That was such an incredibly sad but perfect and correct ending.
I don't understand people who didn't like the ending because their favorite character didn't win. After 4 seasons with these despicable characters did anyone expect the Roy kids to unite and defeat the bad guy with the power of love and friendship? It was never going to end that way.
The three siblings just could never get over their egos. They all proved, through the 4 seasons, that they’re basically useless and the only reason they were ever in the discussion to be CEO is because Logan was their father. They'd rather destroy everything than have only one of the trio take the upper hand. Shiv just could not let her brother have a win, even if it meant her losing as well. Perfectly summed up their whole family dynamic and the show as a whole.
The siblings are so entitled and self-absorbed they never saw Tom coming. They’ve never had to work for a damn thing. I don't like Tom, but it makes sense for someone like Tom, who worked his way from the ground up and earned himself the position he was in.
The scene with the siblings making that awful smoothie and them watching their dad reveal yet another side of himself was so nice among the insanity that came in between.
That penultimate shot with Shiv and Tom in the car was phenomenal. Complete shift in the power dynamic. After marrying him specifically because she thought he was weak enough to keep holding power over.
Kendall not winning every season. That’s rough.
Willa revamping Logan's apartment with a cow print couch.
In the end Conor was the only one to have any kind of a relationship with Logan, the other kids are never shown having moments with him like he did at the recorded dinner.
Greg translating the Swedish in real time is the smartest thing he’s ever done. Four seasons and I cannot for the life of me understand why he would put up with that. His uncle offered him $250mil to get away from the firm.
But the biggest thing for me coming out of this episode is Kendall’s son isn’t really his. It really came out of nowhere and seemed more like a fact than a rumor the way everyone reacted to it.
All in all, Succession stuck to the show’s core till the end. In a way it’s a predictable ending but because it’s television and we expect some twist where a cool character comes out on top we don’t expect the expected. The outcome is pretty much what you’d expect from all the characters knowing their faults
It seems people who are expecting a serious horror are disappointed by this, but being a Raimi fan (Evil Dead), I knew to expect a black comedy in this too. If you watch it with that mindset, it's great fun and highly entertaining!!
[8.4/10] Birds of Prey is made of cool. It is the epitome of over-the-top fun. It is what Suicide Squad should have been. It is the movie that Harley Quinn deserves. And it is the dayglo-colored, adrenaline-soaked, no holds barred action movie we’ve been waiting for.
It also manages to take itself just seriously enough without taking itself too seriously. There’s legitimate subtext to the script, about the warm but toxic security of associations with toxic meant, about the hardship of freeing yourself from the green or black-tinged tentacles of it, and about the invigorating feeling that comes from hard-won self-dependence and assurance, not to mention sororal support in lieu of abusive co-dependence.
And yet it’s also a movie where Harley Quinn charges her way through a police station with a glitter bomb-packed shotgun, the heroes conspire to get a teenager to defecate a diamond, and the most heartbreaking loss in the whole film comes in the form of a glorious, glutinous breakfast sandwich. As legitimate as Birds of Prey’s themes are, as effective as its few moments of straight emotion are, it is not afraid to have all the fun, which is refreshing in the oft-grimdark confines of the DCEU.
It’s also an enjoyable frenetic, tangle of different threads and characters. The hunt for a diamond isn’t the only thing that leaves this movie indebted to Snatch. The interconnected storylines, the mass of characters with their own goals and puzzle piece roles in the broader whole, and explanatory jumps back and forth (and sideways) in the timeline to show how it’s all linked carry that same, crazy crimeland energy. At the same time, there’s a touch of Kill Bill to the proceedings, between the woman scorned theming and non-linear revenge plots.
But Birds of Prey is a thing unto itself, due in no small part to the incredible performance from Margot Robbie as Harley Quinn at the center of the picture. Robbie’s appeared in two awards season films in the past six months and earned her share of nominations for them, but this easily tops both of them. Her version of Quinn is profane-to-the-core yet relatable, dangerously reckless but easy to root for, uproariously funny and subtly pathos-ridden. She’s a tat-buzzing, baddie-blasting, pigtail-sporting Bugs Bunny on wheels, and Robbie’s level of depth and charm to a character who could otherwise come off as just a cartoon is a revelation.
