Genre: Animation, action, adventure

Rated: 12

Directed by: Jeff Fowler

Written by: Pat Casey, Josh Miller, John Whittington

Starring: Jim Carrey, Ben Schwartz, Keanu Reeves

For a film fan, the first months of the new year are the most important. It’s no different for the year 2025. The Oscars are less than two months away, and hopefully we’ll be packed with more and more great premieres until then. But before that happens, we have to recommend a great video game adaptation that debuted at the end of the year, the latest adventure of the lightning-fast blue hedgehog.

The story focuses on the introduction of a new character, Shadow, who looks very much like Sonic, but whose personality has been negatively affected by the loss of a significant companion. He is such a tough opponent that even the combined strength of our heroes is not enough to defeat him. Their only hope of winning is to team up with their greatest foe, Dr. Robotnik (Jim Carrey). They’ll find that the fiercest fight is with their inner selves, not with one another.

Making hybrid animated films that combine computer-generated characters with live actors is a risky business. Without careful execution, it is easy to become confused and fragmented. Fortunately, there is no such thing here. It’s a very impressive movie, rich in dynamic scenes, true to the Sonic games.

Admittedly, each member of the trio can be described by one or two characteristics, but they complement each other well. Sonic, the funny, daring team leader, Tails, the cute and clever tech genius, and Knuckles, the hot-headed muscle-brain. But the creators made a very good decision and concentrated most of the attention on Shadow. As this is primarily a children’s film, they didn’t turn the drama up a level, but they still managed to talk about self-acceptance, dealing with loss and team spirit with enough sensitivity. Dr Robotnik is also more prominent, for which we cannot be grateful enough. Jim Carrey is in fantastic form, his every move making the audience laugh out loud. In addition, the story takes a direction that delivers all of this in double doses, but we won’t give away more than that. In the midst of the loud laughter, we felt both impressed and touched, as it brought back the childhood memories of Ace Ventura or Dumb and Dumber.

Sonic the hedgehog 3 has an exemplary sense of humour and action for youngsters, as well as for nostalgic parents in their thirties. Near perfect for a family programme, but unfortunately there is no rose without a thorn. The 110-minute runtime was felt by many children, and they were walking in and out of the screening. However, it says everything about the success of the film that on the way out, several little boys and girls asked „Mummy, are we coming to Sonic 4?”.

2024 was a particularly strong year on the animation front. Alongside The wild Robot and Inside out 2, Sonic the Hedgehog 3 was the best of the bunch for us. We can also heartily recommend the first two in the trilogy. Stay after the credits if you don’t want to miss an interesting extra scene.

We hope that as many of you as possible will watch this movie. If any of you have already seen it, please share your thoughts in the comments. By sharing our post, you can support our work. And if you’re looking for a delicious snack for movie and series nights, POPZ popcorn is the best choice.

Genre: Comedy, drama

Rated: 12

Directed by: Alexander Payne

Written by: David Hemingson

Starring: Paul Giamatti, Da’Vine Joy Randolph, Dominic Sessa

Although Christmas has passed, the festive spirit fortunately does not disappear from one day to the other. If you’re planning to stay at home and watch movies until New Year’s Eve, we’ve got another streaming gem for you. The Holdovers was one of the best contenders in the 2024 Oscar line-up. It’s much more than an average Christmas movie, and it won’t leave you without some valuable thoughts.

The long-awaited winter break has arrived for teachers and students at Barton Academy. However, there are some who, for various reasons, will not be able to go home for the holidays. Tully (Dominic Sessa) is staying away from his family because his mother wants to honeymoon with her new husband. Mary (Da’Vine Joy Randolph) is mourning the loss of her son and insists on staying within the school walls until the New Year. And Professor Hunham (Paul Giamatti), the school’s stern and insufferable history teacher, is appointed by the headmaster himself to oversee the remaining students.

