All the money in the world

Solid, well organized movie. Christopher Plummer as an inscrutable psychopath J. Paul Getty is magnificent. Michelle Williams' understated performance as suffering but steely mother is also good. The cinematic organization is traditional.

Detroit

Kathryn Bigelow got her groove back since her sycophantic "Zero Dark Thirty." The movie is well made and instilled with documentary and mock documentary parts. "The Game of Thrones", as always, appears as a star-making factory (Peter Dinklage, Lena Headey, Sophie Turner and now, Hannah Murray).

Valerian

Luc Besson dedicated Valerian to his father. Unless his father would appreciate his son's ability to undress a large number of models, among them some top-bracket and at least one supermodel (Kara Delevigne) and also Rihanna, there is little in the movie, which can make his dad proud. But, as an experience of the Mad Max demonstrates, that it now takes very little besides special effects to impress modern audiences. But Valerian failed even in that. Characteristically, on imdb, there are few stills of movie itself but plenty of photos from post-film party events.

Baby driver

Excessively high ratings of the "Baby Driver" (90%+ on Rotten Tomatoes) cannot be explained rationally. The movie is a well-made but formulaic thriller (unless one excludes illogical last-minute conversion of Kevin Spacey into a sentimental pussy). The movie has certain coincidences with imperfect but rather brilliant and totally unnoticed "Trance", which also had much better acting work by Vincent Cassel and Rosario Dawson (2013), in particular the finale with destruction of the chief villain (Jon Hamm/VC) with a falling car. Anglo "Princess" Lily James is miscast--though not terribly--as a waitress with a deep Southern accent. Obviously, the joy of seeing indestructible Mad Man smashing the cars and firing an array of handheld weapons and the adulation by preteen girls of the male star Ansel Elgort outweighs everything.

The Book of Henry

The movie is not a masterpiece; but it is solid piece of cinematic work acted wonderfully by Naomi Watts and Jaeden Lieberher with a cameo by indomitable but stereotypical Sarah Silverman. Its pathetically low ratings on rottentomatoes reflect the stupidity of groupthink (an oxymoron) of a modern critical blogosphere. The movie must have some of the three components of movie success: gay rights--especially in Chechnya but (G-d forbid!) not in Saudi Arabia or emirates, racial, gender and/or confessional equality--especially for Muslims--and racist attacks on the Russians sometimes totally unrelated to the plot to get high ratings these days (Mars, Bridge of Spies, Gravity). Because "The Book of Henry" touches none of these issues, in the view of American critical universe it falls flat.

Origins: The Journey of the Humankind.

Because too much excitement is prohibited for us the senile loons, we are left with a few options (see the "Young Pope" review), NG is among them. "The Origins" is a brilliant concept, which is pitifully executed. The series are scientifically shallow and jingoistic politically; all human progress since antiquity is attributed to the Americans. In a politically correct fashion, even the plate
tectonics (discovered by A. Wegener, a German) is credited to an obscure American geologist who shamed that "frenchy" Cousteau.

Paolo Sorrentino. The Young Pope.

Superb series by Paolo Sorrentino got high marks on rottentomatoes.com but not nearly as high as usual political correctness movies. In the first series, there were no cliches at all.  Our nurse Ratched forbade us to see the last series and the people told me that they were going from impeccable to just weird. Overall low marks, probably, happened because of the already mentioned inability of American critics' milieu to analyze imperfect heroes and plots without clear delineation of good and evil. They simply cannot imagine good people without character or much personality, villains without obvious vulnerabilities and trauma, but above all, that the most people are neither saints not hobs but somewhere in between. They also could not digest, for instance, that a conniving, spiteful and liberal Cardinal Caltanissetta is genuinely concerned about well-being of the Catholic Church, while a serious and conservative Cardinal Spencer is a power-hungry alcoholic. My only regret is that Torrentino killed Cardinal Dussolier and exiled Diane Keaton too early in the series to sustain the tension of the plot.