Kaka

Halfway between Shaft and The Punisher. A well balanced dose of humour and rough action, and good chemistry between the protagonists. The second episode certainly doesn’t put the first one to shame.

What a crazy opening. The series' Reacher is far more physically faithful to the source material, and yet he's not nearly the plank-wielding colossus he seems in the first few minutes at the beginning. The creators manage to conjure up a solid atmosphere of a macho detective story, optimally balancing clever catchphrases with funny ones and spicing it up with good fights at the end. Carry on.

If the world of Batman that Christopher Nolan created didn't exist, Matt Reeves's The Batman would be a more than worthy upgrade to the old Burton films, because the main assets of the original films, i.e. the gothic sets, the dark atmosphere and the intense orchestral music, are solidly restored, modernised and upgraded for the contemporary viewer. However, the "higher scale" that Nolan imprinted on the main character with his unmistakable signature is not worked with here. So while you can check all the boxes in Batman Begins, the reboot is really just a convoluted, dark noir detective story with an interesting narrative and a number of well-written characters. But watching this 176-minute colossus, in which every other shot, gesture and look is 3 times longer than it should be (and yes, even the car chase is insanely long and unimaginative), is a real chore.

Elite Squad wants to shock and awe, but it lacks the better expressive devices, emotion and directorial virtuosity of the makers of City of God – which it so closely resembles at first glance with its volatile cinematography, raw tone and choppy editing. Unfortunately, the story is about nothing and the characters don't win you over one bit, after an hour you're actually just waiting for everyone to get shot in a shouted and eclectic jumble to keep the peace.

A cold and ultra-carefully shot crime procedural for demanding viewers who this time don’t need any major twists, but are rather content with being presented very small pieces that fit unobtrusively into a large mosaic.

The second season has a very similar concept and dynamics as the first. Likewise with its ills in the form of a few unnecessary episodes that only glue together the broader context of the story without any greater impact. Even so, it is a very careful procedural about a very interesting subject with several now perhaps iconic scenes (Manson). The ending tends to suggest that we'll see another season, but so far it doesn't look like it.

The final episode is good, brilliantly acted, ambiguous, seemingly incomplete. I suppose from a factual point of view it's a no-brainer, it wouldn't be Fincher and co. if it were to be otherwise, and there's a strong feeling that a lover of the genre has done their homework to a tee. Some of the story detours are not fully explained, some are not fully finished and concluded, but I would still like to go to the next season.

Average for Mindhunter, which for the genre is of course above-average. An important man is about to be caught and hopefully everything will finally fall into place.

At times a very peculiar unraveling of the Atlanta case. Rather than a tense and unsettling atmosphere, there is an emphasis on proper detective work. As a viewer experience, is a tad lower than the previous episodes.

Understandably, it fails to replicate the tension and breathtaking clash of two such different worlds as in the previous episode, but even so Mindhunter doesn't lack suspense past the halfway point, and there's no shortage of interesting developments surrounding another active killer, as well as the confrontation of personalities on the side of the law and the pulling of strings in political circles.