Shout by Carlos Fernando Ibarra
Damn good sequel. Why is it fans like to toss this one off as some inferior piece of crap? Is it just because of Glover and how he's the opposite of Arnold? I think that was the whole point, and it works... It's got tons of great action, some good scary moments (arguable some scarier than the first) and it expands the mythology. What more could you ask for? Was there just not enough ripped, topless beefcakes for you guys...?
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@jekyl6669 I mostly agree, it's a good sequel. Not as good as the first one but not so bad everyone says. It's definitely better than predators or AvP.
The real question is why the hell did the guy charge money for snacks at the white house?
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A metaphor, like some people can make money because they know some we don’t. Like he know where to get the free food, so he can charge for this information.
First I have to say that sports movies or in this case motor-sports movies are not the genre I usually prefer to watch.
But I gave Rush a chance, because friends told me that the movie is good, and Niki Lauda is an Austrian like me. Of course not the best reasons to watch a movie from a genre you are not into.
And I shouldn't have watched it. For me it was pretty boring, I started to skip some scenes. The acting of Daniel Brühl was really not good - and I hated that Austrian-English-accent. I guess yes, the people in Austria were bad in English at this time - but this accent for about two hours long. Noooooo.
But if you are into Formula 1 racing... I guess you gonna like it. I don't know. 4/10 hearts.
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@ketu Have a look at this interview: https://youtu.be/0YUFTyHBT4E. They tried to replicate his dialect. I can understand that it can be annoying, but it's just a fairly accurate representation of how he used to talk.
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.
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Nice one.
The coffee mug scene highlighted another point for me, Jimmy is always looking for the quick fix in any situation; the shortcut, rather than going about things methodically and thoughtfully. He never seems willing to play the long game. If something's doesn't fit for him, he'll try and force it one way or another. This is in contrast to Chuck and Kim although Chuck is slightly jealous of Jimmy's spontaneity and Kim can't resist occasionally indulging his wild side too.
It was so bad. I dont know why it had such good reviews. There was no sherlock element in the whole movie. Waste of time really.
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@jindal-shreyansh I see. Riddles and quick wit have never been "sherlock-elements" :thinking:
Yeah I'd rather just re-watch Dunkirk.
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@silvetti not even the same style. only thing they have in common is war.
Shout by Ahmed Walaa-Eldeen
I see that some people say the ending is actually happy and that everything seemed to work out at the end! But i find that's not true!
We can clearly see at the ending that Ki-woo is still poor and dreaming of making his message to his father comes true
but did it actually happene or not? we don't know for sure!And i guess it didn't happen and that was because the reference back then when they lost their house, when the father told Kim Ki-woo that plans don't always success and that dreams never come true, so it actually does make sense.
The only thing i don't like that how did actually Kim Ki-woo survive?:D
I mean he has been hit twice by a huge rock in his head!!
And the funny thing that the woman who hit her head by falling over the stairs is the one who died :D!loading replies
@dr-blue (Sorry about my bad english) I think it is because it was a lucky rock. That would explain why he was laughting at the end, it's ironic that he were so lucky and his sister doesn't with only one stab. That's my theory!
this tv show sucks,my eyes are bliding ever time i see this
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@luis_angelct100 then ... don't watch it?
AGAIN.... 60 people alredy voted and we haven´t even seen the trailer of this movie
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@jim222001 nah... happens with many movies. Just dumb people everywhere
AGAIN.... 60 people alredy voted and we haven´t even seen the trailer of this movie
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@nalliendraug simply shouldn't be able to vote until at least the release date.
This show has nothing exceptional about it at all. It's pretty lame and cookie cutter. Disappointing.
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@username125800125800 this show is way better than arrow.
This show has nothing exceptional about it at all. It's pretty lame and cookie cutter. Disappointing.
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Haters. Just real haters who can't make any money. Sigh.
