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An okay series with Lara Croft, but nothing that really grabbed me or sparked any strong emotions. To be fair, I’m not a huge expert on Lara Croft or the Tomb Raider games. I played a few of the older ones when I was younger, and they were fun, but nothing I felt the need to finish. Same goes for the newer trilogy—I played a bit at a friend’s place, enjoyed it, but didn’t feel hooked. And the live-action films? They were decent, though the main thing I remember is how sexy Angelina Jolie was as Lara. So, I’m coming at this as someone who knows the basics: Lara’s adventures are about parkour, puzzles, tombs, temples, ancient treasures, a bow, and her iconic dual pistols. And yeah, all that’s here. But whether it was the slow pacing or the simple story, I just kind of coasted through it. Something tells me in a year or two, I won’t have much to say about this series, or even remember this version of Lara all that well. The other issue is that the series feels like a continuation of something—maybe a game or a movie (which I barely remember either). It left me feeling a bit out of the loop. The struggles Lara faced didn’t really resonate with me. The story itself was solid, with plenty of myths, treasures, chase scenes, and a decent villain—plus that fun bit of "pseudo-history" in the style of Indiana Jones. But at no point did I actually fear for Lara’s safety, especially when she’s wielding a knife that defies physics and can stab into stone. The animation didn’t fully win me over either. It’s a mix of Japanese anime and traditional American style, like Kim Possible, but with a modern twist. While it’s not bad to look at, there’s room for improvement. Some scenes, like Lara sliding down a cliff, felt off, and the fight scenes weren’t always fluid, with some odd cuts here and there. Overall, I’d give the visuals—and the series—a 6/10. It’s decent, but definitely not the first thing that comes to mind when I think of Lara Croft.

A delicacy not only for players. Martin Scorsese scores, shoots with imagination, picks up the pace and masterfully leads Paul Newman back to the pool table. The irresistible Mary Elizabeth Mastrantonio is charming, but Tom Cruise oscillates between naive, whiny and pompous douchebag a little too vehemently and spoils it a bit. Amazing atmosphere, great music.

Renowned plastic surgeon P. Reynolds has the perfect plan to get his hands on an estate that his late father left not to him, but to his daughter Heather – and five million dollars was certainly no small sum. So when he stumbles upon a girl who has nearly lost her face, he decides to make her a double for his daughter. He then tries to convince her to impersonate Heather and split the inheritance with him. Unfortunately, the real Heather unexpectedly appears on the scene. But Reynolds has a plan, and he's confident that he can pull it off. A solid thriller, I was just a little lost at times as to which of the girls was the real one, but thankfully it was always short lived. Reynolds is the epitome of a villain, taking out anyone who gets in his way. There's not much blood, but the skin removal for plastic surgery looks pretty plausible. Nice cinematography, good music. 3.5 stars.

A moralistic horror film where the price of sin high. A medieval view of man who should suffer on earth to find peace after death. The premise is unoriginal, but that was the least that bothered me. At times almost surreal, the film interweaves dreams, hallucinations and reality to the point where you get lost at times. But the visuals are perhaps the best thing about the film together with the attempt at dark atmosphere. It will also remind you of films especially from the 1970s from Italy, Spain and England. Seemingly abandoned stone houses bathed in sunlight, incredibly blue skies, a strange silence and nobody anywhere. If the inhabitants do appear, they are silent and their faces gradually turn into ghastly grins. Indeed, the members of the family also gradually change, with sores appearing on their fading skin. When the smallest family member goes missing, panic breaks out among the others. I was not offended by this mediocre film, but I will never watch it again.

Stanislav Strnad's game with time linearity surpasses Nolan's virtuosity, the ratio of intended to unintended humor is about 2:3, and the excited viewer holds their breath in tension, wondering if comrade physical education chief Mrkvička can handle all the twists and turns despite caring for foreign bodies and upbringing. The regressive disruptive element Rous, who showed little willingness to exercise for peace and socialism, was ultimately tamed, empathetic officers spread love, and the group in white shorts barely containing their assets performed excellently. I cried stones of happiness.

