A two and a half hours boring, depressing mess. In short, Zack Snyder.
And the dream sequences take more screen time then the actual BvS fight. Who thought this was a good idea?
9.5/10. There are times when I feel jaded as a viewer. When it seems like despite the breadth of films out there, that I know most of the tricks, to where while I can appreciate a film's achievements in sort of a detached way, when I can even be engaged and invested in something, it doesn't necessarily reach me in the way that movies did when I first started watching them. The scope of appreciation has widened, but the emotional resonance feels muted, because I can't help but see the strings.
And then a film like Room comes along.
And Jack sees the expanse of sky for the first time. And Joy hugs her parents after not seeing them for seven years. And Robert can't even look at his grandson. And Nancy tells her daughter that she's not the only one whose life was destroyed. And Joy tells her mother that if she hadn't been taught to be nice, she might never have gone with Nick. And there's a supreme, heartbreaking look of guilt on her face when a reporter asks if she should have given her son up while in captivity. And Jack walks in on his mother's suicide attempt. And Nancy hears her grandson say "I love you." And Jack sees a real live dog, and makes a real live friend, and cuts his hair to give his mother his strength.
And I wince and I laugh and I cry and I gasp at this beautiful, devastating, intimate, life-affirming film. This is why we make movies. I love popcorn films, with the fights and flashes and epic feel, and I love the big dramas, with their scope and their sense of grandness and the talent on display, and I love those classic film comedies that mix the absurd and the irreverent and the memorable into a single hilarious package. But the films like Room simultaneously so small and so personal, yet so powerful and affecting, have a special place. These are, as Robert Ebert once put it, the empathy machine that is film working at peak efficiency, taking us into the lives of people who have suffered and been unfathomably wronged, and carries us with them as they carve out a way forward.
I didn't know I wanted a film that feels like a cross between Oldboy, Life Is Beautiful, and Boyhood, and yet the elements Room shares with each--the sense of isolation, the loving way in which a parent tries to distract their child from a continuing tragedy, the slice-of-life, impressionistic depiction of a young boy's innocence--come together to form something absolutely tremendous.
That last facet of the film, the fact that it filters the entire experience through young Jack's eyes, is a stroke of brilliance. There's a matter of factness, a certain directness or even blitheness to the way children experience the world. Using Jack as the lens through which Room tells its story renders those events not only realer, but plainer, imbuing them with the unvarnished perception of childhood. The way the film is able to get into Jack's head, to allow the audience to view these horrors and steps to recovery through his eyes, is its greatest strength and most impressive achievement.
By the same token, Brie Larson as Joy deserves all the accolades she's received for her performance here. While still a prisoner, she carries herself with such an air of both utter resignation and quiet resolve, someone who's been beaten into submission but carries on with whatever she has left. And once she returns home, the guilt that consumes her, the anger that she has for the world that kept turning without her, are palpable in every moment without fading into overwroughtness.
The film can essentially be divided into those two halves. The first is the story of Jack and Joy in Room, of the way that Joy makes unbearable circumstances livable for her son, the way that she copes and shields Jack from the horror around him, and how Jack strains and struggles to understand the idea of the world beyond those four walls, to where he can, eventually, help the two of them escape. The second half is far less intense, but still endlessly intriguing and affecting. It's a quiet domestic story about how people recover from that sort of trauma, both Joy who feels the opposite of survivor's guilt and second guesses herself, and Jack who is exposed to a big scary world, the depth and breadth of which is entirely alien to him.
But throughout both halves, there is such a pure emotional truth in each moment, from the simple joys that Jack enjoys within the home he doesn't realize is a prison, to his anger and resistance at having that fantasy shattered, to Joy's dispirited but resolute attempts to keep him happy and healthy, to the realistic, painful difficulties parents and children face when rebuilding a family seven years after a tragedy, to the wonder and fear a small boy has for what lies beyond the garden gate, and the unmitigated joy at every step taken toward some cobbled-together normalcy. Room is a beautiful, heart-wrenching, intensely personal film, that takes an unflinching yet uplifting look at how people cope and come back from the worst that our world has to offer.
Most of the episode was good story with exceptional acting, but the ending makes no sense, unless you are a TV show writer that needs June to be in constant danger next season too.
Ends on cliff hanger. Starts new ep. 5 minutes in its good. next 40 minutes its quite disappointing. Ends on cliff hanger. Repeat.