As good dramedy should be, The Holdovers offers the most in terms of detailed characterisation and dialogue between the participants. There is enough time for us to get to know each of them in depth. The personality-shaping moments in their past are gradually revealed. And when they disagree, the intentions and feelings of the opposing parties are fully understood. The creators are able and willing to deal with issues such as loneliness, regrets carried over decades, grief and mental illness. These are serious issues, but the film makes tasteful use of humour. You may not laugh loudly, but if you’re open to the sarcastic style, you’ll find plenty of moments of levity.

The story itself doesn’t have much to offer, but the second half of the film is much more eventful. There is more situation comedy and unexpected events. The visuals are deliberately old-fashioned. Of course, for a dialogue-driven creation we don’t want to complain, but we would have liked to see some more imaginative shots. The point is that the actors are all excellent. Paul Giamatti’s performance is commendable. Dominic Sessa has a bright future ahead if he is given similar opportunities to develop. Da’Vine Joy Randolph deservedly won the gold statue for Best Supporting Actress.

Experiences like The holdovers are sometimes much needed. It helps us recognise the constructive potential of community, the importance of gratitude, and that first impressions are not necessarily reliable indicators. As the famous saying goes: Don’t judge a book by its cover.

Have you seen the movie? If so, feel free to share your thoughts in the comments. If not, we hope we’ve made you want to see it. All that remains is to thank you for your attention this year. We wish you a happy new year. You can still count on us in 2025 if you’re at a loss for cinema and streaming options. And if you’re in the mood for a tasty snack while watching a film or series, POPZ popcorn is the best choice.

Genre: Animation

Age limit: 12

Directed by: Chris Sanders

Written by: Chris Sanders, Peter Brown

Starring (voice): Lupita Nyong’o, Pedro Pascal, Kit Connor

We’ve been browsing through the upcoming premieres and were surprised to see how many animated films are coming to cinemas until the end of December. Most of them are prequels to already well-known movies like Mufasa: The Lion King, or sequels like Moana 2 and Sonic the Hedgehog 3. We’ll even see an animated episode from Lord of the Rings, about the war of the Rohirrim. Among these, the Wild Robot stood out, earning itself the acclaim it deserves as a brand-new title.

The story is quite strange and unusual, but very clever. Roz (Lupita Nyong’o) is a machine programmed to solve problems and help others. She is shipwrecked on a wildlife-rich island. While exploring a new environment, she accidentally crushes a goose egg and, as the hatchling sees her first, she follows her as its mother from that moment on. Roz finds a new purpose: She has to provide food for Brightbill and teach him to swim and fly before winter comes. To survive in the harsh wilderness, Fink the fox (Pedro Pascal) becomes a suspicious ally.

The difficulty of becoming a parent as a theme is very exceptional for an animated film that is basically for children. Of course, we have seen stories where this topic has been more or less mentioned, but to have it as a central element, and from the perspective of a mother, we can’t really think of examples. It is communicated in a way that is understandable and relatable for youngsters, while the older generation will not be bored. Mothers and fathers may well laugh together at the scenes where the experienced possum with a lot of kids shares parenting advice to Roz. Equally, it’s hard not to get emotional at the moments that show Brightbill’s ostracism and self-acceptance, stemming from his family background.

We could pile up positive adjectives about the visuals, but you only need to search for a few pictures of this film. Besides the beautiful natural images, we were most enchanted by the vividness of the colours. The animals themselves are depicted in a rather simple and sketchy way, but the environment and the backgrounds speak for themselves. It’s available to stream in many countries, but if you have the chance, go to a cinema screening.

Wild Robot has its place in the year-end best animated film rankings. But the whole truth is, there are also the excesses that characterise most similar works. Three major action sequences have been forced into the plot, without which a much better outcome could have been achieved on the relation between technological progress and nature. At one point, we were reminded of Zootopia (2016), which, among its many outstanding virtues, also presented an unnecessarily surrealistic picture of the wildlife. At the very least, the manner in which Fink’s moving speech made the wild animals decide, once locked in a confined space, not to eat each other, was a cause for a chuckle.

