MLVC4E

Some shows win you over simply because of who's on screen, and this is exactly one of those cases. From the first minutes, MobLand makes it clear that the plot isn't its strongest weapon - we've all seen this kind of crime-family setup before - but the cast absolutely devours the frame. Tom Hardy is fantastic, of course, but the one who truly knocked me out is Harry (Paddy Considine). Every tiny gesture, every pause, every stare... he's unsettling without even raising his voice. And Helen Mirren is terrifying here - pure ice. She radiates this cold, merciless energy that makes you sit up straight.

The story doesn't break new ground, but it works. It has that familiar rhythm of betrayals, tension, and calm moments that feel like they're seconds away from exploding. It could use a bit more bite, sure, but it still holds your attention. You can feel the craft behind it, even if the script plays safely within the genre.

What I enjoyed most is how the show comes alive when the characters face off. Some scenes seem written just to let the actors shine, and honestly, I'm not complaining. Hardy has that quiet, coiled danger that makes every scene unpredictable. And Mirren... she's a force of nature.

There's also a touch of dark humor - very Guy Ritchie - but more controlled, less chaotic. It doesn't try to reinvent anything, yet it keeps you inside its world without effort.

In the end, it's a series that doesn't offer anything new, but the performances are so strong that it hardly matters. It kept me hooked, especially thanks to Harry and Mirren, who are simply outstanding.

There are films that slip in quietly and suddenly hit you right in the chest. 50/50 is one of them. It looks like another illness-drama on paper, but from the first scenes you can feel a different approach: more honest, more grounded, and far less manipulative. It doesn't pull your tears out; it simply lets you enter the story.

Joseph Gordon-Levitt holds everything together. He shows vulnerability without turning it into a sad performance. There are moments when you understand everything he's losing just by looking at him. And then there's Seth Rogen, who seems like he doesn't belong at first, but ends up being that clumsy, necessary laughter that appears when fear gets too big.

The script is wonderful, and that's why the film works. It avoids melodrama and also avoids the easy joke. It finds this strange balance between anger, dark humor, tenderness and helplessness. And when the final stretch arrives, the emotional wave hits hard. It made me cry a lot, but in a way that feels strangely comforting.

What I love is that it never tries to preach or offer life lessons. It's a small story told with disarming sincerity. And even though it talks about the fear of dying, it ends up reminding you of the warmth of being alive and the importance of the people who stay when everything shakes.

Simple, human, and painful in the best possible way.

A Moroccan Affair leaves you with the feeling of a film that desperately wants to be liked, even if that means sanding down every rough edge it might have had. You can sense it from the first scenes: everything is designed to be funny without offending anyone, pleasant without pushing any boundaries. And when you follow that path, you end up with a very gentle... and very flat comedy.

There are a couple of small moments that make you smile -a joke or two that work because of how silly they are-, but the movie relies more on being "nice" than genuinely funny. The odd thing is that it keeps the saga's name, but not its spirit. It has nothing to do with the first one, neither in energy nor in attitude. Everything here feels much more "safe," as if someone had vacuum-sealed all the roughness.

What partly saves it is Julián López, who has that strange talent for making mediocre scenes work better than they should. He knows how to move within pure stupidity with real charm. The rest is more questionable: characters that shift personality in seconds, situations you can predict from the poster, and a general tone of touristic comedy that we've seen far too many times.

In the end, it's a well-intentioned, soft, friendly... but forgettable product. You can watch it with your brain half off and it doesn't hurt, but it doesn't bring anything new to justify stretching this title any further. And yes, I also would've preferred something with more bite -or simply more life.