Mr. Bee goes on a retro rally... In the first action minutes, I wanted to stuff sausages into Travis Knight's exhaust, as it had a touch of Bay's megalomaniacal autoerotica. However, the Spielbergian shape it later took was charmingly friendly to an audience that has had its nostalgia strings stretched for decades. While the stunt performers deserve recognition for fulfilling the challenging task of making Bee look like a cute blue-eyed buddy who expresses more emotions than Johnny Five, I can't say the same for John Cena. I kept expecting him to transform into a blocky wood chipper.

A miserable herpetological farce that wisely keeps its main hissing attraction hidden for a long time, showing it only in flashes. However, with the arrival of Pat Morita, you'll just wish he would apply and spread wax in your eyes so you wouldn't have to witness any more of the unfolding events. But what does it matter? The last fifteen minutes will burn it into your memory anyway, because when the doctor attacks the snake with a two-legged karate kick, even Sensei Miyagi is staring in disbelief. Cobrattle Snake Sucks!

Moffat goes in a Sorkin mode of "everybody is constantly moving around the workplace while babbling incessantly". The problem is he works with the material in much the same vein other shows and films do, and some very well. The core of it makes for a very solid intimate ninety-minute play, except that it's nearly twice that and filled with unnecessary characters. Not one (and there are; the agent, the joker, the driver with ambitions, the assistant) works though. They are all annoying, and the serious theme is dealt with by a central quartet of serious characters, but around them are just sort of funny period-reflecting caricatures that are straight out of a post-pilot episode of a cancelled sitcom. Three dopey episodes that stand and fall on a final standout where it goes in an escalated "we tell ourselves the truth bluntly" mode. And there is another problem, much of it hinges on Karen Gillan's performance, she has the ditziness and unapproachability, but not the range needed to play complex emotions only with her gaze without overacting or tears. By contrast,Hugh Bonneville is unqualified in the role torn between two women, where he has to be a a bland good uncle with no opinion for the public.

The Dutch and Belgians came up with a very strong coffee. They have made a film that will make you uncomfortable!! Here we have another film on the theme of the failure of the system, where a young boy ends up in a correctional facility and in flashbacks we see the terror he experienced at home because his parents were the epitome of evil. His father was a junkie and a first-class asshole and his mother was a hooker and an unbelievable bitch, this will blow your mind like never before! Unfortunately, the boy won't get a break even in the correctional facility, because bullying awaits him there as well. A tough film that isn't afraid of explicit scenes. The whole thing leads to an intense and shocking climax that will make your chin drop. A heavy psychological load, weaker characters will definitely not feel good and parents will not feel good at all. 8/10.

A film that is much better shot than written and that surprises you the less you know about it. It may be another Shyamalan homage to the classics, but it feels fresh and original.

Not much has changed since the first season—still super short and often a bit too random. But as a warm-up for the upcoming second season of the main Hanako-kun series, it does the job. I smiled here and there, I wasn't bored—overall, it was okay. 6/10

The latest adaptation of the Boston Strangler serial killer case from the early '60s is remarkable primarily because its main character is the legendary journalist Loretta McLaughlin (1928-2018). Keira Knightley captures all the attention and reshapes the traditional perspective on a case that was never satisfactorily resolved. This has made it a compelling subject in the world of true crime. Hulu's production is very good and could definitely hold up in movie theater distribution.

You know what's best about the future? That there's not gonna be a sequel to this crap. The most pointless movie I've seen in a long time. Bad visual effects, terrible acting, ugly and cluttered action, and a really really stupid script. Dakota Johnson staggers from scene to scene, mumbling something about heart massage (very bad) and the future. The three future spider-women are left with no powers, and imagining Miles Morales in a black costume is going to be a problem when here he looks like the main villain. P.S: Uncle Ben gets to be an uncle and that's about the only thing interesting here.

