Downloading a power source...................... WTF
Impressive season. Really well done in all aspects and Billy Bob Thornton does a spectacular job
It may not be the most hilarious mind-blowing comedy that I have ever seen, but it kept me entertained and laughing every minute. Keeping in mind that it was directed and co-written by a Python, you couldn't expect anything else but absurd situations and brilliant colaborations. Simon Pegg awesome as usual.
I love love love love loveeeeeee this show. So sad it's off the air now. Was really entertaining and the acting was top notch. Hilarious at times too with Neal & Mozzie interactions/dialogues.
A HUGE Lord of The Rings fan here! and I have mixed feelings about this movie just like the previous The Hobbit movie.
Let's start with the positive points:
The Acting, it's fantastic and Martin Freeman once again kills it as Bilbo and he is just so fun to watch on the screen and everyone else is great. Gandalf is a huge badass (no surprise there,, this is the same old guy that stood up to the Balrog and said You Shall Not Pass).
The Dragon is awesome and Benedict Cumberpatch is awesome, his voice is amazing and Benedict and Martin together in any scene will make me happy ! The dragon looks majestic and everything worked with that dragon.. honestly it made the movie 10x times better.
The music is great (it's Howard Shore). Some of the action sequences are amazing (the mirkwood spiders, the Barrel scene)
Also the subplot with Gandalf and the Necromancer is actually interesting.
(Lee Pace as Elvenking just decapitating that Orc was so beautiful I can't describe it!)
Then for the negatives:
it's too LONG! and this is not just me saying, anyone who saw this movie says this, it is very long and thus so many and I mean SO MANY useless fillers are thrown in there that just decreases the quality of the movie, they do so much harm!
That Romance is stupid and should NOT have been there, I would have liked it a bit if it was with Legolas and added a bit to his character but nope that Elf is just in love with that dwarf..
The Lake Town people and that useless hate for Bard is incredibely useless.
The dwarves trying to kill a FIRE BREATHING dragon by molten gold is stupid.
Too much CGI and Green screen, as I rewatched this movie I realized that the CGI in the Lord of The Rings was better than this and that was 13 years before this movie, I don't like CGI Azog or Bolg or just CGI orc in general.
Azog is still a subplot that I didn't like.
So these are just the Important stuff that I had to say!
(and Legolas seems to defy Physics.. doesn't matter he's cool LOL)
One of the best compliments you can give to a movie is that it takes you and wouldn't let you go before the end credits. That's what Max Mad did to me. The whole movie is so intense that my eyes were glued to the screen. The cinematography is gorgeous and make a world come to life. The main characters feel real and you can rely to them. I like it when a main characters isn't the 'invulnerable' hero, so you feel more tenses in the scenes because 'it could go wrong for him'. All this is directed in a perfect way. All of the action is filmed with a steady cam, thank god! No shaky cam but steady and wide shots which make the action scenes a real experience. I have no real faults with this film, I loved it from begin to the end. So I would recommend it for everyone who wants an awesome 2 hours.
His name was Robert Paulson
OK, I do it again. I make the comparison.
Why is this more Trek than today's "real" Trek ? Because, although they are reheating old TNG stories, they are telling them about all the crew. Not just centered around one individiuum. This is an ensemble show. Everyone get's his share. Some more than others but that is true to most shows anyway. The writers are building up characters so that, when something is happening to them, you actually feel with them. There is emotional investment that is created over time.
And because they deal with social issues even if they are very much in your face. But it works for me. I can't remember a show displaying smoking so blatantly.
Of course it's always nice to see fellow ST actors. And, coming back to the story, I kinda suspected Laura would turn out to be a distant relative of Gordon. Would have probably a bit too much.
I really had to stop and write a comment about my favourite 3 lettered word, WTF , does it really mean Wireless Telecommunications Facility? :P That cracked the hell out of me laughing XDD
On the other hand, I really feel bad about Gordan, he is so lonely.
WOW this was a good episode. I loved everything about it. Truly one of the best episodes this season next to Alara's exit.
Probably the most beautiful episode of anything you could ever watch. What a masterpiece of show The Orville has become.
That shit was beautiful man.
I remember watching this movie as a kid and got really excited. I wanted to watch it again, but I completely forgot the name and could therefore never find it. It just got recommended to me on Netflix and all I gotta say is I had dogshit taste as a kid.
[9.9/10] How do you go about capturing something as immense and horrifying as the Holocaust on film? It is an event that stretched across countries, with an unimaginable, unending array of horrors, that feels too big to be contained within the feeble confines of celluloid. But Steven Spielberg and his team somehow manage it, by going big and going small.
