Parker / Spidey duality does not act as two unrelated characters, but only as a Parker teenager without / with a ski hood over a face that he has much greater ambitions and ideals than he currently has the skills to do. Yet Spidey's best incarnation is still that by the Insomniacs. The only drawback is, sadly, the lengthy confusing final night action with zero room for Aunt May, the ignored spider's sense and the need to adjust it to "Avengers MCU". It's way too much highlighted and it's not needed (however Captain America's educational videos are worth some patience). Otherwise, Waits plays with the topic, it´s packed with imaginative details (à la difficulties outside the urban area), sidekick is not annoying, humor works, the villain does the job, his motivation is clear, Padawan (not) origin is well conceived and a there´s a nice relaxed approach like "we don't save the world and skyscrapers do not fall, but we can create a tense atmosphere of Mann's scope even from a meeting with a father before the prom".

Hockey Okresni prebor, which has an indisputable advantage over the related Vyšehrad in that it is not conceived only as a sketch nonsense with one-liners that starts to annoy you even before "Lavi puts his L shoes on", but as an absurdly serious TV series with a real story and development of characters. The potential is huge and the cast is a great match. The only thing that needs to be avoided is that screenplay is not threading as it tends to happen to him a lot.

Piglet Babe (in the form of the sow of all sows) is once again going to the city, in other words, it´s social-corporate criticism through the genre megamix with grinning stars accompanied by the Balkan brass band. By all logic, it shouldn't work, but Joon-ho Bong has proven several times that he can prevent inconsistency from becoming excessive. Although it naturally has a lot of "but", the result is always at least interesting and in the best cases, to which Okja also belongs, even excellent.

There is no point in looking for what Pixar movies of the last two decades used to be based on in their feature films, where all the playfulness and imaginativeness definitely freed up space for toys sales. They play it safe not, very safe. Fortunately, the good old Pixar can still be recognized in their short films. Loui lacks perhaps only a better graduated conclusion, otherwise it has everything: idea, playfulness, emotion and delivers lessons.

The outline of the first Cars is repeated hand in hand with the third and fourth Rocky and with allusion of Creed. In the first half it barely catches its breath (which is hard to handle especially for the teenagers), in the second (and especially in the final half hour) it finally catches it (and teenagers are sitting on the edge of their seats). Then the movie hits the pedal to the metal and finishes as solid "Toy merchandising" play it safe using breathtaking technical execution. Significantly sequels, slightly worse first movies have already proved many times that Pixar has lost its flair in its feature production and their factory is idling.

It is indisputable that Gal Gadot is bad at acting but... She has a Schwarzenegger-like Conan drive, when she transforms her non-acting and striking accent into kind of strength, when Diana's naivety (not to be confused with stupidity) seems authentic and cute. Yes, the opening part on the Amazon´s island could (and should) have been shorter. And the only thing that is really good about the digital mess ending is unlike today's standards at least short, coherent and does not last dozens of minutes. Nevertheless, not at all does it fit into the rest of the movie, it is purely Snyder style and unnecessarily devalues the otherwise well-conceived villain "It wasn´t me, I am only whining". That´s for the strengths and weaknesses. The rest is basically Doner's first Superman in the Xena fan version (why Lucy Lawless doesn´t play Diana's mother?); that is, unexpectedly conservative, perfectly balancing on the edge of relaxed squabble, Shestakov time and serious tone. With a minimum of action (which is a plus, but at least the one from the battlefront is amazing), thanks to that everything is focused on the characters and the soundtrack is simply excellent. That's why it's a surprisingly nice movie among all those mainstream popcorn comics movie.