Having them all under siege was really intense! Which made up for the fact that Lex's storyline outside of the cordon was so boring.
Some decisions they make are stupid, but makes sense that they're all humans and make mistakes.
I'm glad that Dennis finally stepped up and showed that he can be anything else other than a jerk, and finally Tony is dead... Maybe now that part of the show will be interesting.
Jana really is badass!
And beautiful scene between Theresa and her mom in the end
Let us all take a moment to marvel over the fact that Gordon (Ben McKenzie) is being accused of murdering someone whose initials are "O.C.".
S.S. Misery
It's obvious, that the whole Lapis-Jasper-Storyline is about toxic relationships. And they done it really well. People stay together not only for external reasons (for the kids etc.) but also for internal reasons. As Lapis say, she kind of misses Jasper. It is an unhealthy urge to surround oneself with people that drag you down. But i think the underlying motive of Lapis Lazuli is depression. First of all Lapis is blue, she is literally feeling blue all the time. Second she shows symptoms of depression (i am not a psychiatrist, though, so i could be wrong). No motivation to do anything, Steven has to urge her to come on the boat. Blaming herself for everything. Making herself miserable because she thinks she deserves it. Maybe, like Centi, she is corrupted in her own way. It isn't just fixed with repairing her gem.
It was a melancholic but also lovely episode. It was satisfying to see her stand up against Jasper. But i think that won't be the last of it. You can't overcome such unhealthy relationships with a bang, and i think the show runner know this.
I am not sure how i should interpret the title. Neither Steven nor Lapis nor Greg where alone in this episode. Maybe it's about Jasper, but i think it's more meta. Maybe Lapis is feeling alone at sea. She thinks nobody is there to help her, nobody can help her. But in reality she has a lot of people who like her (Steven, Greg, Peridot). She feels alone, but her friends are close, just behind the horizon.
Funny in places, but oh so darn stupid in most. Good voice acting, but when the lines are this cheesy it doesn't help much...
I bet most kids would love this...my nephew certainly did.
Harley Quinn! Harley Quinn! HARLEY QUINN!
How was it? Well, I can relate to the suicide part of this movie title.
David Ayer, Director of "End of Watch and "Training Day", had the opportunity to subvert expectations and deliver a story that had not been done before, however, what we got was a predictable, boring mess of a movie trying to be too hip for it's own good. This cringe fest of a movie fails at nearly every to turn make itself standout and original in comparison to other superhero movies flooding the market, with the direction, cinematography and tone screamed bland and uninspired. In terms of camera work, the movie seemed to have some of the ugliest camera shakes during fight scenes and an extremely high opacity rating that made the whole film seem like it was taking place at 2:00 at night. All of that together made this movie a painful experience to look at.
In terms of narrative structure, I can't really talk about it as the movie doesn't have one. The jumbled mess of a plot makes this movie just feel like one long scene, making it just a dull rollercoaster ride. The plots constant reincorporation of a characters past and someone he cares about is so painful. We are constantly reminded that, "Hey! he has a child" making his character development center around one person and not his actual personality. Also character development was completely missing, and I didn't care about a single one of the characters. Looking at this movie, I'm not really surprised there were reshoots and script changes.
In terms of acting in this movie, it's kind of a mixed bag. Will Smith, Viola Davis and Jai Courtney (surprisingly) did a decent job, Margot Robbie, however, just played an obnoxiously annoying joke dispenser with some of the cringiest attempts at humour that I have ever seen. Now, Jared Leto as the joker had alot of controversy around it, AND had to live up to the previous performance of the late Heath Ledger. A hurdle to overcome I'm sure but he missed the mark completely for me. Playing a version of the Joker that is extremely poorly acted. Maybe it's the director or the editors fault, but his performed made him seem like a man pretending instead of him becoming the character. It also didn't help that the writing of the movie was so stale, unfunny and blatant that it seemed like it was written by HAL 9000, and doesn't have a a quality to it that doesn't feel unnatural.
The music choices used seemed like choices from a 16 year old teenaged girl would use interlaced into scenes that could of done with music that actually suited the scene or no music at all. Every choice seemed obnoxious to me. As well as that, the editing was absolutely atrocious, with either continuity issues or edits that scream out "I'm trying to be hip and cool!" with absolutely no sense.
If you enjoyed this movie, please don't let me stop you. But as for me, it's a boring mess thats been added to a pile of forgettable comic book movies.
