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The ambitions of the main group, i.e., the director, screenwriters, and above all Nicole Kidman, were not exactly small, but I'm afraid that the viewer will only take away a memory of the actress's torn face, who has always been considered a sexy symbol of Hollywood and has no problem enhancing her appearance with the help of plastic surgeons. Here, in the interest of the role, she transformed into a human wreckage permanently soaked in alcohol and presumably supplied with some amphetamines. Destroyer is not a good film, as Karyn Kusama is only a very average director, who sinks the story by focusing on emotional sentiment and attempting a psychological delve into the characters' inner selves, for which she and ultimately the screenwriters do not have the strength. She put the final nail in the coffin of her project with her reluctance to edit. This film should have been at least, I emphasize at least, 20 minutes shorter. Overall impression: 55%.

When the screenwriter miraculously revives a dead character from the past and when you start to feel a certain repetitiveness and fatigue in the endless bloody shootouts between rival gangs in Naples, combined with the feeling that the number of dead is approaching Syrian civil war battles, it occurs to you that it may be time to end the series. Though it still works to some extent. The harsh and tough soundtrack, guys who just need to give you a fierce look to make you drop your wallet and run away in despair, charismatic villains with whom you experienced their victories and defeats in previous seasons. But in the fifth season, the approach of the screenwriter changed, maybe due to fatigue from the subject matter. He started playing strangely with his characters and it no longer adheres to elementary logic. Strange conflicts that make no sense, go against the interests of the actors, deny their psychological profile, and ultimately even the development in previous seasons. It was fine, but it's good to end on the highest note, and the fifth season falls a bit short. Overall impression: 65%.

Very civil and moderate. It's a series that doesn't rush and focuses on the work of the investigative team. The perpetrator of the crime, who wanted to demonstrate his power and invincibility with his act, and thus secure media attention, remains permanently absent. Although the head of the murder department, Jens, has the largest role, the scriptwriter and director-in-one, Tobias Lindholm, focuses on the entire team and the main aspect of his project is the sophisticated, well-functioning, and financially well-oiled system. The criminal was not defeated by a brilliant detective, but by machinery that was willing and capable of systematically searching extensive areas of the seabed for endless months, and involving top scientists from various fields in the investigation. Improvisation has no place in this Danish series. Here, methodicalness and perseverance reign. I would like to give The Investigation a higher rating, but there is one big "but." Lindholm indeed doesn't rush but you may find yourself somewhat bothered at times by the long shots, silences, and pauses, which are supposed to indicate that the protagonists are thinking or that the investigation has reached a dead end. And I say this as a viewer who usually doesn't have a problem with a slow pace. In any case, Lindholm's series represents a counterbalance to the effect-oriented dynamic crime series, and that must be taken into account. Overall impression: 65%.

Other than the three or four WTF moments associated with the activities of Alex's father, who could easily be cast in a Hollywood action blockbuster (twenty such individuals would probably save the Swedish army some work and stop a foreign invasion), I'm giving the film a strong review after careful consideration. It has an undeniable atmosphere, works with a realistic scenario of the origin of a war conflict in 21st-century European space, and does not lack in its production design. It cunningly doses information, starting from the description of everyday work and human relationships, through disturbing hints of an unknown threat, to eventually turning into a hectic fight for life. It also has quality cinematography and a suggestive dark soundtrack. The director knows what he wants and how to achieve it. True, the father is a paranoid lunatic (the film ultimately proves that being paranoid doesn't mean that they are not after you) and the son is a self-conscious introvert, but at first glance, the main characters, who are hard to accept, do not bother me. Mainstream commercial filmmaking would, of course, work with protagonists that you easily identify with and fall in love with, but this film's bet on outsiders only accentuates the audacity and unpredictability of Danel's film. However, I do have one thing to say about the end of the film. World cinema usually deals with similar simulations of conflicts in the style of: on Friday, we were attacked and beaten up, on Saturday, we repelled the blow and paid off our losses with interest, only to hastily restore electricity, revive television broadcasting, and in the evening sit down to watch our favorite soap opera. But in this film, it wouldn't work, and it would only mark the beginning of a very dark and bloody period. Overall impression: 85%.

