This, for the moment, lasts longer
Weird way to foward the main plot as Elle's visit to the Doctor felt the same and basically brought the same result as her visit to the police chief in episode 6.
I still like the show but this was the weakest episode so far.
Re-L is so beautiful when she smiles!
The trio were really cute together like a little family :)
This was even more difficult to watch than its FMAB counterpart... So far, I feel like the mystery is unfolding better in this 2003 series. I also personally like Edward Elric's characterization better, because he really is portrayed as a child (who has been through an immense trauma) here. Scar seems more confused than vengeful here too, and he's not yet(?) portrayed as a villain; so I think I prefer his character in FMAB. Too soon to tell. I already love this series though!
I liked this one a lot. Very cool
As a Christian, I am of course biased towards the message of the film. Ultimately, it is one man's journey from sceptic to believer, when he discovers through evidence and testimony that God is real. Thankfully, the film is not as cheesy as other Christian movies. It paints a convincing picture of the testament of faith, with insight into real-world thought into why Christ isn't the dead guy others say He Is. Any sceptic watching the film may scoff - Lee Strobel did himself - but for any unbelievers considering the film, go in with an open heart.
It's not a perfect film, it is overlong, but it paints a convincing picture that may hopefully win over a few converts. I have met sceptics, I was one myself, but I know of the power that can change a person's mind and heart. May the same be true of your life.
I felt really bad for the young girl and the the post-human boy. I'm still not sure how he is connected with all the other post-humans but it seems he is patient zero. Pretty good cliffhanger so looking forward to the next season.
That was certainly a creatively written bank heist :)
Possibly not quite on the level of SAC, but I'm still enjoying this version of GitS. The soundtrack by Cornelius is a massive plus too!
What in the actual f*ck.
I'm a reasonable man, I realize I've been crapping on D&D even more than usual this season but I really do have to give them props for doing exactly what they set out to do. They hoped to subvert our expectations and they did just wonderfully in that regards.
We expected all of that buildup over the years to actually amount to something that at the very least passes for a presentable series finale but instead, we got an incoherent, steaming pile of shit. Expectations subverted!
We expected all of that character development to actually result in a beautiful pay-off that respects the journey of self-discovery each and every one of our beloved characters went through to get to where they are now but instead, we got a painful, disrespectful cycle of character regression. Expectations subverted!
We expected the final season of this show to keep us at the edge of our seats with thrilling writing that didn't subvert our expectations for the sake of subverting our expectations via low-quality shock value-seeking writing, but to introduce plot twists that make sense within the overall narrative of the story but instead, we got CW-level predictable, cringe material. Expectations subverted!
I get it. I really do. GRRM let them down by not getting the books ready in time and so they had to improvise away from his influence, but this? This? For a long while, Game of Thrones lived up to the slogan of its parent network, it wasn't just TV, it was something different, something unique and now to have to see it come to this... it's nothing short of disappointing.
On the bright side though, at least this episode didn't suck completely. The acting, score and cinematography were all on point, so I guess it's nice that I didn't walk out of it having appreciated absolutely nothing about it.
So why do I even bother anymore? I honestly could not tell you, though it's probably a mixture of masochism and a faint sliver of hope that they won't flush our collective investment into this series down the drain by the end of it, just one more episode dammit.
I thought for sure that the short season and short episodes would lead to an unsatisfying ending...
I could not have been more wrong. I'll miss this show, I'll miss these characters, I'll miss this ship. Till we meet again Rocinante.
Very disappointed so far. Seems like they just threw a bunch of ideas at the wall hoping something stuck. Four episodes in and didn't care to finish
Okay, now that's..that's called real suspense. So many reveals, incredible acting, gorgeous shots.
Meh. Not sure yet. I will probably give it another episode or two. The future world is very interesting, but the first episode was kind of slow other than the scene where they were looking for Takeshi and his GF.
Why does everyone talk to each other as if it's the first time they meet, commenting on life choices and habits? Feels like forced exposition because the producers think viewers are too dumb to pick up on subtle queues.
Why is there even more nudity than in Game Of Thrones and Blade Runner? If you can't do it right, just adding more and more won't make it look good. I don't mind it as such, but to me it feels like trying to copy GoT and BR but not... quite... getting it. I realize this is probably a very subjective matter, but then again I'm not a reviewer.
Why can't they agree on how to pronounce Kovacs' name? This isn't realistic - it's annoying.
Visually, it's might impressive. I like the art direction and design choices. The various languages are well done with minimal accents from what I can tell and Takeshi's skill of anticipating people's actions reminds me of the Social Enhancer augmentation from Deus Ex.
That was epic, absolutely brilliant.
The characters' developments and interactions are amazing.
Not to mention the extremely well-written story and dialogs, the cinematics, the music, the acting, the suspense, and the director.
The best Sci-Fic show ever... Almost the best TV series out there.
Truly an amazing and thought provoking show.
For a show that's running on the HISTORY channel Vikings surely cares very little about actual history.
Best of the New.
I cannot remember Frodo being so tall.
Bad series with very unclear story, was a waste of time!
I really hope I'm wrong but that so looked like a last look from Drummer when she left Ashford.
