Kaka

It has potential, a dense atmosphere, a smart script at least in the first half, and a good job with the narration of the plot. Unfortunately, it's dragged down to average by the not-quite-grasped second half and especially by the fatally inadequate work with the supporting characters, played by otherwise excellent actors (Bernthal, D’Onofrio, Davis), who don't have much to do because they didn't write very good/interesting/important roles for them. The Unforgivable is a film about one person: Sandra Bullock, who is fantastic.

The nineties in the style of Ed Wood, shot through the lens of classic oldies films, with arty black and white monster interludes. A solid biopic of a master of horror. A tribute to his art, his contribution to cinema and at the same time a tangible story about a man of flesh and blood, about how he drew inspiration and about his sexuality. The masterful McKellen, of course, dominates. The script abounds with solid drama and emotional impact, but does not avoid a number of dead spots and unnecessarily dragging moments.

Several groups of dimwits chase each other for two hours in an attempt to steal money, drugs and guns in a Tarantino-like gangster film with (attempts at) typically English humour. The full-blown finale is satisfying, but the rest not so much. The forefather of most cheesy indie underground gangster films – so I can understand the high ratings out of sentiment and pioneering, but the bottom line is that it's a total (un)funny mess. That’s it.

A less depressing and daunting alternative to Buried, where Mélanie Laurent's voice and gestures are similarly important, as is the velvety talking "robot" voiced by Mathieu Amalric. It's nothing revolutionary, but for a film that takes place in a few square meters, it manages to keep the viewer's attention throughout and the last few minutes will delight the eyes and ears of many a sci-fi fan.

A timeless relationship drama whose ideas and expressions transcend all generations. Minimum space, maximum acting, brilliant script and unusually dynamic direction for the time. A retro version of Marriage Story, where mobile phones and computers may be missing, but the main idea and relationship problems are portrayed brilliantly.

The third season goes exactly in the spirit of the main character: there’s not much action, it’s rather tactics and smart talk. The important thing is to have a low profile if possible and to move the pieces smartly on the chessboard. After the demon Escobar, the handsome Felix and the gentlemen businessmen of Cali, this is another story of a narco-baron who was probably the most civil and sensible of them all, and the results were linked to that. Rather than spectacular action, the third season focuses primarily on the political scene and the ensuing police investigation, but it also reconstructs the journalistic work in meticulous detail, and it is not afraid to insert a minor dirty cop looking for a mass murderer of women into the background of the story. Paradoxically, I found this one the most raw and authentic, and it was brilliantly acted. As a whole, of course, traditionally gripping, entertaining, and cheeky; just as we like it.

Probably the first final installment of all the Narcos series that wasn't interrupted by shootouts and showdowns. The story of Fuentes is simply a little different, just like its protagonist. Enjoyable catharsis for most of the main characters. A functional, clever conclusion to another excellent series. What will follow it? Chapito?

Amado, at least in the Narcos series, was the only one who got it. Quitting while you are ahead is not the same as quitting. An attempt at one last chess game that is staged and played to perfection. Gripping to the last second.

Still a high standard, with interesting characters, slowly building up to the grand finale, but the middle episodes don't really offer anything spectacular. Just very good workmanship with more or less suspenseful few important moments, and a little bit of history here and there.

The only memorable scene after two days is the one where the young ambitious journalist goes to her car, it’s brilliantly acted and can make you vibrate. The rest is the usual: stakeouts, chases. Technically precise, artistically accurate, yet pretty much the same and repetitive.