There’s something deeply authentic about Friday Night Lights. It’s not just about a football team — it’s about an entire town pouring its hopes into kids barely out of adolescence. The film captures it with rawness, without artificial heroism or grand speeches, and that’s what makes it stand out. I know firsthand what it feels like in a high school locker room — the obsession with reaching the state final, the fear of failing when your whole identity revolves around the sport. That’s why it hit me hard to see Buddy left with no future after an injury. Because when people only value you for what you do on the field, the blow is deeper than just physical. Peter Berg’s direction is direct, with a camera that puts you inside every tackle and every lost stare. Billy Bob Thornton’s performance is restrained and believable, just like a coach who teaches not only plays, but also how to deal with failure. I’m giving it a 7 because, although it doesn’t go too deep into some characters, it does convey the essentials: the pressure, the environment, and what it means when football isn’t just a game — it’s a way out, a burden, and sometimes, a mistake.

I knew I wasn't about to watch a masterpiece, but I didn’t expect something this disastrous. Monster Hunter fails on almost every level. As a fan of the video game, the least you want is a well-done nod or an atmosphere that feels familiar. But no. The film is just noise, explosions, monsters that barely convey anything, and characters you don’t care about. Not even Milla Jovovich can save this, and I usually have a soft spot for her physical commitment in this kind of film. The script is a collection of scenes that don’t connect, with a storyline that feels like it was scribbled on a napkin. Paul W.S. Anderson’s direction goes all in on non-stop action—but without rhythm, without soul, without emotion. Some of the creatures look interesting, sure, but the whole thing is so boring that it’s hard to stay engaged beyond the first act. I struggle to understand how so much material can be so poorly used. And it’s not a matter of budget or actors—it’s just that there’s not a single good idea behind it. It all feels rushed and lifeless. A film made to meet a quota, not to entertain or pay tribute to anything. I give it a 3/10 because, in spite of everything, Anderson has done better in the past and a couple of scenes are decently shot. But this is a tiring mess. The kind that not even popcorn can save.

Annihilation had a lot going for it: Natalie Portman, a solid cast, careful aesthetics, and a disturbing sci-fi premise. But the truth is that the film ends up halfway between cerebral cinema and spectacle, without truly excelling in either. I had a hard time staying interested. More than once I was tempted to turn it off, but I held on out of respect for the core idea… and to be able to give a proper opinion. The script, which promised a fascinating exploration of change, identity, and the unknown, ends up dissolving into long scenes that go nowhere, characters who barely connect, and a pace that invites more sleep than thought. Yes, there are visually powerful moments, but beautiful images are not enough if the story doesn't flow. And here, at times, it feels like it doesn’t even move forward. I don’t blame the cast, who do what they can, especially Portman, always reliable. But Garland’s direction, which I found precise and suggestive in Ex Machina, comes across here as cold, even pretentious. He seems more interested in metaphors than in building something that truly moves or intrigues. I give it a 6 out of respect for the genre, its performers, and some ideas that deserved a better fate. But if this film has become a benchmark for many, I honestly don’t share that view. For me, it’s one of those titles that get hyped by their packaging, but deflate when you actually watch them.

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.