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It seemed like the idea of one lawless night a year had already run its course. But this installment takes things further and presents an even more unsettling scenario: what if the purge didn't stop when the siren blares? With that premise, the film opens the door to unchecked chaos and delivers a much more brutal portrait of American society, especially its structural racism, fear of outsiders, and hate-driven discourse.

There's no room for subtlety here. From the first scene, the message is clear: this is about rising xenophobia, fanatical nationalism, and a broken system. The script may not be brilliant, and many characters feel more like symbols than real people, but some sequences hit hard and make you uncomfortable. The tension is constant, even if uneven.

Visually, it leaves the usual urban setting and leans into a dusty, almost western-like landscape. At times it feels like Mad Max, other times like a rural dystopia full of raw violence. Everardo Gout's direction keeps the pace high. While some scenes are predictable, others surprise with their political edge and brutality.

This might not be the best in the franchise, but it's one of the most direct in its messaging. There's no more satirical veil: everything is blunt, explicit, and intentionally provocative. That can feel heavy-handed, but it's also what gives this film something to say beyond blood and bullets.

"The Forever Purge" doesn't break new ground formally, but it leaves a lasting impression. When it ends, what stays with you isn't the noise-it's the question: what if this isn't fiction? In the end, the scariest thing isn't the violence... it's the applause it gets.

Despite receiving criticism for straying from the classic tone of the franchise, Star Trek: Discovery has managed to achieve something few series can: reinventing itself season after season without losing its essence. Instead of clinging to nostalgia, it boldly pushes forward - in both time and narrative - with a courageous focus on action, suspense, and a more war-driven atmosphere than other Trek entries. And for me, it really works.

One of its strengths lies in its pacing. Discovery doesn't dawdle. It gets straight to the point. Storylines kick off quickly, there's tension, movement, and a constant sense of urgency that feels more like Picard than Voyager or Deep Space Nine. Everything happens on the edge - characters don't hold back, they take risks, they hesitate, they mess up... and that makes them real.

Sure, there are episodes that get carried away and moments where some secondary characters feel underdeveloped. But when the show hits its stride, it really hits hard. The visuals are stunning, the sound design is sharp, and there are scenes that-on a good screen-completely pull you in.

Michael Burnham, played by Sonequa Martin-Green, is the soul of the series. She's grown a lot since the beginning. At first, she was hard to connect with, but over time she's become someone relatable: contradictory, vulnerable at times, but always driven. She's not flawless - and that's exactly why she works.

All in all, Discovery has been, for me, one of the most compelling entries in the modern Star Trek universe. I get why purists might be put off, but that's precisely what gives it value: it dares. Instead of repeating formulas, it explores. And in the end, that's what Star Trek has always been - an invitation to go beyond.

It has a few funny moments, I won't deny it. But if you're looking for a comedy that makes you laugh non-stop, you better look elsewhere. Almost Cops tries to be many things at once-action, drama, satire, social commentary-and ends up being none of them. The whole thing feels like a movie that doesn't know who it's for or what tone it wants to keep. One moment it's trying to critique police corruption, and the next it's making poop jokes. It doesn't add up.

The main duo works... sometimes. The chemistry between Ramón and Jack could've been much better if the script weren't filled with clichés and recycled twists. Most of the humor feels forced or straight-up childish. And worst of all: there are scenes that aim for seriousness, but neither the pacing nor the visual style supports it. The direction never finds the right tone, and the story lurches forward with choppy editing, flat dialogue, and ridiculous action scenes.

The Rotterdam setting is totally wasted. They could've leaned into the local context or real social dynamics, but instead, they chose to copy American formulas with zero personality. There's nothing here that makes it stand out or feel rooted in a specific place. This could've been shot anywhere and it wouldn't have made a difference.

What's really sad is that you can sense there was a message behind it all: some social critique, an attempt to show that the lowest-ranking officers are often the ones closest to the people. But it's so poorly executed that it doesn't move, doesn't hit, doesn't leave any mark. It's a missed opportunity-a sloppy mix of genres and references that steps all over itself.

In short: there are a couple of moments that might make you smile, but this is a messy, aimless, and boring film. One of those comedies that simply isn't funny, that promises thrills but delivers apathy. If Netflix is going to keep betting on international productions, they better back stronger ones. Because this one... this one's a mess.