Dreams. Teamwork.. The greatest underdog story in a while.
This is a typical Nam Goong Min drama "Stove League " is the Chief Kim and Doctor Prisoner of sports. I have seen many baseball anime , tv shows and movies but this is the first drama that focuses on off-season and less on the games.
Plot twists and cliffhangers are front and center of Hot Stove League (Stove League). Sherlock-esque, the Main Lead (Baek Seung Soo) solves each turn, mostly on his own, with the big reveal happening after the resolution. Just through pure storytelling, the drama delivers quite an emotional punch, which is surprising given its subdued character development. Do not let Stove League go under your radar with its compelling and heartwarming message.
This drama hits all the right notes. Folks who trivialize saying 'this is Moneyball version of K-drama' are grossly downplaying the depth of this show. There is so much happening in each episode. The first episode instantly sets-up an intriguing plot and every episode unravels something interesting or tackles a deep rooted issue.
The realism and relatability of the niche topic of off-season baseball highlights the main strength of Stove League. No challenge seems ridiculous, though some resolutions are a tiny bit far fetched. There is a real feeling of distress with each downturn and a huge sigh of relief with each problem solved. It makes the drama easy to look forward to on a weekly basis.
Although its set against a Sports (Baseball) backdrop it isn't simply a Sports story. Please don't turn away thinking its a Sports drama. Infact there is hardly any on-field action through its 16 episodes length. It focuses more on the management side of the team and the problems that pop-up after years of under-performance. Along the way you may even pick up few useful tips on topics such as negotiation, presentation skills and general management.
The only drawback is that so much time is spent on presenting and solving each issue, which leaves little time for other types of character development. There is little comedy or romance; like most of Nam Goong shows ;but it is satisfying and the ending is like nothing another drama has ever done before. The lack of character growth is worse for the female lead, Lee Se Young, who mostly gets dragged through BSS’s antics. Luckily, the “main” side character of each plot arc gets significant development in comparison. This is doubly true for the antagonist, Kwon Kyung Min.
Tight storytelling makes it easier for the actors to play their role while weak character developments hurts their ability to shine. Baek Seung Soo’s past frequently appears on screen, and the actor Nam Goong-Min admirably plays his past-self well in contrast to his present character. Unfortunately, Park Eun-Bin’s character does not get enough opportunities to perform. Even supporting characters get more character development as their arcs are completed over the course of 1-3 episodes. In that sense, the supporting cast did a great job of acting given their window to shine. Oh Jung-Se especially left a good impression by the conclusion of the drama.
Stove League, as mentioned, is a solid watch, especially as it aired, but it does lose much of its shine when the outcomes are known. On the other hand, the feel good nature of the overall message cannot be overstated. So, I will recommend another hardworking drama, Chief Kim, which shares the same male lead and a similar character vibe (i.e. talented and misunderstood) as I fondly remember Hot Stove League. For those that prefer comedy to distress this may not be great but whenever the dreams achieve a goal you feel like you have achieved one too.
Look, I'm very much in favor of giving directors the creative freedom to put their own spin on whatever they're adapting.
In fact, I think it's quite shallow and close-minded to judge an adaptation against its source material, pretending as if that's meant to be some holy grail of perfection.
That being said: the whole appeal of the Uncharted games in the first place is that they feel like a mix of Indiana Jones and Mission Impossible, with this sassy, horny, shit-talking protagonist at the center of it.
This movie captures neither of those aspects, and replaces them with basic movie tropes.
It doesn't feel like the aforementioned franchises. Instead, it looks and feels like your generic, throwaway action movie that usually stars The Rock (e.g.Rampage, Red Notice, Skyscraper).
Tom Holland plays Spider-man with attitude. He's not playing (a younger version of) Nathan Drake.
Mark Wahlberg plays Mark Wahlberg.
Like, why was this project treated like a tax write-off?
It has everything a Hollywood executive could want: the source material is cinematic, action packed, fun, and best of all: it has a built in audience.
This could've easily been the next big summer franchise if this was given a proper treatment. It should be much easier to get this right than other videogame based adaptations.
So why is Avi Arad producing this? Why is Ruben Fleischer directing this? Why is this script burning through four games of material? Why is the dialogue so clunky and unfunny? Why is the casting so lame? Why does it look like plastic, when the cinematographer of this thing shot Last Night in Soho and Oldboy?
Fuck.
3.5/10
There's something just not connecting for me here. It's a tonal shift from the original that I haven't been able to get past that I'm not sure I'd like even if I wasn't comparing it to its predecessor. It's corny, tongue in cheek presentation rather than stylized cool and fluid. I'm not sure that was intentional. It doesn't feel like it. It feels more like a lot of independently well made parts just not coming together to make a cohesive whole. That's unfortunate, as there are a lot of good design decisions made.