I have to agree with MajorMercyFLush and stryjewski. This movie is a snorefest. The amount of acclaim it recievs saddens me when shallow drivel like this is going to be held as a blueprint of successful filmaking.
It's nothing more than a set of video game like sequences sans the interactivity that makes video games appealing. So you can't interact with it, and the plot is for the lowest common denominator. Where does that leave it in my books? In the trash.
Fuck this episode for making me rewind to check her hand and then not showing both her hands.
Man fuck Tony's mom. The worst human being in a show where gangsters, corrupted cops and rats reign supreme.
Overall a great episode of looming tensions and ambiguity of the unknown.
Fun ending to this episode. Did she decline the sleepover because the room looked dirty? (Per earlier hotel room convo with the wise Carole) Or was Midge dissatisfied with Lenny’s critique of her act, knowing that there were flaws and disappointed at his silver tongue?
Funny as hell and delightful rated R content. Was not disappointed.
Before I started watching this movie, I had high expectations. Reviews and friends told me to expect a real science fiction movie. I've been longing for a real sci-fi flick since "Close Encounters of the Third Kind", "Contact" and "Sunshine". I know people nowadays are calling fiction and fantasy movies sci-fi, but I rather tend to draw a dinstinctive line and emphasize on the word "science".
That being said, the plot is simple, but at the same time realistic. The movie tells the story of humans trying to survive in an utterly inhabitable place - space. It's a movie that will remind kids (and adults alike), spoiled by the strange education they receive through contemporary media, that not everything can be achieved by wishful thinking. Humans are not made for living in space. Every step off earth is a step defying nature. Is that bad or good? That's a decision everyone has to make for himself.
The visuals are stunning. I watched it in 2D and I plan on watching it again in 3D. The spectator has the feeling to actually be there.
At least as important though is the sound. Many filmmakers make the mistake of having sound in space. Of course that's totally ridiculous. The only sound there is, is the sound that's created inside of your space-suit or space-station by the shockwaves that hit it. Throughout the movie I had the feeling they got it right. And actually it didn't make the movie "empty", but quite the opposite, more tense. It intensified the feeling of "this is not a place where I belong".
There was one scene though, I thought wasn't right. When Bullock holds on to Clooney, Clooney should already have the same trajectory as Bullock or the station or he should bounce back. I just don't get what's still pulling him. I think it is a mistake in the movie and a serious one at that.
Anyway, I can overlook that, since the rest of the movie is very good. On IMDB it has a rating of 8.2 right now. I'd give it more like a 7.8. Maybe even less. I guess the rating is a bit high, because for young viewers it is a new experience to see something realistic on the screen.
Should you watch it? Yes, definitely. Should you rewatch it? Maybe, for the CGI and if you haven't seen it in 3D. Certainly not for the story.
I case no one noticed, this whole episode was loosely based on the true story of The Hart Family Massacre .
I do like that it doesn't treat the flat earth bunch as psychos or make fun of them, but there's lots of jaw dropping weird in there provided handily by the subjects.
That invisible car payoff was so good.
Why are all the dates messed up?
120 minutes of jokes, pop culture references and free violence. This could be 120 minutes Deadpool standup.
That footage of the very good dog riding down the escalator is a special gift that the extra 30 minutes gives us viewers.
Well the game just got 64% less interesting without Cam in the house.
We are moving on from Succession into this?
I don't know what this show wants to be, satire or erotic thriller? It was so all over the place that made me confused about what I was watching. This show is like Sam Levinson hitting back at his critics (mocking the intimacy coordinator, portrayal of sex, drugs, etc.) for negative reviews for content he created in the past. Levinson is one of those directors who fancy themselves as provocative when in truth they have nothing original to say and use graphic content to distract viewers from that fact.
The show is just dull and boring. I feel like it thinks it’s more edgy than it is. Is anyone really shocked my nudity anymore?
The acting is so wooden and everyone just seems a bit surface level. The Weeknd has no charisma. You can’t see why Jocelyn is so attracted to him and let’s him do what he wants. And why did they give him the worst hairstyle imaginable? I’m surprised some people liked Lily’s acting. She is not that terrible but she’s just trying too hard with her expressions.Jocelyn and Tedros have all the chemistry of oil and water, and their relationship was given not even 60 seconds to develop. Jocelyn's song was painfully bad, it sounds like they came up with the melody first and then had an AI write the lyrics.