The shit-show that was Super Megaforce was the show that reminded me that I love Power Rangers. This was the show that made me a regular watcher again. Dino Charge is awesome. It's not perfect, and it's not particularly deep, but dammit it's fun. Each and every ranger is likeable, and the villains are pretty cool, too. This is a great starter season if Mighty Morphin is too dated for you. Yes, if you take the nostalgia goggles off, that is a thing
Suicide squad is not the great thing, it started good and went down a bit, the problem of the film was presented too fast, but enjoyable
Wow...three part Ogre storyline it's been simply awesome. I love how they are (re)building characters personalities true to the Batman mythology, just adding one layer at the time. I think this could be the greatest strenght of the show: just experiencing Bruce, Selina, Jim and all the main iconographic characters from the comic books evolving into..themselves!
Maybe it's the fact that the end is nigh for B&B, but I really enjoyed this episode and the way it flashed back to how Batman had his first adventure with three of his most regular partners on the show. This was basically three shorts with a loose frame story, but as the opening teasers demonstrate, this show's great at shorts and each of them worked well. Green Arrow had the most standard adventure of the three, with Cavalier providing some comic relief and he and Batman engaging in their usual oneupmanship. Plastic Man's was the best, with a tightly-written little story and ample creative use of the hero's stretching powers. And Aquaman was great as always with his fish tale that got more and more harrowing the longer he told it. The frame story ending with Mr. Freeze felt a little perfunctory, but the end with Aquaman resuming his tale was the right comic note to end on.
As for the cold open with Space Ghost, I have to admit that I really only know the character from Space Ghost Coast-to-Coast, and so while I recognize the tropes of the old Hanna-Barbera superhero style (which the segment seemed to ape well, no pun intended) the segment didn't do much for me in particular beyond the novelty of seeing someone who, for me, is a pure absurdist comedy character teaming up with Batman.
There's something about future-looking stories that feel special. Generational stories in genre works, whether it be Batman or Star Wars or Harry Potter have a certain appeal that comes from the idea that what we're watching is a link in a bigger chain, that each bad guy defeated or obstacle overcome is a ripple that's affected by the past and makes an impact on the future. A happily retired Batman, who has married Catwoman, passed the cowl on to Dick, and is raising a son is a detour from the crimefighter severely committed to the cause we so often see Batman as, and it's a welcome diversion.
There are, by necessity, a lot of narrative shortcuts in the episode. Alfred's voiceover works as a device to bring us up to speed and take us through the aftermath in a story that is, frankly, a little to big to be told in 22 minutes. But it works as a thumbnail sketch, with Damien Wayne's hesitance to take up his father's mantle firmly established, if not exactly explored, enough to sell the stakes of the episode. And the writing for The Joker (alongside his fourth wall winks) is the best it's ever been in this series, with his axe-crazy nihlism coming through beneath his gallows-humor exterior. Telling a generational Batman story in a half hour is a tall order, and while this episode isn't perfect in the effort, it builds on the backgrounds we already know for these characters to convey the import of individual choices, and the frame story of Alfred's novel gives the episode an easy out for continuity, while not selling short the story actually being told.
(Oh, and in the teaser, it's nice to have a hint at a conflict with Darkseid, and given The Question's connection Rorschach and his appearances in JLU, I've always had a certain fondness for him, so I enjoyed that segment as well.)
Well, this is a shame. This comic is one of the best of all time. Seriously, it is amazing. So you'd think that a animated movie adaptation from it would be great for sure.
And then you start the movie and it is about Batgirl going on a random, generic mission. Batgirl getting annoyed and angry with Batman. Batgirl banging Batma- wait... what? WHAT IS GOING ON? THIS HAS NOTHING TO DO WITH THE COMIC'S STORY.
Yea, they literally just tacked on some junk to make this at least 75min. Frankly, that first 30ish minutes in is worthless. I have no idea who wrote that and thought it matched the tone for the source material.
Then we do get into the direct adaptation. Now it is sticking very close to the comic, down to the same exact lines and frames. Part of me likes that, but the other part wonders why it is even needed. Why not just read the comic if it is going to stick directly to it? Well, whatever, it is great dialogue and a fantastic plot.
And then I go back to thinking it doesn't fit the comic well enough. In some scenes, the timing doesn't feel right at all. Some of the lines just don't come out like I feel the scene's tone is supposed to be. One big moment is the dramatic shooting. Gordon's reaction to that event does not seem nearly as emotional as it should be.
Finally, the closing scene starts of great. Mark Hamill, oh, I don't think I mentioned this yet. Mark Hamill is great as always. So Mark Hamill starts it off, and that leads to some combined laughing. His works, he knows how his character laughs. But Batman... his laugh seems really fake to me. That kind of ruins the impact of that finale.
