If you're looking for an action and "turn brain off now" film, just don't watch it and spare us the 6-7 hearts review.
I for one, am very tired from 500$m crap like Indi Day and Marvel's poop. So I was very excited to watch this one.
This one is more like Spielberg's Encounters from the Third Kind. It's more about the characters in the film and the amazing journey they go through. It's mostly about the human behavior that will make you think.
While it's not an End of the World aliens movie like Battle: Los Angeles, it still offers great amount of military presence and plenty of stuff that's going on.
So if you actually want to care about an intelligent movie and use your head - go. Otherwise, go watch an X men.
Highly recommended for some audience 10/10.
2-feb-2017 edit: Just came out on Bluray and I saw it again. Definitely keeping my rating.
Watching again at July-2023, excited towards Dune II : Excellent. Excellent film. So called plot-holes listed here are negligible when the overall product is really thoughtful and masterfully crafted.
Easily the best episode of this season so far. It's the only episode this season that has truly felt like Game of Thrones. It has its issues, but it's the best yet. Best writing, best display of the characters, just the best.
This is the only episode this season (so far) that I haven't found to be disappointing.
I REALLY don't get why most people didn't like it. In my opinion it really worked quite neatly
Great movie. Gyllenhaal's portrayal of a sleazy news vulture is simply amazing. His disregard for the suffering of his "subjects" is acted out so real, you really dislike the guy and of course what he does for a living (although that should go without saying).
A truly vivid portrayal of a real-world psychopath.
Dunkirk by Christopher Nolan was just a fabulous experience. I definitely enjoyed the movie quite a bit from start to finish, and usually war movies aren't really my cup of tea (at least not anymore). However, cinematically, the entire movie is just a masterpiece. As a big movie buff, I could appreciate how meticulously crafted the whole movie was. It's so hard to create a movie like this within this genre while trying to remain "minimal", but Christopher Nolan accomplishes it in every sense of the word.
He seamlessly interweaves 3-4 different plot narratives/timelines, while using minimal amounts of exposition. He gives the viewer such a sense of a looming and foreboding threat, while never even having a Nazi soldier on screen at any time. He tells us "so much with so little" and allows the viewer to take in the conflict of each situation (and there are a lot of them) rather than point it all out to us. In that sense, you really feel like you're getting into the mind of each one of the soldiers/main characters when they are contemplating some very crucial decisions that literally determine life and death, for not just them, but many other men as well.
Nolan gives us continued development, closure and solid endings in each one of the tiny subplots that he sets off from the beginning. It's definitely a joy seeing how all the different plotlines intermingle with each other at the end especially with the civilian aspect added in. And, most importantly, he accomplishes all this in less than 2 hours (and by a damn good margin as well).
If you appreciate amazing direction, cinematography, and vision within a movie, this will be an absolute joy. It could definitely get Christopher Nolan that elusive Best Director Oscar come Academy Award season. I watched Dunkirk in 70mm, but, honestly, I couldn't really tell the difference, especially without being able to do a side-by-side comparison to a regular version. Overall, it didn't seem too different from the usual XD or IMAX type presentation at my local big theater. Still, the movie is a visual treat lending heavily to more practical effects that gives a nice sense of realism to it all.
Anyways, this gets a solid 9/10 from me, coming from a war movie curmudgeon. Watch it, and you won't regret it.
Pictures hang about on Google like a gypsy fucking curse. There's no cure for the Internet. It would never go away. It'd be glued to your name, a fucking stain on you. I'd hang myself if that was me.
holy.......................... this was me for 60 minutes: "wtf? WTF!"
Every episode is great, and this one was not the exception. Saul is such a complex character and yet so normal. I like the way it is played by Bob Odenkirk because it looks genuine, every gesture he does looks genuine. And this episode was especially beautiful because after all the crap and sacrifices he still gets to help his brother. The final scene was awesome.
Probably one of the most incredible series endings ever.
I went nuts with this finale. The desert's scene was intense and deserve an Emmy. Vince Vaughn gave us what he has been hidding the whole season. Chills all over my body. I'm rooting for a season 3! Please HBO, renew this amazing serie. I mean, you already renewed Ballers, who is one of the worst show I've ever seen, so do this favor for us.