Spielberg gives us avatars for the different sides of this experience. He gives us Itzhak Stern, to channel the desperation, the resourcefulness, the unceasing fear of the Jews driven from their homes and then forced into camps. He gives us Amon Goeth, to symbolize the utter inhumanity, the callousness of the people who carried out such atrocities, who saw their captives and victims as less than human and acted accordingly. And he gives us Oskar Schindler, and with him, the arc of a man who goes from seeing the Jews as a means to an end, of profit and personal gain, to helping them a little when he can, to realizing that he’s sold his soul and trying to do everything he can to buy it back.
Through these central figures, Schindler in particular, the film brings grand, wide-ranging concepts down to earth: the dehumanization of the Jewish people, the different shades of wanton cruelty visited upon them, the gradual realization of their plight by the world, the good works that created light in the darkness, and the bureaucratic state that treated the harvesting and expungement of human lives like a series of numbers on a ledger.
But he also stretches beyond those avatars, to capture the horrors of one of humanity’s great shames as a series of chaotic, disquieting events that affected massive numbers of people. Spielberg’s camera does not shy away from panic, the tumult, the hiding, the casual deaths doled out in the streets in the “liquidation” of the Krakow ghetto. It doesn't flinch from the masses of people loaded into trains, stripped and prodded and treated like animals, and falling apart as families are split up, spouses are separated, and parents see their children blithely led to the slaughter. It holds the tension to the last when a group of Jewish women are disrobed, shaved, and sent into a shower, uncertain whether they are being disinfected, or sent to their deaths.
Through all of this, Schindler’s List provides a sea of familiar faces, individuals who are less fully-developed characters, but still given personalities, connections, quirks, and specific hopes and fears, that make them more than the indistinct mass of humanity their Nazi tormentors see them as. They are distinguished just enough to make them memorable, relatable, recognizable, but their concerns, their reactions and mere persistence or faltering within these stomach-churning events, are real and universal enough to make them stand-ins for the broader horrors faced by so many like them in the Holocaust. The film expertly balances their humanity and the way they represent the humanity of so many other, saved or caught or lost, in the Third Reich’s mortal machinery.
The film, in fact, treats it like machinery. That’s not to say there is pure dispassionate indifference here. One of Schindler’s List’s most intriguing choices is its treatment of Amon Goeth as someone profoundly real and expressive -- in his boorish laughter, his twisted affections for his conscripted maid, his brief and faltering attempts to own the power of mercy -- but also someone with no shred of empathy in him, for whom murder is either an idle sport or a mundane necessity of his job, until the very suffering or salvation of the people under his watch becomes one extneded joke.
But at the same time, the editing and framing choices emphasize the efficiency, the bureaucracy the meticulousness of the Nazis as they processed the Jews into fungible goods and slave labor and ash. Spielberg returns repeatedly to the images of the “listmakers”, the names being typed onto pages, the stamps that dictate life or death, the regimented memorialization of letters and numbers that either allow humble, blameless Polish Jews to hang onto their lives, or condemn them to an untimely death.
This is not the rush of the battlefield or the fog of war or the uncertainty of combat. It is the systematic extraction and extermination of a people at the hands of the state, done with governmental imprimatur. It is one of history’s greatest horrors regularly delivered with the desultory indifference of a civil servant.
At the same time, Spielberg and company take pains to show the contrast between the lives led by the German officers and private businessman who thrive on this murder and forced labor, and the beleaguered Jews struggling simply to survive. The film juxtaposes the lavish parties Schindler joins with the S.S. officers, and scenes of the squalor of the ghettos. He contrasts decadent pleasures of the flesh and of stunning artistic displays, with private beatings by officers who hate the cause of their own twisted feelings, and life events eked out by Jews in captivity. Without ever having a character speak out to condemn this disparity, he lets the disparity speak for itself in the distance between the casual horrors of mass enslavement and extermination, and the flush, spoils-of-war indulgences of those who profit from it.
That’s aided by the black and white aesthetic of the film. That choice certainly bolters moments like when a colorful flame juts back into the monochromatic world of the film, signifying the traditions carried despite the time they were almost snuffed out, or Schindler recognizes the red coat of a little girl that helps spur him to recognize the abominations of these acts and the humanity of the people who suffer under them. But it also allows Spielberg and director of photography Janusz Kaminski to make light the focus of their images.