Not as bad as the epilogue scene though, that made it worse.
Creepy mutant!!
I like the friendship between Mulder and Scully that even though she is not a full believer, at least she doesn't treat Mulder like a nutcase.
This for me is one of the more memorable X-Files episodes ever. Some of the shots are super creepy & really stick with you.
This starts as an amazing movie but then with the third act it gets a little bit off the rails.
Overall it's a good movie, with an excellent soundtrack. And the cinematography is great, so don't judge it by its (terrible) poster.
One of the very best SciFi movies I've seen, and despite being 17 years old it does not look dated.
"The Lannisters send you greetings." Relationship expert
I can't stress enough how much I personally enjoy this series. Bonus points for the 30 Rock and Fight Club references.
One of the best episodes up to now.
That cliffhanger is really neat. Can't wait for the next episode. As usual.
Especially considering the vision may suggest that Lowell knows something about that abducting children thingy that's going on as he must have eaten brain of some of them already.
AJ Styles vs Cena was a great match. Balor vs Rollins wasn't bad either. The rest were a lot of disappointing over-hyped matches that didn't live up to the hype.
What is the line between insanity and brilliance? Is it broad or thin? Does the one bleed into the other? The Aviator, Martin Scorcese's epic look at the life and times of Hoard Hughes, suggests that the two are intertwined, at least in this one man. The film follows him from his first crazy moviemaking schemes in the California desert to his great aviation triumph at a time when his psychoses have started to overwhelm his senses.
It's a "Great Man" biopic, so it hits some the expected beats. There's casual "cameos" by celebrities and notable figures of the time, a "nobody believed in me" set of obstacles, and wild but flawed individual at the center of it, figuring out his path from neophyte to bigwig. But Scorsese has the right touch to bring out the best of the form, balancing the big moments in Hughes's life with quieter scenes to explicate his fears and neuroses.
At the center of it all is Leonardo DiCaprio's crackerjack performance as Hughes. I have to admit, I'm not always a big fan of DiCaprio's performances, which I tend to find technically sound but rarely unique or moving. But here, he is a man on fire, playing the noted eccentric with an almost rabid charm and head full of dreams, but also conveying the man's vulnerabilities, and the way his mental deterioration eats at him as he tries to barrel past it. Short of his turn in Wolf of Wall Street, this is the most I've seen DiCaprio truly inhabit a character, and he gives many different shades and layers to the man in both his grand successes and utter failures.
Fortunately, DiCaprio has an equal to play off of in Cate Blanchett's stunning turn as Katharine Hepburn. Going into the film, I'd heard Blanchett's performance derided as a mere impression, but nothing could be further from the truth. While Blanchett certainly does well to capture the distinctive tone and rhythms of Hepburn, she imbues the character with such life, with a zest for the thrills of the world, a fear that she'll be exposed as a "freak," and a supreme insecurity that her days in the spotlight are over.
Hepburn's patter in the film is reminiscent of the real life actress's exchanges on the screen, but Blacnhett gives new dimension to it with her subtle change of expression when Hughes shows her how to fly, when she warns Howard not to let the press eat him up, and most notably, when she tells him that if he looses his mind, she'll be there to "take the wheel." Theirs is the most multi-faceted and engrossing relationship in the film, and that makes it all the more heartbreaking when it dissolves. Hepburn's nervous, affected laugh when Howard accuses her of always being on is stunning, and Howard's anger, and his bonkers response to burn all his clothes, everything that he'd worn while being with her, is another stepping stone toward his insanity.
The film engages in strong symbolism when it comes to signposting Hughes's growing neurosis. The opening scene features his mother bathing him, quarantining him, instilling in him a fear of sickness and germs and the creepy crawlies he can't see. She washes him with a special bar of soap, and in that cleansing bath, he's surrounded by lights.
As the film goes on, it shows the effect this seminal moment had on him. It dramatizes his germophobia well, depicting him as unable to so much as take one bite of his steak after Errol Flynn steals a pea off of his plate, heightening his perspective as he looks at a what appears to him to be a diseased roast at the Hepburn estate, and most strikingly in the film, refusing to hand a disabled man a wash cloth because it would require him to sully his hands.
That what makes it so powerful in the few times when he overcomes his phobia. The film doesn't have to tell you that Hughes and Hepburn have reached an important level of intimacy, it shows you, by depicting Howard offering Katharine a sip from his milk bottle, and then having a drink of it himself. In the same way, his commitment to his company and well-being are palpable in his meeting with Senator Brewster, who serves him a fish that stares back at him, and a water glass with a smudge, meant to unnerve Hughes, but Howard soldiers on.