Ohhhhh baby. The brand new HD remaster in 16:9 of all the seasons of The Wire will be airing from Dec. 26-30 on HBO. Digital versions will be available to buy on Jan 5 and the BluRay will be released in the summer. In the words of the great Senator Clay Davis, "SHHHEEEIIITTTTTT".
https://www.youtube.com/watch?v=l1dnqKGuezo
http://www.ign.com/articles/2014/12/03/hbo-announces-hd-remaster-of-the-wire
The movie is told by the excellence in editing, photography, score (by Hans Zimmer) and visual/practical effects.
From the moment which the viewer notices that it is a non-linear narrative told in 3 (or more) points of view, the film becomes visceral, thrilling and captivating. It gives the sense of failure and weight on those soldiers' shoulders during the many days that they suffered from German's soldiers (which only appeared 2 seconds in the whole movie) . You feel the human sacrifice, courage and fear that was on that beach, with all of the people waiting to their death or salvation. You experience and live the patriotism of the civilians which adventure themselves to the sea to rescue their own.
Dunkirk is a singular masterpiece that recreates one of the miraculous periods of World War II.
Hasn't anyone noticed that the Meow Meow Beenz app was used identically for a Black Mirror episode? It's basically the same plot but treated differently
I'm speechless. This episode had everything: animation, black & white silent movie, awesome music, glasses from "They live", Dan Stevens in his original accent, horror, zombies, villain back from the dead, Kill Bill (kind of - in the coffin), Matrix (there is no spoon), bald father (in the anmation), Jules Vern, crazy maestro, I can keep going on, I can't handle it, this episode was an experience.
From the beginning, that coffee mug has been a symbol of the way that Jimmy doesn't really fit in his new circumstances. "Bali Ha'i" doubles down on that symbolic motif throughout the episode, to show the several ways that the nascent Saul Goodman is a square peg who does not quite belong in the hole he's trying to fit into.
It's clear in the episode's creative and enjoyable cold open, which features Jimmy fighting insomnia in his generic corporate apartment. He takes those odd wicker balls that seem to be the default decoration for an upper class setting and turns them into fun and games, whether it be an impromptu hallway soccer game or a spate of trick shot basketball. He turns on the television and finds that Davis & Main has decided to adopt his idea to use commercials in order to reach more potential Sandpiper clients, but went with a bland white text with voiceover production in lieu of his attention-grabbing spot. Eventually, he returns to his hovel in the back of the old salon, clears out enough room for his fold out couch, and is finally able to get to sleep.
The broader implications are straightforward. Try as he might, a man as colorful as Jimmy doesn't fit into the antiseptic world he's stepped into, with the generic living space, the anodyne commercial, and the slick corporate car that doesn't quite accommodate his oversized novelty coffee mug. So when, at the end of the episode, he pulls out a tire iron and bashes in the cupholder until there's enough space, it's not just a scene of day-to-day frustration, it's a quiet act of rebellion that speaks to the way in which Jimmy is growing ever-weary of the space he inhabits.
But the episode's focus is on the way that the same weariness and frustration extends to Kim, who is out of the basement, but not out of the doghouse at HHM. The episode features scenes showing how both Kim and Jimmy are feeling boxed in, cornered, and unfulfilled by their current circumstances. Jimmy is cataloguing clients in a tedious session where the meticulous Erin is triple checking his every word. Kim is trying to do the very simple act of going to lunch, while Hamlin sends an envoy of his own to keep her at her desk during the lunch hour with only the promise of ordered-in lunch from "that fancy new salad place" to placate her.
Interestingly enough, Kim, unlike Jimmy, is offered an attractive out. After Kim is left to argue a losing motion in court, Schweikart her opposing counsel, compliments her for going down swinging and takes her out to lunch. There, he offers her a golden ticket: a partner-track position, a clean slate in terms of her student debt, and the benefits of being hand-picked by the partner with his name on the door. But more than that, Schweikart's best point comes when he tells her an old war story and explains that he left his old firm because he felt like the folks in charge there didn't have his back. (Incidentally, the Pacino-like Dennis Boutsikaris does a lot with a little in that brief scene and his performance helps to cement the attractiveness of what Schweikart is offering.) It's particularly salient at a time when Kim is questioning whether she has a future at HHM given the frosty reception she continues to receive from Hamlin.