She’s flanked by an array of other great performers who keep the film just as well-cast and colorful. Chief among them is Ewan McGregor as Roman Sionis aka Black Mask, his most scenery-chewing and terrifying role since Trainspotting. Birds of Prey unleashes McGregor’s outsized talents, making his sleazy, abusive crime boss the energetic anthesis of Quinn and the representative of all the toxicity she’s trying to flush out of her life one way or another.
Those top notch performances help hold the film together when it jumps at (nigh-literal) breakneck pace between a cadre of different stories and, more to the point, kinetic and eye-catching fight scenes. Arguably, the movie goes to that well one too many times, as it’s easy to find yourself saying, “Wait, didn’t we just do one of these?” the next time the punches and mallets and crossbow arrows fly.
And yet, the film adds such an enjoyable flair to these sequences that it’s hard to complain. Birds of Prey earns its R rating in many of these scenes, not shying away from various images of limb torsion, bone cracking, and joint smashing. Far from the risk of falling into gruesome “If it’s gory, it’s mature” pitfall, the film approaches these scenes with an air of irreverence and unreality that makes each its own colorful, kinetic romp, untethered from the dull realities of physics or anatomy.
Despite the quick cuts deployed, these set pieces slow down to show the members of the titular group, Quinn in particular, kicking ass. Rather than an undifferentiated series of thudding fisticuffs, there’s memorable fight choreography here, with flips, kicks, and jams that play as distinctive rather than the same old superhero stompfest. Flanked by a near-endless series of amusing and smile-worthy needle drops, each throwdown drips with style and joie de vivre.
That fits nicely in a film that isn’t afraid to break its own reality for the sake of the audience’s pleasure. Harley breaks the fourth wall on the regular, narrating the events and holding the viewer’s hand through some of the more knotted linkages between different pieces of the story or just depositing some of the movie’s hilarious comic asides. But director Cathy Yan also has no qualms about setting the stage with an animated introduction, breaking for a fever dream rendition of “Diamonds Are a Girl’s Best Friend,” or capping things off with a Clown Princess of Crime-appropriate pugilistic jaunt through amusement row.
Despite the freeform insanity and deliberate sense of Quinn telling a shaggy dog (or hyena) story, writer Christina Hodson’s script is surprisingly tight. Each of the five avian avengers has a reason the villain would want them dead and why they’d want to respond in kind. The chaotic connections between them pull into focus at just the right time, and often with a funny line to seal the deal. And the shifts in tone work wonderfully, veering from heightened reality insanity to the legitimately disturbing to unexpectedly piercing pain and believable camaraderie.
In short, Birds of Prey is just a joy to watch. It boasts inventive action, style out the wazoo, and one hell of a central character. Far from reducing her to a trope, or letting the film built around her descend into the standard sturm und drang of grim cape flicks, it embraces her comprehensible chaos, and the fun but equally crazy world and players that surround her. Take a step back, Mr. J; Harley is emancipated and, god willing, plenty of heroes, villains, and ambitious-to-entertain comic book movies will follow in her red and blue footsteps.
Very mediocre comic adaption. A "one time watch" with a lot of violence...
The cinematography was scenic and the subject matter was aptly portrayed which ranks Roman Polanski as one of the best in the film-making industry. However, I found the main character of the story weak in such infuriating ways. Adrien Brody is a wonderful actor but his character could have done better given the scope of his network of influence, his skill and expertise as a pianist and as one of the few people fortunate enough to escape the terror of the Nazis. I can't help but wonder what would have transpired had Henryk been the one that got pulled out of that death train by the Jewish Police officer instead. Maybe we'd have gotten a more inspirational story.
Do not bother, this is one of the worst films of all time and I should know! I have seen most of them. Like finding a piece of coal in your Christmas stocking!