Edit after finishing season 1:
Normally, I try to separate the source material as much as possible from an adaptation or remake. But in a case like Cowboy Bebop, that's a lot easier said that done. The original isn't just a story or characters in a particular setting. It's a collective ensemble of music, tone, style, and writing that set it apart as something unique and inseparable from its parts. That's why people love it. All of those individual pieces are often chaotic, but riff off of one another like a jazz ensemble to make one of kind experience.
It's a tall order for anyone to try and replicate that into something new. If they pulled it off, it would have been amazing, but sadly, this series never hits that stride. The greatest strengths of this adaptation are the pieces of the original. The changes are questionable. The original content is mediocre at best.
I wouldn't have wanted a straight copy. So, I applaud them for making some bold decisions, but, at the end of the day, they just aren't good decisions. The injection of campy humor makes it feel like the best dialog is written by Michael Bay instead of something Tarantino-esque. Vicious feels more Viserys Targaryen than Deacon Frost. The best casting of all in Jet goes from being a disgruntled cop to an absentee father at the butt of jokes. The mystique of the characters' background is filled out with underwhelming and frankly boring rambling that takes away far more than it adds. Less is more would have gone so far here.
It's not completely awful. There are redeeming factors, but at the end of it. I'm questioned wondering do I like what's left because it's good or simply because of the echos of the original. That's a rough position for any content to sit in. Hopefully, they can find a different tempo that better matches their choices in season 2. That is if I can get over the new ending.
I maybe in the minority, but I appreciated Gaal's backstory. If any, I thought her backstory should've taken even more time. I find it astounding that a teen prodigy raised by a religious tribe can learn and grasp complex mathematical theories in few months to few years, from scraps of books and scrolls no less. While the first episode was visually stunning, it was emotionally sterile. Her backstory brought more emotional depth.
Jumps between the present day Gaal and Terminus were only occasionally effective, and mostly distracting. The episode should've focused on Gaal and Gaal only. A relative newcomer Lou Llobell delivers a stand out performance.
Back in Terminus, clumsily choreographed fight scenes aside, the crash was an amazing sight. Yes, the empire crew were blinded by arrogance and meet their demise all too easily, but man, the crashed looked awesome.
Salvor is starting to come into her own. No longer a tough-as-a-nail-misunderstood-star-child-warden, she's starting to embrace and understand her roles in Terminus.
Foundation is a complex sci-fi novel and while this adaption is dumbed down, it still pays a great respect to intellectual details, requiring more deliberate pacing and patience. But puzzle pieces are starting to fall into places.
The soap opera writers that have been put in charge of this ,once revered, franchise continue to distort and abuse the long and beloved history of Star Trek canon to subvert it to their own hand. In past seasons we've seen that Burnham was the reason Spock became who he was, we've lost beloved characters who have rejected everything they were before, Romulus was blown up and now we don't even have Vulcan anymore. Whatever reason these "writers" might have to do this is beyond me but it should be clear by now that it's malicious. Their ilk have destroyed 50 years of canon on Doctor Who, destroyed Star Wars and pretty much done the same to Trek. If rumors are to be believed they will soon include the Guardian of Forever and possibly deliver the final blow to Star Trek.
To the people defending this soap opera dribble... Well I don't know what to say to you. Character development, plot and the concept of coherent writing are cornerstones of anything that's good. These writers can't even keep track of events in the same episode let alone use a massive overarching storyline or how to benefit of over 50 years of worldbuilding.
It's disgraceful really what they have done and they should be ashamed of writing something that is below mediocre. But that appears to be modernday "entertainment" and by god... I hope it bites them back in their ass cause we'll all be worse off if it doesn't.
Disney’s 2019 version of Aladdin provides us with pleasant surprises and a few hiccups along the ride on the magic carpet. Agrabah looks amazing, you totally feel the Arabian vibe and still is a city with more depth then in the original animated movie with more cultures mixed into one. Jasmine has a well written storyline which is not only fitting for the time we live in now, it’s also very in depth and gives her even more of an edge. She truly outshines the animated Jasmine. Mena’s performance is almost identical to the original. Great acting and good looks. Although I was more anticipated for the Genie’s performance, it was Jafar who surprised me, but not always in a good way. I liked this style and Jafar being younger and more appealing. Marwan showed us great acting by letting us feel Jafar truly is dangerous. What I missed though are iconic moments the animated movie showed us like turning into a snake, make genie lift up the castle and being the old poor man who tricks Aladdin into the cave of wonders, which wasn’t all that wonderous to me at all. The feeling of the cave popping up from the sand was something I really missed, the interior though is flawless and well put together. Aladdin started of stronger then it ended but overall, this new adaptation left me ‘Speechless’ thanks to its wonderful cast, set design and refreshing plots.
I was disappointed at first. Then it blew me away!