Have you seen it? Are you interested in any of the animated films in the end-of-year dump? We welcome your answers in the comments. If you liked our article, please share our post with others. We’ll be back soon. Watch lots of movies and series, and if you want a tasty snack to it, POPZ popcorn is the best choice. 

Genre: Romantic comedy

Age limit: 12

Directed by: Greg Berlanti

Written by: Keenan Flynn, Bill Kirstein, Rose Gilroy

Starring: Scarlett Johansson, Channing Tatum, Woody Harrelson

As October draws to a close, we are well into autumn. The days are getting shorter, the evenings are getting colder, and it’s all about pumpkin spice and the upcoming Halloween. We’re definitely looking for movies to cheer us up on our nights at home. In the streaming offerings, we found Fly Me to the Moon, a romantic comedy set in an exciting period of history during the Apollo program.

Cole Davis is under enormous pressure. As NASA’s Launch Director, he is putting together a prestigious project in the increasingly fierce space race requiring a tremendous amount of resources as the venture to get the first man on the moon. He needs new supporters to keep everything on track. Help arrives in the person of Kelly Jones (Scarlett Johansson), a loquacious, sell-anything marketing professional who does whatever it takes to make the space programme attractive to the public and politicians again.

Apart from the many funny moments in the confrontation between professional and PR aspects, the romantic thread is also very stylishly presented. Channning Tatum has been mostly known for his comedic side, but now we had the chance to see him in a more complex role. Scarlett Johansson comes to the foreground more from the middle of the story and shows that she is not only convincing in the scenes they play together.

In comedies, it’s relatively rare to expect outstanding visuals, but in this case, we have to write about it. The costumes, cars and sets of the period look very nice, but what makes this film last is the quality of the editing. From the very first minutes, there is a succession of fast-moving, dynamic shots. Its pulsating rhythm kept us in front of the TV throughout, even though the running time was well over two hours.

Halfway through the film, the story takes a serious turn, which threw us off a bit, but afterwards we understood why it was necessary. The filmmakers cleverly reflected the popular conspiracy theories, according to which the lunar landing never actually happened, and it was all a staged, studio production. The more serious problem was with the character of Cole, who makes a rather out-of-character decision in the endgame. His behaviour could be interpreted as the conclusion of a personality development process, but in terms of the big picture it was more of a needless element to heighten the tension. Some of Kelly’s actions also seem too unrealistic.

Fly Me to the Moon is clearly one of the better streaming titles. Its light-hearted atmosphere, likeable characters and moving, creative scenes will provide a pleasant diversion for those who prefer to relax at home. It is worth bearing in mind, however, that it does not present the events of 1969 with the sophistication of a documentary.

What comedies have you seen lately? Do you know any good rom-coms? We welcome your answers in the comments. If you liked our article, share it with others. And if you’re in the mood for a tasty movie and series-watching snack, POPZ popcorn is the best choice.

Genre: Musical, drama, thriller, crime

Age limit: 16

Directed by: Todd Phillips

Weitten by: Scott Silver, Todd Phillips, Bob Kane

Starring: Joaquin Phoenix, Lady Gaga, Brendan Gleeson 

The life cycle of conventional superhero movies is coming to an end. In 2024, we have seen two examples to renew the genre. Deadpool 3 went the route of parody, with a satirical tone aimed at moviegoers and filmmakers alike. And in Joker: Folie à Deux, director Todd Phillips opted for a solution of mixing with other genres. The result is a bold, unique and unexpected experience.

We see the aftermath of Arthur Fleck’s (Joaquin Phoenix) rampage as the Joker, who awaits for his trial at Arkham Mental Hospital. His lawyer struggles to prove his insanity, while Arthur finds a partner behind bars. As well as a strange love affair, music becomes increasingly important to both of them.

The first Joker was a crime drama disguised as a comic book movie, but the sequel has added a new ingredient: the musical genre. It’s a very bold idea and works brilliantly. Arthur’s fantasy world is portrayed with bizarre musical interludes, which, although very uncomfortable to watch, certainly make for effective scenes.         