The dialogues are just edgy and trying to go for shock value every second. You can tell this show is written by a male that watches way too much porn.
Chet Hanks haha, makes sense
This episode destroyed me. After Nacho's death and Kim behavior turning more and more like Saul's behavior, the last important character with uncertain future was Howard and I really had hoped that he could escape of all the caos the Wexler-McGill couple generates. But no. No one is safe in this show, no one saves :(
Poor Howard, I said that a lot of times in the last seasons. He deserved better. The bad things he did were only the ones he said to the main characters in their house: not letting Jimmy work at HHM (which wasn't his choice) and sending Kim to the mail room. Then, like since season 3 or mid 2, I don't remember any error from him but he kept receiving shit and mistreating from them.
PD: Hate the way Jimmy and Kim lie when everyone know the truth, same level hypocrisy Walter White had.
This show is so weird. It seems nothing has anything to do with anything. Maybe I've forgotten things from the previous season but why are they where they are this season. Head scratcher.
The story feels forced just to include retro actors. The trailers revealed the entire story. Lazy writing, everything's explained with "magic". Bad jokes, cringy-feeling at times. Quite a nostalgia trip, but nothing much.
So June really raped Luke huh....
Gotta comment after seeing so many haters complain about episodes diverting from the main arc. That’s what so amazing about a Star Wars SHOW. We get to have a little fun outside the bigger picture.
To me, these aren’t filler. These sporadic adventures-of-the-week episodes give us some breathing room to understand our characters a bit more and play around in such an epic sandbox on the small screen. The big story will continue — and we’ll appreciate it even more.
We’re oh-so-lucky to have this echelon of television in our lives. Absolutely stellar.
Interesting that the episode has an average 8/10 rating but most of the comments come from people rating this less than that. It's almost as if the 'hate' Star Wars is getting these days is from a vocal minority and not the view of the fanbase as a whole.
Sure Burg was an all-brawn-and-no-brain cliché, but still had personality. Anyone saying the production quality was bad clearly doesn't have eyes and anyone who doesn't understand why he didn't kill clearly doesn't have ears, because Mando's code in that regard is very clear.
Cathartic as hell. Bravo. There's an underlying jubilee in the filmmaking on display in this episode that really allows the audience to fly off the rails with glee. And that's truly accomplished stuff.
But I do have a minor gripe with one piece of the writing here. I am more and more uneasy with the show's characters' unwillingness to acknowledge Darlene as a power player in the game of chess that's been going on since episode one. When in reality she's been in on the ground more than Elliot himself. She's gotten her hands dirty and suffered the consequences. I can reason around the characters' ignorance. Perhaps Price and Whiterose just don't really grasp how much f_society is Darlene's as much as Elliot's, but it seems like at some point the show could have a little more reliance in that fact as well. I don't necessarily think it's overwhelming to the point where I am pulled out of the experience. Overall, this is Elliot's story. Darlene is a supporting character, even when they've been pushing more weight onto her as the show goes on, so I don't necessarily think it's the wrong idea to suggest there's stuff going on with her without delving into it as deeply as we do for Elliot. Hell, I've even been critical of the execution of her b-plot this season not being quite as engaging as I would have hoped anyways. But I do think it is the duty of viewers to call out writing short-changing female characters, even if it feels somewhat calculated within the confines of the show.
Regardless, I am enthralled by this two episode streak of Mr. Robot. There was a minor mid-season slump in the writing that was made up for in the craft on display, but this episode shows an incredibly solid cohesion here. In particular, this episode's oner where the Deus Group's gathering is stunning (particularly love that not-so-subtle side-eye thrown to Trump). This series has always shown a very strong grasp on how oners should operate and I place many of them within the upper echelons of one-shots that cinema has to offer. I just love how damn cheeky this one is, though. Conceptually it operates as a troll to the audience. Esmail is so heavily in control of the heist genre he's able to wag his finger at the tropes.
“Holy shit Bruckheimer! When you get an abortion you’re supposed to leave the mangled fetus at the clinic, not staple it to the skeleton of a gay condor and run it for president.”
“Just give it to one of those gay-converting Baptist colleges to fund a statue of a gold-plated Jesus fucking a triceratops.”
“-I have your estrogen patch, if you’d like.
-You wear it. Maybe you’ll grow some hair on your vagina!”
“-What do you think it says?
-I don’t read mandarin, ma’am.
-When do the new Kents come out?”
God, i will miss this show so much!! :(
