DLochner

This series looks fantastic - the cinematography is rich, atmospheric, and beautifully done. From misty landscapes to tense interrogation rooms, it nails the tone. And Nina Gummich? Absolutely commanding. She carries the show with ease and gives her role real depth.

But there's one big gap: why is the main character so obsessed with the case? She throws herself into the investigation like it's life or death, but the show never really explains her motivation. No flashbacks, no emotional context, nothing. It's a missed opportunity - a bit more personal backstory could've made her drive more believable.

Still, it's a solid, well-crafted crime series with real style and a strong lead. If you can live without deep character insight, it's absolutely worth a watch.

Alright, here's the deal: Superman (2025) isn't a cinematic game-changer, but you know what? It finally feels like DC has a plan again. And after years of CGI overload, messy timelines, and superhero fatigue, that's a win in itself. James Gunn brings a sense of direction-and actual hope. Gone is the gritty brooding; we've got a Superman who's genuinely likable again.

But let's be real: this movie tries to do way too much. We're juggling a ton of characters, subplots, winks at future spin-offs-and on top of that, it's supposed to kick off an entire new DC Universe. That's a heavy lift, and the film buckles under the weight at times. Our man of steel? He's doing less flying and more carrying the franchise on his back.

And then there's the telling. Oh boy, the explaining. Every motivation, every plot point, every emotional beat-spelled out like we're in a superhero lecture hall. It's all "tell, don't show," like subtlety took the day off. There's little room left for interpretation or imagination. The movie doesn't want you to think-it wants you to follow instructions.

Still, David Corenswet absolutely delivers. His Superman has warmth, charm, and a sincerity that makes you want to believe in heroes again. That alone elevates the film above recent DC entries. There are flashes of brilliance here and there-moments where Gunn's vision really lands. But too often, it gets buried under exposition and a checklist of setup.

Bottom line: Superman (2025) is an overstuffed but hopeful reboot. It's not perfect-it talks too much, explains too much, and tries way too hard to be everything at once. But it's a step in the right direction. DC finally has a compass again. Now it just needs to stop reading the map out loud.

Everything's Fifty Fifty is a typical German comedy: set in picturesque Italy, it aims for lighthearted family fun, loaded with slapstick and stereotypes. Moritz Bleibtreu shines as Andi, a divorced dad whose acting chops elevate the material. He's the clearest highlight, rescuing many scenes with believable humor and grounded presence.

The central setup is straightforward: a co-parenting couple takes their son on holiday with the mother's new boyfriend in tow. What follows is a series of slapstick mishaps-over-the-top misunderstandings, cringe-inducing clichés, and predictable comedy beats. You get mismatched family tropes, the clueless step-father stereotype, bratty-child antics, and standard romantic sparks between the divorced leads.

Bleibtreu's charisma is undeniable-his sharp timing and emotional authenticity give the film occasional life. But unfortunately, much of the supporting cast veers into caricature: the son oscillates between bratty teen and clingy younger child; the new boyfriend is cartoonishly clueless; even the stern lifeguard narrator appears forgotten as the plot shuffles onward.

Despite its flaws, there's charm in the scenic cinematography and sunny Italian backdrop-it captures the essence of a Mediterranean family getaway. And the thematic core is decent: it seeks to explore co-parenting, rekindled feelings, and modern family dynamics. But instead of depth, it offers broad, simplistic jokes and familiar emotional arcs.

In essence, Bleibtreu's strong performance almost redeems a film that otherwise feels assembled from cookie-cutter German rom-com tropes. It's enjoyable enough for a relaxed evening but lacks originality-or emotional punch-for anything beyond light fare.

Finally the movie is a sunny, slapstick family romp elevated by Moritz Bleibtreu-but shackled by clichés, uneven tone, and a script that never quite digs deeper than its scenic surface.