Possibly the worst marketing for a tv show ever. In the first season we won't follow a crew's journey to Mars like everyone thought, but we will instead see people preparing to go there. Their struggles, problems and everything in-between. We won't see what we thought we'd see. Because of that, I was disappointed, but one episode later, I saw the real beauty of this show and what makes it (in my eyes) worth watching.
Having binged it in two sittings, I won't deny that this is a slow show or that - at times - not much happens. But what I won't say is, that it's boring. At the core, the story is about the characters and how they're dealing with the fact that they are actually going to Mars. How it affects not only their lives, but also the lifes of and the relationships to their loved ones.. It surely is more drama than sci-fi, but not in a bad way.
Along the way you'll start to care about the characters and you'll realize how well-acted this show is. With a great cast, the show tells a compelling story. You'll see incredible cinematography not many shows have. You'll appreciate the variety of music throughout; epical, magical, partly eery and mysteriosly beautiful music.
To me, this show was a real surprise and I give it a 9/10. I'm really hoping for a second season!
The conclusion to the cliffhanger could not have been a surprise as a lot of us were already suspecting the parallel universe theory. And at least it explains certain things people were negative about. Now there are different things to be negative about and guess what - it´s OK. Everybody is entitled to his own opinion. Sure this is different and yes it is not TNG or DS9 or even VOY like. So what ? You don´t like it ? Fine - don´t watch.
I like where this is going and I am saying this as a decade long fan of Star Trek. Of course now they have to be aware with their writing a bit more because there are already established facts in place of the Mirror Universe. One thing I don´t like was how easy Burnham fell into her role and the guilt stricken face after killing that guy did not convince me. Oh, yes one thing I definately don´t like is all the sex. It does nothing for the story and seems to be just there to be there. But I for one am looking forward to what will developing out of this more than I was before the break.
Remember Star Trek has always been about tolerance.
Another episode full of unexpected twists and revelations. After being introduced last week to the Tardigrade ("Ripper") as a rampaging monster that will slice you up, I found myself quite delighted to discover that it's actually a cuddly creature who seems to be depressed. Michael figuring this out has warmed to to her a lot more, and I really like her being in science mode rather than "I'm-going-to-act-rashly-because-I'm-clever" mode. It's also our first hint that she does has some empathy once she sees how the Tardigrade is hurting. Her approach to learning about it was delightful and so in-keeping with what so many of us love about Trek.
I think it's time to address the characters on this show. There's a lot of talk in various forums about how they are not true to the spirit of what Star Trek has shown us before. That's just not true. People seem to be forgetting that it wasn't really until The Next Generation that Roddenberry imposed his rules about humans having overcome petty feelings like jealousy and animosity, with no conflict allowed between Starfleet crew members. And then people also seem to forget that the rule was disregarded more times than I can count, with all of the writers (correctly) pushing against it as much as they could. It was a noble concept but a terrible one for telling stories.
Lt. Stamets does seem to be overly critical and confrontational, but I find myself enjoying seeing a human being acting like a human being rather than some sanitised idea of what one should be. And this is certainly not a new concept within Trek if you remember any number of human scientists who appeared on the various shows before. Off the top of my head, in TNG Dr. Leah Brahms was a stone cold bitch to Geordi when she discovered how he was modifying her engine designs. If we go closer to the era of Discovery, then we have Dr. Richard Daystrom from TOS who was was crippled by feelings of resentment and endangered people's lives.
A bit more troublesome is (was) security chief Landry. She seemed to be downright hostile and condescending. Again, we have seen examples of other security officers acting this way across TNG, DS9, etc. but I was finding her a bit much to handle (and I had a similar issue with Rekha Sharma's performance on Battlestar Galactica), and I can't say I'm sorry to see her go. She was the most un-Trek like character on the show, almost malevolent.
The return of the Klingons to the main story had me a bit worried, as they were by far the worst thing about the opening episodes. I'm glad to say I was more impressed with them here, despite many of the fundamental issues still hovering in the background. I was immediately intrigued by the relationship between Voq and L'Rell which came through even though the makeup barely allows the actors to emote. I wish we had gotten a better look at the Birds of Prey, though, they were little more than blurry shapes.
If this episode revealed anything, it seems that Captain Lorca and Michael are going to end up severely at odds. Michael could see that the Tardigrade was in distress and is clearly not comfortable with the moral dilemma - but there's no way that Lorca is going to take that as any kind of consideration. Someone like Captain Picard would certainly not allow one creature's suffering at the expense of other's safety to continue, but Lorca is very different. Stamet's summary of him last episode as a "warmonger" is beginning to fit. I think that where the true Star Trek spirit is going to appear is with her desire to end the war through more peaceful means while pushing against Lorca's more bloodthirsty ways.
Also, finally we see why there's a gap in the ship's saucer and I LOVE it!