It's clear that Kim feels a certain loyalty to HHM that she is loath to give up on. She tells Schweikart that she's been there for a decade, that they brought her up from the mailroom, and that they put her through law school. But Schweikart responds by noting that they're making her pay them back, that it's not kindness or generosity on their part, but sheer self-interest -- they not only didn't give her a "gift" by sending her to law school and putting her to work, but they're taking advantage of her by not using her to her full potential and sending her on fool's errands like arguing that motion.
The accusation has all the more force when, in an excellent scene, Hamlin is stone cold to Kim as they walk to meet the Mesa Verde clients, and then mechanically turns on the charm a few steps before they walk into the room. Not only does Kim have reason to doubt that Hamlin, and the firm he oversees, truly have her back, but she has reason to doubt he ever did, or at least sees that with an ability to shift his demeanor and put on whatever mask suits him at the moment, she can't trust that she'll ever really know where she stands with him.
As much as last week's "Rebecca" was a showcase for Rhea Seahorn as Kim, this week's episode gives her all the more opportunities to convey her character's emotions in subtle ways: the way her eyes light up for split second when Schweikert encourages her to imagine what she could at a firm that acknowledged her talents and abilities, the look of longing she takes on when sitting at the bar and looks at Schweikert's business card, the gradual smile that spreads across her face as she listens to Jimmy's voicemail, the clear conflicted stare she offers Jimmy when he asks her about the job offer. It's a virtuoso performance that does a good job of selling the thoughts Kim is turning over in her mind without ever requiring her to say them out loud.
"Bali H'ai" brings these two individuals, each feeling the desire to buck against the tides meant to hold them in place, reunite to blow off steam by conning another rube at the same bar. The rub of that sequence comes later, when in the morning after setting, Kim admits she has little interest in cashing the mark's $10,000 check, she just wants to keep it as a trophy, as a symbol of what both she and Jimmy are capable of when they're not constrained by the strictures and authority figures that keep them in their gilded cages. Jimmy is trying to convince himself as much as Kim when he tells her that he took the Davis & Main job because it's what he wanted, not because of her, and Kim is trying to figure out what she really wants and where her talents are best used. There's a greater strength to Kim that suggests she'll find her path, even as the more temperamental, if charming Jimmy McGill (whose answering machine song was adorable) seems more and more poised to trade in the good life for the much scrappier one in which he's much more comfortable, whether he means to or not.
Mike also finds himself backed into a corner in this episode, locked into a world he's been trying to get away from. After what was supposed to be a one-off transaction with Nacho, Mike finds himself embroiled in a dispute with the Salamanca family that requires him to continue to dabble in a criminal world he never wanted to return to in the first place.
There's something undeniably compelling about Mike as the reluctant badass. When he stands up to Arturo (Hector Salamanca's henchman) without intimidation, when he slips carbon paper under his newly purchased doormat in anticipation of another attempt to rattle him, when he uses his incredible sense of anticipation and misdirection to neutralize his would-be assailants, it's exciting and culminates in one of those trademark sequences that keeps you on the edge of your seat the whole time. But when Mike's hand trembles after he methodically cleans off the gun he used to pistol whip the intruders, much the same way it did while he sat at the bar and waited for Matty's killers in "Five-O", it's clear that he wants no part of this.
But the appearance of Hector's twin nephews (a thrilling moment for Breaking Bad fans) forces Mike's hand. In my review of "Gloves Off" I wrote about the ways in which Mike has common ground with Batman. "Bali Ha'i", on the other hand, puts the grizzled grump in the unexpected company of Superman, the "big blue boyscout" who occasionally teams up with his counterpart from Gotham. The challenge for writing Superman stories is how to create stakes and tension for a character who is impervious to nearly every threat. Similarly, when a character is as uber-capable as Mike has been depicted in Better Call Saul, it can be difficult to make it seem like anything is a genuine threat to them. And yet, the answer in each case is to show that no matter how strong the character at the center of your story is, the people close to them, the ones they're trying to protect, may be quite vulnerable. The striking image of The Cousins gazing at Kaylee from the distance, and the sharp change in Mike's demeanor says everything about how to put pressure on someone as calm and collected as Mr. Ehrmantraut.