A minimalist post-apocalyptic story is about love. Of course, it's about romantic love (in the true sense of the word), so it's clear how it will probably end. The interesting idea is firstly with the plant zombies, something I don’t think I’ve seen before, and then with the character of Ethan, who is trying to get his bearings over and over again due to his constant seizures and lapses into nothingness as his memory lapses get bigger and bigger; yet he tries relentlessly to find Emma, the friend he would lay down his life for. When he comes across an elderly woman, Mae (a great Carrie-Anne Moss), he tries to convince her to help him in his search. What awaits at the end is not what the viewer expects. Although the story is rather intimate, there is no shortage of suspense, a fight for life, gory set pieces and excellent zombies. While I am pleased, I would recommend the film to more of a minority audience. Those looking for constant action and hordes of hungry undead will be disappointed, because that's not really what this film is about. Once again, Canada did not disappoint me.

A ghostly horror film with nice visuals (the views from the fireplace have depth, even if it is cliché), and solid music. An atmospheric affair with some suspenseful scenes as it builds towards the conclusion. Ruth Bennett and her niece Sara move into the house of a recently deceased aunt. But the house hides a dark secret and two restless ghosts from two hundred years ago. The ghosts enter Sara's life, as well as that of her neighbor Pat, who, along with young Stan, helps them unravel the mystery. Gradually, they all find themselves in mortal danger. Very good performances, Barbara Stanwyck is likeable and Kitty Winn portrays Sara very convincingly in the moments when she is possessed by a ghost. Anyway, this is an older film that breathes romantic England with its ghosts and haunted houses, but nowadays it’s more suitable for genre fans and collectors.

An enjoyable zombie horror drama that didn't entice me at first, but it has a fairly decent 59% rating (we all know how horror movies have it harder), so I gave it a shot and ended up satisfied. A young man suffers from amnesia in the middle of a zombie apocalypse and is looking for his girlfriend. It's pretty minimalistic, without many characters or zombies flashing by, but when the zombies do show up, it looks perfect. It has a The Last of Us vibe, there are some surprises, it's entertaining and suspenseful (though the gore is missing), so all in all a very enjoyable zombie one-off that shouldn't offend. 65%

A recap/extraction of memorable moments from the first four movies with Ripley with the conclusion of Prometheus. The art design is very analogue seventies, giving it a “Scott-vibe”, handled in otherwise top-notch visuals and sound-design. Aside from solid direction and a few extra proficient ideas, however, Alien: Romulus is by no means groundbreaking and doesn't really offer anything new. It's a kind of a reboot for the younger generation, nothing more, nothing less.

A successful comedy that perhaps could have been bloodier, though the finale tries to be. I laughed my heart out a few times, but I have a problem with the main character being a jerk. It only sniffed at horror, perhaps through the killing and blood, with at least the second half did offer a glimpse into gothic horror. Drawing a pentagram with human blood, but no demon, hence perhaps Satan? Too bad. The actress that plays Kitty was a proper vamp, which cannot be said of Lulu. Perhaps that's why their characters were so different. I was most amused by the ice cube scene. OK for one viewing.

Spies on steroids. Everything that made the first season great is either on the same level or even a little better this time. Again, balanced dynamics, compelling characters and fantastically clear and naturally constructed twists and key moments. In addition, the second season has a couple of action passages that bring a proper escalation of the plot.

The return of the clown is first and foremost the return of gore, which a certain group of fans has certainly been eagerly awaiting. Compared to the second film, the story of the demonic mime has shifted a bit further into splatter comedy, bringing to mind not only Freddy, but also the serious and taciturn Michael Myers and the killer from Scream. Incidentally, the whole film is 80s through the visuals, which I applaud, and that's why we find all the basic attributes of horror films of the time, except perhaps nudity and sex, which were very sparingly handled. The work with the chainsaw work was a bright exception, and there was the added bonus of guts coming out in all their glory. The window in the attic is a reminder of The Amityville Horror, the knock on the door a reminder of The Shining, and two scenes feature music all too similar to Carpenter's from Halloween. On the one hand, I liked that the foundation is a solid story, but on the other hand, if it weren't for the murders, this would be a very bland affair. The hatchet and the saw certainly did their job...