Michael Bay never deceives anyone: if you sit down to watch one of his films, you know exactly what to expect. Explosions, impossible chases, cheeky humor, and editing that never takes a breath. Here he pushes it to the limit right from the first sequence, a chase in Florence that feels endless and sets the tone for everything that follows. The plot is little more than an excuse to bring together six characters who operate outside the system, but the truth is the story matters less than the spectacle. Bay indulges in stylized violence, impossible shots, and that music-video aesthetic he loves so much. The result can get tiring at times, but it also ensures the pace never slows down. Ryan Reynolds is the film’s comedic anchor. He basically plays a variation of himself, with quick jokes and the attitude of a sarcastic antihero. Not all of his gags land, but he fits well into this over-the-top universe. The rest of the team does their job without standing out too much, though the group dynamic adds some fresh air to the story. This isn’t a film to look for coherence or depth. Its value lies in the overflowing energy and the excess of its proposal. It’s Bay at his most unrestrained, for better and worse. If you play along, it’s easy to have fun with his visual flourishes and with the scale of the action that only a Netflix blockbuster could afford. In the end, it’s a roller coaster that entertains while it lasts, though it’s unlikely to leave much of a mark once the credits roll. Those looking for pure escapism will find it; anyone expecting something else should probably stay away.

The Thursday Murder Club doesn’t try to reinvent the wheel, but it does offer a good time—and it works. The premise is simple: a group of retirees who spend their days solving mysteries and suddenly find themselves caught up in a real investigation. It may sound familiar, but it succeeds thanks to a lively script that blends humor, tenderness, and just the right amount of intrigue. What really holds the film together is its cast. Helen Mirren, Pierce Brosnan, Ben Kingsley, and Celia Imrie are clearly having fun, and that joy comes through in every scene. Their chemistry creates endearing moments, drawing smiles and making the audience feel part of the group. The mystery itself isn’t especially surprising or complex, but that doesn’t seem to be the point. What keeps you hooked is spending time with these characters, enjoying their conversations, and soaking up the warmth the story radiates. The British setting also adds to the appeal: it has that cozy, summer-novel vibe, with landscapes and atmospheres that make it easy to sink in. It may lack the sharpness of a pure thriller or the ambition of riskier projects, but it offers something more comforting and familiar in return. In the end, it’s a kind and charming film, perfect to enjoy in good company. It doesn’t aim to be more than it is, and perhaps that’s its greatest strength: a light mystery carried by a cast that knows exactly how to captivate its audience.

It’s sad to see how Liam Neeson, an actor who has given us remarkable performances and who once found his place in action films with titles like Taken, is now stuck in projects as unnecessary as Ice Road Vengeance. The first film was a modest piece of entertainment with a clear premise, but this sequel feels like it exists only to stretch out a story that never needed continuation. The script simply repeats familiar formulas without offering freshness or real tension. The characters lack depth, and the twists are predictable, turning the movie into a routine action exercise incapable of generating emotion. The supposed emotional core remains shallow and never sustains the drama it aims for. Visually, it just about does the job, with a few attempts at spectacle that ultimately feel soulless. There’s an effort to emulate big productions, but the result is closer to a made-for-TV movie. In the end, Ice Road Vengeance is a sequel with no real purpose. It isn’t a disaster, but it is forgettable, reinforcing the feeling that Neeson deserves projects worthy of his talent, not yet another title lost among an increasingly irrelevant filmography.

This John Wick spin-off works as a natural extension of the saga, though it gains its own identity thanks to the magnetic presence of Ana de Armas. The film leans on the same mix of impossible choreography, stylized violence, and atmospheric settings, but what stands out is the space it gives a female lead who not only holds her own but shines in every action sequence. From the very first scene, de Armas takes over the screen. Her physicality, controlled expressiveness, and ability to convey vulnerability without losing toughness make her instantly compelling. The script doesn’t reinvent the wheel —the revenge plot is straightforward and predictable— but she elevates even the most routine moments. Watching her wield weapons and dive into meticulously choreographed combat is pure spectacle. Alongside her, it’s a pleasure to see David Castaneda again, bringing freshness and chemistry to a universe usually dominated by solemnity. Len Wiseman’s direction may lack the refinement of Chad Stahelski’s work in the main saga, but it delivers strong visuals and relentless pacing. The elegance and inventiveness of the original films are missed, yet the movie compensates with energy. The weak points are clear: a forgettable villain and a script more concerned with fitting into the “Wick canon” than standing on its own. Still, when it focuses on what it does best —pure, creative, brutal action— the result is tremendously entertaining. Overall, Ballerina is a solid addition to the franchise. It doesn’t aim to reinvent the formula, but it proves the John Wick universe can expand beyond its original hero. With Ana de Armas driving the film, it delivers exactly what it promises: an intense, stylish action spectacle that keeps on dancing in the middle of chaos.

Wednesday achieves what few series can: it hooks you from the very first episode with a mix of dark humor, mystery, and a strong aesthetic. Tim Burton leaves his unmistakable mark on the direction, evident in the settings, atmosphere, and that macabre fairytale vibe that fits the character perfectly. The real strength of the series is, without a doubt, Jenna Ortega. Her portrayal of Wednesday Addams is magnetic: cold, sarcastic, and yet endearing. Every gesture and line of dialogue is carefully delivered, making the character feel authentic and connecting both with longtime Addams Family fans and a new generation. The beginning is the strongest part: fast-paced mystery and a story that balances the supernatural with teenage drama. It’s true that at times the script gets a little sidetracked with so many subplots, but overall the show holds interest with well-placed twists and secondary characters who add variety and freshness. The atmosphere is another highlight. Nevermore Academy is filled with visual details and gothic nods that create a world where the fantastic blends seamlessly with the everyday. Danny Elfman’s score also enhances the series with a dark yet playful identity that suits it perfectly. Not every episode is at the same level, and some narrative dips are noticeable. Still, the show recovers with memorable moments and undeniable charisma. The blend of sharp humor and suspense always makes you want to keep watching one more episode. In the end, Wednesday, across its two seasons, is a solid piece of entertainment with its own personality, led by a Jenna Ortega at her best. It doesn’t aim to reinvent the wheel but delivers a dark, fun, and confident show that more than justifies its popularity.