But the end game in the episode is telling. In a wonderfully tense scene, Mike stands up to Hector even as he's acquiescing. And when Nacho comes to his house to make the delivery of Mike's ransom money, Mike offers him half. Even though Mike himself has gone through quite a bit, he has a code and principles, and the fact that he didn't do the job he hired to do means that Nacho is entitled to some of his investment back.
Sure, it's partly just good business, but that sense of honor is also a part of Mike that he cannot turn off, even in the "no honor among thieves" setting he finds himself in, in the same way that Jimmy cannot escape the colorful conman side of who he is, and Kim cannot ignore the conflicting parts of her that value loyalty but also the thrill of that con and the idea of living up to her potential. "Bali Ha'i" finds three of the major characters in Better Call Saul each being walled in through circumstances beyond their control, and explores the way that who these individuals are at their cores is something they cannot ignore or squelch, even when that part of them is clawing at the walls.
They bought back the original Jaquen Haggar!!!! Yay!
One of 100 movies you need to see
A really great movie with awesome soundtracks
Incredible opening episode, the direction was off the charts, the acting was spot on throughout the entire show (which is particularly impressive considering much of the story was told with subtle facial expressions), the story is intriguing and complex, the music was meaningful and fitting, and although some may think the breakneck pace was a bad thing I know that it just means that they are going to be able to fit more greatness into this season (not to mention every scene was extremely effective in terms of telling the story, giving off the feel they wanted and moving on). The characters have already been well established even though it's the very beginning of the season. Colin Farrell is a man who has gone through a lot and has lost his morality, he's corrupt, wildly alcoholic, and violent but he is also protective of those who he cares about (which is actually what drove him over the edge, and what I suspect will drive him back). Taylor Kitsch is this sort of "White Knight" figure who is good even when the average person would be bad, he's also gone through a lot but instead of losing himself he has blocked it out as if it doesn't exist. Rachel McAdams is a cop hell bent on going against what her father (a pseudo intellectual/religious hippy leader of sorts) stands for, she likes to be in charge and resents those who purposefully go against what she wants but she does this all out of her desire to help others. Vince Vaughn (who did an exceptional job in this episode) is a suave businessman/criminal overlord who apparently has schemes within schemes, so far he is more of a slimeball than overtly evil but that could change depending on how they progress. Lastly we have Vaghn's wife(or girlfriend, I'm not 100%) who is the counterpart of Vaughn's character. Where he is a calculating businessman, she is a hypnotizing, charming woman who puts everyone around her at ease. I was unsure how this season would turn out with a complete overhaul of the cast, staff, and story but this episode restored my faith that it will be great.
Very well paced and entertaining movie. There is a lot going on and James Gray never focuses one one thing for too long. I was never bored during the long run time of this movie. Some beautiful shots in the jungle. Charlie Hunnam is great in this, really does a good job showing a man who keeps chasing after his dreams. Robert Patterson was surprisingly good too, I still can't help but think of twilight whenever I see his name. Tom Holland was decent in the part of the movie he was in. Only nitpick with this movie is that it has a little unsatisfactory ending but that is what happened in real life. Nobody knows what happened to Percy.
I was eating my nails with that last scene
I can not believe this... It was a bit slow but made me remember last season, which I think was way more slow, and great work at the end with that, left me wanting to see the next one right away.
Pretty disappointed with this one, captain America has been my favourite of the marvel cast and I hoped they would have stuck more to the comic book version, instead they continue to attempt to make everything have rainbow and butterfly endings. Heres hoping thor gets things back on track.
An epic Russell Crowe film that can be added to his collection of great films. An enjoyable epic for fans of real adventure films..
Nice movie. Illustrates a glimpse of the life of crewmates in British Royal Navy. The movie only lacks significant character development for supporting characters - something that makes them feels special were something happened to them.