In terms of acting, both Joaquin Phoenix and Lady Gaga did a great job. It was also a big surprise to see Brendan Gleeson, who enriched the production in a rather significant supporting role. A huge flaw with the title character himself was the lack of depth to his figure. The central issue of the movie is Arthur’s true identity, yet the potential of this is not realised. And apart from a few memorable scenes together, there is little to know about the relationship between Arthur and Lee. Only the ending provides some explanation, which just doesn’t feel like careless work.  

Besides the lack of characterisation, the most serious problem with Joker part two is that the story, the otherwise interesting underlying conflict, is not properly developed and explained despite the 138 minutes of screen time. If you watch films specifically for the experience, for the effect, you may find it worthwhile, but as soon as you require a substantial plot, you are more likely to leave the theatre disappointed.

However much Phoenix’s Joker 2 left us with mixed feelings, we have to respect and acknowledge the creators for daring to approach the comic book movie recipe with new ideas. Even if it is likely to face a negative critical response, it is representative of a willingness to experiment, without which the film industry could not progress.

Did you like it? How did it make you feel? Let me know in the comments. Next time, we’re preparing a much more light-hearted comedy series to brighten up the autumn evenings ahead. If you liked our article, please share it with others. And if you’re in the mood for a tasty movie and series-watching snack, POPZ popcorn is the best choice.

Genre: Drama, thriller, crime

Age limit: 16

Directed by: Justine Triet

Written by: Justine Triet, Arthur Harari

Starring: Sandra Hüller, Swann Arlaud, Milo Machado-Graner

September was not a particularly exciting month for premieres. That’s why we’ve been looking for films to recommend among recent releases. Our pick from this year’s Oscars is the winner of the Best Original Screenplay award. Although Past lives was a strong contender in this category, Anatomy of a Fall has received well-deserved professional recognition.

Sandra (Sandra Hüller) and Samuel (Samuel Theis) are a couple who live in the Alps with their visually impaired son. While Sandra is being interviewed by her student, Sam listens to music so loudly in the attic that they have to postpone the meeting. Shortly afterwards, Daniel returns from a walk with his dog and finds his father dead. As the autopsy does not clearly rule out foul play, Sandra is put on the dock. In addition to the uncertainty of her son’s testimony, the investigation is hampered by language barrier.

Anatomy of a Fall revives the finest traditions of courtroom drama. It is reminiscent of classics such as Witness for the Prosecution (1957), To kill a mockingbird (1962) or Kramer vs. Kramer (1979). This is a work of restrained visuality, based on acting and dialogue. The detective story, typical of the crime genre, is certainly present, but the characters’ personal stories are given much more time. The characters are highly authentic, well-written and complex. The dialogue is also very realistic. We slowly get to know the background of the case. The subtle dosage of dramatic tension and the portrayal of relational dynamics are the result of exemplary writing, directing and acting. The film presents a vivid picture of the nature of jurisdiction, in which, especially for the person offering legal defence, the truth is as much a variable in the formula as the memories and objective evidence that contradict or even support it, but are heavily distorted by subjectivity.

Unfortunately, despite the many positives, we are sure that the length of the film will put many people off. With its 150 minutes, it’s not an after-work, weekday evening, light-hearted entertainment. It is a film that takes time to watch, and it may not be as enjoyable to see in multiple parts. It’s long, but we have no idea where we should have cut it. We highly recommend it to you.

Have you seen the film? What did you think of it? Let us know in the comments. If you enjoyed our article, give it a like and share it with others. Follow our posts as we’ll be back soon with one of the most anticipated cinema premieres of the year. And if you’re in the mood for a tasty movie-watching snack, POPZ popcorn is the best choice.