The Aviator does well to show these neuroses growing. He slowly but surely feels the need to use his own soap more and more, to where he's washing his own shirt in the sink and waiting in the restroom like a prisoner rather than put his hand on a filthy doorknob to let himself out. He finds himself repeating things, a problem that becomes more pronounced as the film wears on, and culminates at the end of the film. Then there's the flashbulbs of all those press cameras, bringing back the flashes of those spherical lights that surrounded him in that quarantine cleanse, reminding him where he came from and what he's afraid of.
Apart from the brilliant performances and symbolism in the film, it's a complete visual treat as well. Scorsese and his collaborators color-correct the film to a tee, giving it a sepia-tinge that communicates the lost time of the film's setting. But they also give it these beautiful splashes of color, turning the film into toothpaste -- a wash of muted reds and seafoam greens. Scorsese's camera cuts across the joyous tumult of a Hollywood party, or follows a flurry of planes swarming in the air as Hughes fills the sky for his Hell's Angels picture, or shoots his great men, be they protagonist or antagonist, from behind, leaving them imposing but featureless.
The Aviator depicts its protagonist as constantly pushing, constantly thinking and dreaming bigger than those around him can imagine, or at least would advise. It also shows him paying a cost for this, suggesting that there is a price for this kind of thinking that is extracted from one's mental well-being. Even Hughes's final triumph in the film -- his rebuke of Brewster at the Senate hearings, his defeat of the slimy Juan Trippe in his scheme to take out his competitor, and the flight of his Hercules, an embodiment of the scope and audacity of his ideas forged in rubber and steel, are tinged with the unavoidable onslaught of his verbal tic. In Scorsese's film, Howard Hughes is very much the way of the future, but that thought, and all the good that this mentality brings, eventually overtakes him, and tells us that even the titans of old can have feet of clay.
a perfect court thriller. great story, a funnny devito and a clear message to all insurance companies and law firms...
9/10
That was an interesting case! Poor little kid-beast in the end... really is an orphan now
I had forgotten how adorably cute Mulder was, and all the UST between him and Scully
My head is literally in pain from this film...I'm left feeling empty. If you asked me what I just witnessed in these past 2 hours, I honestly couldn't describe what took place. The entire thing felt like a bunch of messy jump-cut, foggy action sequences stacked up on top of eachother with NO character substance or plot to hold it together. The writing was terrible and insanely cliche, there was no depth, and absolutley nothing to be taken from watching this. Oh and in addition - the use of that soundtrack - terrible, sad such a good song like Heathens is even a part of the franchise. Wish they had spent more money building the storyline and chracters (WHO HAD PROMISE WITH THE RIGHT WRITING) than promoting the shell it became...
Very exciting beginning to a mystery. Who killed Danny? How? Why? All the dramatic elements get extremely well set up for what promises to be an exciting mystery, full of personal drama and compelling acting. I want to see the rest of the series, after this beginning.
A big hurdle, however: the British seem to have been infected by the "shaky hands syndrome", wherein camera men cannot keep their hands still while holding the camera. The camera work actually distracted me from the story. Hopefully the British will realize that the American fad of bad camera work can only detract from their otherwise exemplary work.
Wrong!!! This is Season 4, not Season 3!
Late to watch this show, totally hooked as soon as I started, watched all the episodes as quickly as I could - I just had to know who the killer was!!
Gripping stuff. Instant classic as far as I'm concerned.
Still love this movie.. Sure it gets unrealistic near the end but still a good popcorn movie :)
It hurts my soul how pure Steven is.
i cried. you've been great, show. (now can we have a film?)
You get a good look at an extension of the Bat family in this one. At first, I thought it was Batgirl on the cover, then I learned that it turns out to be Batwoman (so hot)! There's also Batwing on the cover; "two birds with one stone" there. It is the third film taking place after and part of the Son of Batman and Batman vs Robin story arc. Damien returns and learns to be more like his father, "justice, not vengeance". His mother, Talia, also reappears (still freaking hot) and is the main enemy here. The Batmobile design here looks like the one in the live-action Batman Forever/Batman and Robin films. Nightwing plays such an important role here and is probably the one who knows Bruce Wayne/Batman the most. There was a point where Katey was watching News 52 on TV, and right there I knew it was a reference to the New 52. I like how it wraps up with a little surprise in the end.
The animation team responsible for this trilogy so far has done fine job. I admire WB Animation's style and I kinda wish they had shot for a higher level of quality for the recent The Killing Joke film adaptation, at least in character design, but you get what you can get I guess.