In prehistoric times, when I was a boy reading Anderson's "Annals of the Time Patrol," I wondered how difficult it is to write (or shoot) sci-fi with time travel themes and not fall into the trap of a time paradox that has the ability to turn the story into an absurd farce. However, the problem of a time paradox is not what makes Looper unbearable in my eyes. Johnson's film is a typical summer blockbuster, which doesn't worry about illogical slip-ups in the script or rushed and bizarre relationship building. It offers potentially interesting themes, but it processes them or barely touches on them in a superficial way. The directing is routine and so is Bruce Willis' performance, which functions as a worn-out template for action heroes. Twelve Monkeys once proved that it is possible to create a smart, cultivated, and entertaining genre film about such a difficult-to-grasp phenomenon as time travel. In comparison to Gilliam's film, Looper is quite a bit worse. Overall impression: 40%.

An engaging, incredibly intense film filled with emotions and energy, and the most interesting premiere of 2021 for me. A luxurious dessert served by a team of British actors led by Stephen Graham. His performance in Boiling Point and his role as a prison guard in the miniseries Time made me consider placing him among my favorite creators. During one hectic evening, the long-standing personal crisis of the chef and restaurant owner culminates, and things start happening... Philip Barantini, without much directorial experience and with a modest budget, managed to shoot a great action film in the space of a restaurant, in which I couldn't find any significant weaknesses. However, if I had to highlight something besides the acting, it would definitely be Lewis's brilliant cinematography; 90 minutes in one shot is not something you see every day. I wish all film enthusiasts Bon Appétit while watching Boiling Point. Overall impression: 90%.

It's not smarter than the previous parts in the series, just more talkative. It's not even fun. The story has disappeared, and the development of Katniss and Peeta's relationship, which held the first and second parts above water, is sidelined. I've never been a fan of Panem's world, and I really don't have anything to lean on here. Overall impression: 25%. It seems to me that the whole series mentally corresponds to the world of 12-16-year-old teenagers, and it is questionable whether this stretched filler can satisfy them...

The continuation of Hunger Games has enjoyed much greater viewer favor, but my impression is exactly the opposite. Among the positives, I can include more reasonable editing and a larger budget, which was not just consumed by Jennifer Lawrence's and other participants' higher fees, but also contributed to better (more bombastic) effects. However, that is where the list of positives ends. The second installment needed to further explore the world of Panem and honestly, it only revealed greater shallowness and, I dare to say, stupidity. Creating dystopias that could be taken seriously was never Hollywood's strong suit, and here, given the target audience, the effort was not significant. The story does not bother with logic, and the dialogue seems even dumber than in the first film. President Snow, who was supposed to embody sophisticated all-powerful evil, instead appears as a stubborn old man in the early stages of senility, who adds fuel to the fire with primitive violence and demonstrations of tyranny, where he should manipulate and corrupt through intrigues, cooling down passions. Apart from Philip Seymour Hoffman, nothing really interested me about the second installment. Overall impression: 35%.

The Hunger Games, or dystopia for teenagers, utilizes the concept of fighting in an arena, which has been used many times in literature and film. You shouldn't expect any deeper psychology or convincing portrayal of society, but who would expect that from a Hollywood production of this kind anyway? The level of violence is adjusted to the target audience, so anyone expecting uncompromising, gritty action will inevitably be disappointed. However, considering the target segment of the audience, the film works decently on an emotional level, skillfully playing with sentiment, and the relationship triangle between the adolescent protagonists is relatively solid. The cast greatly helps the film, with young stars led by the charismatic Jennifer Lawrence delivering their performances reliably. On the other hand, the depiction of the social elite from the Capitol feels cliché, resembling an unwanted parody of American television show business mixed with a drug-induced trip by a film costume designer. Although I am far from being the target audience, I would probably lean towards giving the film 3 stars, if it weren't for the chaotic editing that significantly drags down the film, especially in the more action-packed scenes. Overall impression: 45%.

Sophie Marceau is undoubtedly a charming woman with an extraordinary amount of personal charm. She represents the type of actress who only needs to flash a fleeting smile or cheekily wink an eye and the audience is on her side. However, in the case of Marquise, that is far from enough. The story presents tiresome costume boredom, where the only value, besides the presence of Sophie and a few other famous names from French cinema in the 90s, is the generously conceived set starting with the costumes and ending with the spaces of the Versailles castle complex. The film failed due to its dramatic incapability, it doesn't work as a story, and its characters are also dysfunctional. That's strange, as the screenplay was a team effort, and yet it became the project's Achilles' heel. Overall impression: 35%.