It seems that hard sci-fi series are back in the game. Besides Black Matter and the Killjoys we have now the Expanse. Comparing the three pilot episodes, this one was the best. They did a decent job in building a large universe with clear rules and relationship (in Black Matter we know next to nothing about the bigger picture of the universe and in the Killjoys it is too complicated and bad explained). They had nice ideas with G-forces and general orbital mechanics, but in the end the whole physics in this episode is bogus. If they refine their character and really use their sci-fi setting it has the potential to become a really cool series. The risk is to do a story which could be told in any setting without science fiction, often caused by lazy writing.
Solid film. Slightly outdone by Star Trek II: The Wrath of Khan, but still great. We get to explore the relationships between Spock and Kirk & McCoy, see some Vulcan culture, and watch Christopher Lloyd play a Klingon! (To be honest, I couldn't help but visualize Doc Brown from Back to the Future (1985) delivering his lines. Even though this film came first, it was inevitable—and amusing.)
With the gang assembled, Kirk sets off on a personal mission to find his old friend again—the title tells us as much—but he ends up getting a lot more to deal with than he expects. Typical Star Trek? Yes. What we as viewers wanted to see? Definitely. (I'm harping again on how Star Trek: The Motion Picture wasn't as much of a true Star Trek production as its immediate sequels were. I might keep that up all the way to Generations.) Scotty, Uhura, and Chekov pull some lovable tricks along the way, and it's just great.
There's much less reuse of footage from previous films here. The main musical theme is distinct, but still feels like Star Trek, thanks to the work of returning composer James Horner (who also composed for the previous film). Look for the occasional odd cut here or there—sometimes it appears characters are repeating motions they just made in the previous camera angle—but technically this production is very impressive, and feels like a real stepping stone on the way to the effects we get to enjoy in the later TV series.
THE BETTER: ‘BLADE RUNNER’
WRITING: 90
ACTING: 100
LOOK: 100
SOUND: 100
FEEL: 90
NOVELTY: 100
ENJOYMENT: 95
RE-WATCHABILITY: 100
INTRIGUE: 85
EXPECTATIONS: 100
THE GOOD:
Vangelis is the perfect choice for composing music for a film such as Blade Runner. The unnerving, futuristic synth score is not only characteristically 80s, but also recognizably sci-fi.
I love the almost Burton’s Gotham-esque futuristic production design, a mix of the dark and gritty and the technologically advanced and flashy. Ridley Scott brings the rain, the smoke and the grime alive just as well, as he does in Alien and combines that with a sci-fi look quite unlike anything we’ve seen before or since.
A testament to just how much talent has been poured over the visual effects comes from the facts that they look amazing even today. The flying cars, the flashing lights, and the vast city landscape - they all look incredible.
What sets Blade Runner apart from most other great (and less great) science fiction film is the slow pace, the contemplative tone and the philosophical dialogue, that delves deep into questions of humanity, primal emotions and the value of memories and experiences. Friends of booming explosions and exhilarating action will be bored, but those craving for deeper layers of storytelling will find loads to love.
Rutger Hauer might very well be one of the best science fiction baddies of all time. In many ways, he is just a version of the very typical 80s film baddie (think Hans Gruber or the Terminator) but in other ways, he is a fascinating, compelling and haunting character who deserves to be credited for the chilling performance alone.
The tension in the plot is underlying and comes from the fact that we cannot know for sure who is a replicant and who is not, even though there is a test to find that out. However, what if the test isn’t completely reliable? What if the replicants are advanced enough to pass?
There are many similarities in direction and style between Blade Runner and Scott’s previous blockbuster Alien. He allows his vision to fully play out in both instances, even if the claustrophobic and actively tense from Alien has been switched out for the slower, flashier and more layered tone in Blade Runner.
Even the action scenes, which appear sparingly, have a strangely dreamy and philosophical quality to them, which goes together with the rest of the film neatly.
Isn’t it inherently creepy, how in certain situations, the replicants’ eyes glow ominously? They are the creepiest androids ever.
All performances are restricted, but surprisingly nuanced. There is a subtlety in Harrison Ford’s performance not usually seen from him, while Sean Young and Daryl Hannah bring sexual tension to the mix. This might very well be Ford’s all-time greatest performance, even if it’s not his most iconic one.
The climactic chase between Deckard might not be the most exciting chase sequence put to film, but it feels like a natural continuation to the long build-up that precedes it and it’s marvellously acted and directed. It’s one of these sequences that will remain legendary purely thanks to its different elements working so well in tandem. The last sequence is almost a horror show, which stands in stark contrast with the rest of the film while feeling like a natural part of it.
THE BAD:
There’s a long build-up that mostly seems to move the plot nowhere and barely adds to the wider backstory of the characters involved in the story. That makes the middle part of the film slightly less compelling as the opening and the third act.
I would have wished for more replicant-scenes, actually, and slightly swifter plot development. However, these are minor faults, mind you.
THE UGLY:
It would have been frustrating to work with such inefficient computers back in 2019 as this film suggests, don’t you think?
VERDICT:
Ridley Scott’s philosophical science fiction film is a refreshing piece of contemplative cinema that has stood the test of time better than most of its peers.
96% = = :white_check_mark::white_check_mark: = BETTER
I see why this show only got one season. It is so slow and dry! I made it through an episode and a half before quitting. So. Done.