Genre: Fantasy, adventure, action, drama

Age limit: 16

Directed by: Charlotte Brändström, Louise Hooper

Written by: Based on the works of J. R. R. Tolkien: Patrick McKay, John D. Payne, Jason Cahill, Gennifer Hutchinson, Helen Shang

Starring: Morfydd Clark, Charlie Vickers, Markella Kavenagh 

NOTE: This review refers to the first 3 episodes of the second season

Fans of the fantasy genre didn’t have to wait too long to be entertained by another series. But it’s not as if they’re being flooded with dozens of indistinguishable shows. Whereas Game of Thrones is a modern, realistic approach that does not shy away from brutality, Lord of the Rings is more of a classic, fairytale-like, idealised presentation. Both have their place on the TV screen. We felt it was important to clarify this from the beginning, because we found that many people have a different perception of the two works because they are involuntarily comparing them to each other. For our part, we are pleased that the second season of Rings of Power started in the last week of August and that we were able to watch the three-part opening right away.

We’ve prepared a spoiler-free review, so we’re only going to tell you as much of the story as you already know about the first season, and to help you get back into it. We remain in the second age. Halbrand, whose true identity has been revealed, is seeking allies to rise as Sauron. The Elves are about to make some big decisions, while the three rings are already in their hands. And the mysterious stranger continues on his journey in the company of the Harfoot Nori.

 Yes, the scenery is still stunning, overwhelming, and we could go on and on with the various superlatives. Whatever TV you have in your living room, the Rings of Power will suit it just fine. The splendour of Númenor, or even the harsh wastes of Mordor, are all meticulously crafted locations that exude the atmosphere of the earlier films. If you’re looking for a distinctly aesthetic piece of content to watch at home, look no further.

Although there are interesting things going on, the story itself moves very slowly. Most of the first three episodes were spent placing the main characters on an imaginary chessboard and introducing story threads that will surely be important in the future. The exception is Sauron himself, about whom we have learned much more than before. He is clearly the focus of the current season, but he has also been dealt with mainly to get a better understanding of the lore. Galadriel, on the other hand, has been pushed into the background, and in most scenes she wanders around cluelessly, ruminating on her past mistakes. Of course, her behaviour is understandable given what happened in the first season, but a huge amount of time is spent on her brooding. Still, on the whole, what we’ve seen so far is promising, but we’re looking forward to the real events kicking off. 

The Rings of Power continues to be a series inspired by the legacy of Tolkien, which is most evident in the characters. Morally, they are easily characterised individuals who represent the eternal struggle between good and evil. We get the feeling that in most films and series today, the creators are consciously avoiding this kind of romanticised characterisation, claiming that they want to create heroes with complex personalities. For us, however, it reminds us of childhood fairy tales and gives us a good feeling when we watch them. We recommend it to those who would like to return to Middle-earth or are just looking for a fantasy with a traditional spirit.  

What did you think of the series premiere? Will you continue to watch it? We’re looking forward to your comments. Whether it’s a film or a series, you can expect to hear from us throughout the autumn about the latest releases. And if all you need is a tasty snack, POPZ popcorn is the best choice. 

We continue with our two-part article, in which we look at the work of Hans Zimmer, bringing you some of our favourites. If you haven’t read the previous part, you can do so here:

In our previous piece of writing, we mentioned frequent director-composer collaborations. From the 2000s onwards, the German genius became a worldwide collaborator with Christopher Nolan, who became famous mainly for his twisted sci-fi films and the modern-day Batman trilogy. We anticipate that the current selection will focus on the fruits of this collaboration.

The Dark Knight Trilogy (2005-2012)

The much darker reinterpretation of Gotham’s vigilante has a massive fanbase. It’s no wonder, as Nolan’s more mature approach has made the Batman serious again for fans and the general public alike. As for the soundtrack, our favourite is the second part, The Dark Knight, but the other episodes also have excellent scores. We didn’t think we would get a score worthy of Danny Elfman’s work, but it happened.

Inception (2010)

There are dozens of sci-fi films with unusual settings. Distant alien planets, underwater civilisations, or the recently popular alternate dimensions are less and less surprising. It was therefore an innovative idea to place the plot at the level of the subconscious, of dreams. Inception is also a rare example from a soundtrack point of view, as the songs used, in addition to the original compositions, are an excellent way of capturing the fusion of reality and fantasy. The melodies, which are based on bassoon, trombone, and horn instruments, we can recognise it in our sleep, and we are sure that since the film’s premiere, it has also increased the popularity of Edith Piaff’s Non, Je Ne Regrette Rien.

