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.

The Old Guard 2 arrives as a direct continuation that tries to expand the universe of the original, but stumbles more than it should. The story maintains a serious and reflective tone, but feels less inspired, more muddled, and filled with scenes that drag rather than push the plot forward. It's not a bad movie, but the excitement sparked by the first film is diluted here, the victim of a narrative that never truly takes off. The cast remains one of its strongest assets. Charlize Theron commands the screen, and the addition of big names like Thurman or Henry Golding looked promising. Yet the script doesn't give them enough to do. Characters come and go without impact, relationships feel underdeveloped, and conflicts are barely sketched out. Action scenes, while competent, fall short of the first installment. There’s a lack of tension and creativity. Even the mountain chase—one of the few adrenaline highs—feels isolated in a film that moves on autopilot. The overly solemn tone and absence of humor make the film more self-important than it should be, missing a chance to be lighter and more enjoyable. There are some interesting ideas about time, the loneliness of immortality, and accumulated guilt, but they get lost in underwhelming subplots and clunky editing. Everything feels done with technical precision, but without soul. As if the filmmakers felt obliged to continue—but without knowing exactly why. In short, The Old Guard 2 doesn’t insult the audience’s intelligence, but neither does it win them over. Entertaining in parts, but uneven and forgettable. A sequel that makes you appreciate the first one more—and question whether a third is even needed.

The Old Guard delivers on its promise as a modern action film with an emotional edge. It’s well-paced, entertaining, and Charlize Theron carries the weight of the story with strength and conviction. The main team is well-defined, with interesting dynamics and a genuine sense of camaraderie. The idea of eternal warriors questioning their purpose adds a thoughtful layer rarely explored in this genre. However, it never quite takes off. The film could use a bit more levity to balance out the heavy existential tone. Its seriousness sometimes works against it. The villain, Merrick, feels flat and nearly cartoonish, which weakens the stakes in the final stretch. Some secondary characters are underdeveloped, and certain subplots don’t add much. That said, the action scenes are well executed. They’re not groundbreaking, but they’re carefully crafted and, in some moments, elegantly choreographed. The camera work favors fluid motion over flashy tricks, which is refreshing in an era of digital overload. The film also shows a clear intent to build a coherent universe with room for sequels. It’s no masterpiece, but it’s no disappointment either. With a balance of entertainment, restrained emotion, and sincere effort, it stands above average in Netflix’s action catalog. Enjoyable, but you’re left wondering what it could have been with a sharper villain and a touch more humor.