The flash of gunfire illuminates and identifies the killings that take place in the Krakow Ghetto. The light that shines on Schindler’s face as he leans out of the shadows to comfort Helen Hirsch after she describes the terror-filled unpredictability of Goeth’s arbitrary murders cuts a contrast in the us vs. them divide. And it creates a stark beauty but also a grim frankness to swaths of liberated refugees walking down a hill, or clothless people forced to run in circles so they can be examined, or the bursts of smoke and ash that signal the ending crush of human suffering practically automated. It makes Schindler’s List feel older than it is, whilst channeling the dark realities the film unflinchingly confronts.
It confronts them with the crowds of Jews, the lists of names, thrown into the mortal whims of men who view them as subhuman, to be killed, abused, utilized, or saved. It confronts them with the story of a man who comes to see that invisible machine, the input and output of war, and laments his myopic part in it, and changes enough to save whom he can whilst decrying the more he might have saved. And it confronts us with the unimaginable scope and brutality and lost humanity, channeling the experience into a visceral three hours of trials and loss, of shameful joys and undeserved deaths, of regimented destruction and unsanctioned survival.
It is, in a word, a masterpiece. It is a hard watch, but also a film that accomplishes the impossible -- it captures the all-encompassing maw of the Holocaust, the acts that called into question our very souls as a species, the kindesses and losses that helped to affirm them, into a film so attuned to make us recoil, that also makes it impossible to look away, to cover our eyes, or do anything but reflect and remember what was done and what was lost.
Best trilogy ever made, return of the king best movie ever made!
Absolutely the worst thing ever recorded. Literally nothing about this movie is tolerable, from the intense technical incompetence to the pathetic and self-absorbed persecution fetish. It's bad and dumb. Don't watch this unless you can pirate it. Also, Joshua Wesley groomed his much-younger wife and is a disgusting creep.
This was just so pure genius entertainment, Jackie, Sammo and Yuen Biao are Action Comedy legends and prove that in this classic. I'll keep it short and just say SUBS OVER DUBS!!!!!
The character of Reacher has the personality of a mannequin. An autistic mannequin. A muscular autistic mannequin.
He walks around, occasionally fights, and spouts Sherlock Holmes like insights. The show doesn't have any real plot or pont to it.
I actually closed my eyes during the prison fight scene so I wouldn't have to see the violence. It"s not like Banshee, where the fighting was for integral plot reasons. This is just to show fighting.
I don't hate the show, but also didn't like anything about it.
I heard about this series a long time ago, but I never wanted to watch it, since I was very sceptical about it. As an old school Sherlock Holmes fan, who watched all Basil Rathbone movies, the whole Jeremy Brett Series and more, I never wanted to 'destroy' my view about Holmes by making him a new 21st century character.
I started episode one with a friend, and I immediately knew I was wrong.
Yes, this is definitely a different Holmes than it was usually portraited as, but Benedict Cumberbatch nails it. Specially in "The abdominble bride", where he is an traditional Holmes, showed me that Cumberbatch was a perfect choice. He even sounds and looks like Jeremy Brett in this episode.
All in all, so far it was one of the greatest series I have watched.
Did it really end?
I’d like to know because it’s the BEST show I’ve ever seen. It would be a pity if there won’t be any more episodes T^T.
I never even liked Sherlock Holmes or crime-solving shows like these, but this Sherlock truly won me over. Brilliant show!
Cumberbatch > Downey Jr.
Amazing show. I was wondering what the fuss is all about until I started watching it, then I just couldn't stop.
One of the best shows out there. I have never seen such a masterpiece in all my years of watching TV shows.
It is one of the most wonderful series that can exist and the performance of Benedict is simply perfect.
Transformers: The Return of Michael Bay is all action and no brains. Which can be said with all the sequels. The first is the best but all Bay has done is remake it with each sequel.
He takes something called Transformers too seriously and makes each film overdramatic and overstuffed. The movies are more loud than fun now.
This one isn’t as bad as critics said though. The 4th and 5th are worse.
Okay no. What the FUCK.
whoa MICHAEL WHAT WAS THAT???!?!
"Don't mistake coincidence for fate." Wouldn't it be the other way around? Mr. Eko definitely believes in fate, but the order in which he said it would mean don't think something is fate when it's actually coincidence.
The horse thing is dumb, and one of those infamous 'Lost questions that are never really answered but also do you honestly care about the answer' situations.
I like how Michael's "checking out the hardware" is just squeezing the wires. As if that would give you any kind of information.