Interstellar (2014)

One word: organ. It presented an exciting premise for Interstellar, in which humanity is preparing to leave a doomed Earth to seek new homes in unknown galaxies. But for us, it is the music of the film that remains the most outstanding. We can’t forget the cinematic experience of the vastness of space and Zimmer’s wonderful music written for the organ. Perhaps never before has the cosmos been so artistically captured on the big screen. When we got home from the screening, we had to listen to it again.

Dunkirk (2017)

Nolan chose the Western Front of World War II as the setting for his first historical film. In 1940, the Franco-British forces caught in the Third Reich’s grip and got in a very vulnerable position on the Atlantic coast. Along with the double bass and cello, the tension was heightened to almost unbearable levels by the distinctive clock ticking that accompanied the entire film. It was a constant reminder of the time pressure and made us feel the desperation the Allies must have felt as they waited for the relief troops to arrive.

Dune: Part One (2021) & Dune: Part Two (2024)

Dennis Villeneuve is a great filmmaking talent of our time, whose long-held dream of directing Frank Herbert’s classic has come true. Although the 1984 David Lynch version of the film still has an unsurpassed soundtrack, Zimmer has not disappointed with his latest composition. By using choral vocals, he has created a soundscape that brings Fremen culture close to us. He managed to express the wild, unrelenting nature of Arrakis through music. If the Canadian director delivers on his promise and expands his own adaptation into a trilogy, he will hopefully call on Zimmer’s expertise to bring it to conclude it.

Selected from nearly forty years of movies, these ten soundtracks are the best of Hans Zimmer’s career. This is not to say that, for example, Black Rain (1989), Driving Miss Daisy (1989) or True Romance (1993) are not worthy of recognition, but unfortunately we had to set a limit. It’s amazing when quality and quantity go together.    

How did you like our list? What are your personal favourites? Let us know in the comments! If you’d like to see more similar content about composers, directors or actors, feel free to let us know. We’ll have a series premiere coming soon. In the meantime, if you’re looking for a tasty movie and series-watching snack, POPZ popcorn is the best choice.

When we summarise our thoughts about a movie or TV series, we focus on the three main elements of the work. These are the story, the characters and the visuals. However, there is a fourth component that can fundamentally define the film experience: the music. Whether it’s original compositions or the use of well-known songs, a skillfully chosen or expertly composed soundtrack can make a huge difference to the overall effect, even if the basic pillars are otherwise not very solid.

The film industry has given our culture as many great composers as it has directors, screenwriters, and actors. It is not uncommon for certain filmmakers to stick to one particular composer, regardless of the subject matter of the film. The most famous of these collaborations include Sergio Leone and Ennio Morricone, Tim Burton and Danny Elfman, but for Steven Spielberg and George Lucas, for example, John Williams was a favourite.

With these articles, we would like to pay tribute to one of the most famous and respected composers of our time, Hans Zimmer. The artist, who has been working since the 1980s, has an extremely varied career. He composed music for heart-pounding dramas, fast-paced action movies, and even animated films. We’ve decided to give you a list of the best films from his vast oeuvre in two parts. Here is our list of our personal favourites, in chronological order.

Rain Man (1988)

The first major breakthrough for the master came with the score for Barry Levinson’s drama. Dustin Hoffman and Tom Cruise’s captivating performances are accompanied by Zimmer’s calm but well-paced melodies. The score is both traditional and modern, using electronic elements and synthesizers alongside piano and drums. A unique and exceptional composition that made Raymond and Charlie’s journey unforgettable for us.

The Lion King (1994)

Simba’s story of growing up remains a lasting memory of our childhood. To this day, it has a universal message about the responsibilities of power, friendship, and overcoming fears that is accessible to audiences young and old. Its soundtrack is a collection of sublime, dramatic, and uplifting movements that provide the perfect accompaniment to the scenes.  A real emotional rollercoaster ride, like life itself. 

