Sometimes you just need to see Tom Hardy grunting, bleeding and smashing everything in his path. Havoc doesn't pretend to reinvent anything. It's pure, hard-hitting genre cinema, where what matters is the impact of the punches, the camera work in the fights, and the atmosphere of decay that runs through the whole film. And in all of that, it delivers. The story is nothing we haven't seen before: an undercover cop in a drug-dealing hell, a child to rescue, a system rotten from top to bottom. But Gareth Evans knows how to make it engaging. The script works, the characters are believable within the genre, and above all, the production design is top-notch. Every corridor, apartment, and alley seems infected by violence and corruption. The action sequences are intense, brutal and never gratuitous. And Tom Hardy, of course, is perfect in this kind of role. He speaks little, acts with his body, and turns each scene into a test of resistance. You can feel the weight of each blow and each choice. It may not be a movie for everyone, but for fans of the genre and Evans’ cinema (The Raid, Gangs of London), it's a satisfying return. There are excesses, yes, and some narrative wandering, but everything fits thanks to direction that is sharp and confident. It's one of the best action films of the year so far.

I really loved Captain Marvel. From the very beginning, it’s clear that Carol Danvers isn’t just powerful — she’s charismatic, determined, and has a personal journey that pulls you in. But honestly, the one who steals the show is Goose. What a fantastic creature. Every scene with him adds humor, surprise, and a touch of magic. Brie Larson is excellent. She gives the character a great balance of strength and vulnerability, perfectly matching the tone of the film. She doesn’t try to imitate any other MCU hero — she creates her own path with confidence. Some say the movie plays it safe, but it actually does what many fail to do: carve out its own identity within the Marvel universe. The '90s setting is a smart choice. Not just for the nostalgia and music, but because it gives the story a grounded, fresh feel. Her dynamic with Nick Fury (Samuel L. Jackson) is another highlight and brings a lot of charm to the story. Visually, it delivers. The action is well paced, the effects are solid, and the direction stays focused. It may not reinvent the genre, but it doesn’t need to. It’s fun, clear in its message, and never feels forced.

It took over a decade, but Black Widow finally got her solo film. And while it comes late, it more than makes up for the delay. This isn’t just another Marvel action spectacle — it’s an emotional, intimate, and worthy send-off for one of the MCU’s most beloved characters. Scarlett Johansson bids farewell to Natasha Romanoff with a grounded, nuanced performance that brings real humanity to the role. The film focuses less on superpowers and more on trauma, found family, and the weight of past choices. There’s smart humor, tight spy-style action, and strong chemistry — especially between Johansson and Florence Pugh, who steals nearly every scene she’s in. Director Cate Shortland keeps the pacing sharp, mixing chase sequences with quieter, emotionally charged moments. Sure, some visuals could be better polished, and a few plot beats feel familiar, but when the story focuses on what matters — giving Natasha a voice and purpose — it really shines. What’s refreshing is that the film doesn’t exist just to set up the next Marvel arc. Black Widow stands on its own as a story about identity, freedom, and redemption. It might not be flawless, but it has something a lot of recent MCU entries lack: heart.

Some movies don’t even try to be believable, and Heads of State is exactly that kind of film: a wildly exaggerated action comedy that doesn’t take itself seriously for a single second. And somehow, in all its chaos, it manages to do what it sets out to do — entertain. John Cena and Idris Elba have decent chemistry, even if the script doesn’t always give them the best material. Still, you can tell they’re having fun, and that energy carries through. The plot is nonsensical, but that’s part of the charm. What matters here are the over-the-top chases, loud shootouts, and situations that feel like a parody of a spy thriller. It’s occasionally funny, sometimes dull, but never really boring. The pacing helps, and while the direction isn’t anything special, it does the job. Sure, some jokes feel like they were written on autopilot, but if you go along with the tone, it’s an easy watch. That said, don’t expect substance. Heads of State is all noise, charm, and chaos. A predictable, cliché-filled story that somehow stays afloat thanks to the charisma of its leads and its shameless delivery. It’s the kind of movie you put on when all you want is popcorn, nonsense, and a couple of explosions.

It’s not perfect. It doesn’t reach the magic of Raiders of the Lost Ark, the heart of The Last Crusade, or even the dark charm of Temple of Doom. But Indiana Jones and the Dial of Destiny achieves something truly difficult: saying goodbye to one of the most iconic adventure characters in cinema with respect, emotion, and, above all, pure entertainment. Harrison Ford, now in his 80s, still has strength, charisma, and that unique blend of clumsiness and brilliance that always defined Indy. You can tell he’s older, of course, but that also makes him feel more human. And it fits: this story isn’t just about magical gadgets and wild chases — at its core, it’s about time passing, loss, and learning to let go. James Mangold keeps the film steady, with an energetic start and a pace that holds up for a good while. The action mostly works, though some scenes in the second half feel a bit off, weighed down by too much CGI. John Williams’ music is still a joy, even if the classic themes are used more sparingly this time. What truly stands out is how the ending ties everything together. It’s not just a narrative conclusion — it’s a tribute to the character, to the journey, and to Ford himself. The final scenes are moving not because of what they show, but because of what they mean, especially to those who’ve grown up with the saga. This may not be the ultimate Indiana Jones film, but it’s a worthy send-off. It doesn’t break new ground, and it doesn’t need to. It gives us exactly what we hoped for: classic-style adventure, heartfelt nods to the past, and a tired hero who still knows how to stand up and fight for what matters.