The Rock (1996)

Michael Bay’s epoch-making action film features some of the biggest stars of the 90s, with Ed Harris, Sean Connery and Nicolas Cage all in fine performances in this fast-paced masterpiece. Once again, the music is fantastic, and it’s an adrenaline rush. When we made our list, there was no doubt about its place on it. We highly recommend it to fans of the genre, and the soundtrack is worth listening to on its own.

Gladiator (2000)

The sequel to Ridley Scott’s historical film is being talked about more and more, and this November it will be one of the biggest movie premieres. In addition to the stunning visuals, Gladiator also delivered a strong musical performance. Maximus’ plight is underpinned by emotive melodies and creates an excellent atmosphere. Although the film leaves something to be desired in terms of historical fidelity, the music is first class.

Pirates of the Caribbean: Dead Man’s Chest (2006)

Who doesn’t know the stories of Captain Jack Sparrow? Zimmer, in collaboration with Klaus Badelt, have created iconic theme that is instantly recognisable and hummable. The songs almost invite the viewer on an adventure and make them want to explore the endless sea. It is easy to imagine that even those who have not seen the films will recognise them.

How do you like our selection so far? Let us know in the comments! Stay tuned, because we’ll be back soon with part two. If you liked our article, share it with others and like our post. And if you’re in the mood for a delicious movie and series watching snack, POPZ Popcorn is the best choice.   

Genre: Fantasy, action, drama

Age limit: 18

Directed by: Miguel Sapochnik, Clare Kilner, Geeta V. Patel, Greg Yaitanes

Written by: George R. R. Martin, Ryan J. Condal

Starring: Matt Smith, Emma D’Arcy, Olivia Cooke

NOTE: This review refers to the first 3 episodes of the second season

„And with his death, the war of ravens and envoys and marriage pacts came to an end, and the war of fire and blood began in earnest.”

George R. R. Martin – Fire & Blood

After a two-year break, House of the Dragon, the throne quest of the Targaryen dynasty resumes. We’ve been watching each new episode week after week, because the war around the Iron Throne still manage to pique our curiosity.

First and foremost, we can recommend that those interested should at least briefly relive the events of the first season. The story picks up almost directly where it previously left off. The immoral struggle for domination between Blacks and Greens leads to the use of ever more bestial means, while alliances are forged and broken. But even within the two well-separated factions, infighting is rearing its ugly head. For those who have read George R.R. Martin’s Fire and Blood, the book on which the series is based, it can be both predictable and yet surprising at many points. The novel provides ample space for imagination, so there are other interpretations, but for that very reason we would highly recommend the series to any fan of the Targaryen house.

House of the Dragon still has really high quality of visuals that make you feel like they’re bringing cinema quality into your living room. Everything from Harrenhal to Dragonstone looks beautiful, and when the dragons come into the picture, it takes our breath away. The performances are particularly strong. Emma D’Arcy as Rhaenyra and Olivia Cooke as Alicent continue to be the most well-developed characters in the production, playing their rivals with a well-developed routine. Tom Glynn-Carney stands out for us as the most outstanding of them, with his powerful portrayal of the inherently insecure yet ambitious, bloodthirsty Aegon II.

But this series is not for everyone. Those who have been favouring the Dragonriders since Game of Thrones will be captivated by this Targaryen succession war too. It may strike everyone else that the story, which focuses mainly on King’s Landing and Dragonstone, is on a much smaller scale, rather than a fantasy that pervades Westeros as a whole. The mysticism and symbolism have been replaced by visceral violence and sensuality, which, while effective, provides less tension and intellectual nourishment. There are memorable moments, but lack the complexity.

How do you like the new season? Let me know in the comments! We’ll definitely be watching the new episodes, because we still consider it one of the most outstanding works in the fantasy genre. If you liked our article, please like our post and share it with others. And if you’re in the mood for a delicious movie and series watching snack, POPZ Popcorn is the best choice.