Arius

Denis Villenueve. A solid lineup. A different take on first contact. I loved Sicario but went in expecting a cerebral epic sci-fi.

That was a mistake.

Good things:
- Some really nice visual scenes
- Interesting aliens Calligraphy aliens!
- Clear theme of communication is omnipresent
- A neat score that might be awesome in a different movie

Bad things:
- The acting
- The lack of emotional reaction to ALIENS! The students asking to turn on the TV, all of the main characters
- Lack of useful characters Only the aliens and Louise actually did anything the entire movie.
- Supporting characters are very stupid in an attempt to foil the main character slightly
- Very clumsy exposition. Genre-typical news reports, voice-overs, dumb characters asking stupid questions.
- Very slow pacing. This worked in parts of Sicario, but didn't work in this movie because there was no tension. The main characters never seemed remotely threatened.
- Lousie showing up at school thinking everyone will be there after aliens arrive and there's a state of emergency
- Why can't you translate alien language like you can translate Farsi. This is a paraphrase but in the spirit of what Colonel Weber was saying.
- Useless love interest when the costars have no chemistry.
- Ultrasecure military base lets someone steal a ton of explosives and put it in an ALIEN SPACECRAFT without anyone noticing.
- Many unbelievable plot points
- Poor dialogue Let's make a baby - real quote
- Poor handling of the major plot points Looking through time seems to undermine the fact that the aliens need help. Why did one have to die if they could see the future? Why did only one die when they were right next to each other?
- Very heavy handed moral messaging that didn't align with the rest of the movie.
- Why couldn't Ian also see into the future as he studied the language, or any of the others?

Overall extremely disappointing. I'm honestly surprised critics or general moviegoers like this. The premise was very good. It's a real shame the execution failed so miserably.

So this movie premiered in Poland today and I just got home from the theater. I have two things to say: this is hands down the best installment in the Thor trilogy and it also definitely ranks somewhere in the top 5 MCU movies for me.

This movie was a wild ride from start to finish. The story was a ton of fun and so many things happened along the way, keeping you engaged at all times. While I do love slow movies that allow their scenes to breathe, the crazy pace of this one worked in its favor. There wasn't as much action as I had expected, but we did get some cool fights and general destruction. In the typical Marvel fashion, there were a lot of jokes and most of them were really, really hilarious. Some of the MCU movies try way too hard to be funny and I end up feeling annoyed at how many quips they cram in there, but in Ragnarok, the humor definitely worked. My personal favorites were the "Get help" scene, Thor's story about Loki turning into a snake and Bruce falling onto the Rainbow Bridge (especially Fenrir's reaction). Those had me laughing uncontrollably. And on the other end of the spectrum, there was quite a lot of emotional weight to both Odin's demise and the fall of Asgard. The movie struck a good balance between the two, keeping things exciting and light-hearted most of the time, but not being afraid to go a little deeper when the situation called for it.

As for the acting, Chris Hemsworth seemed to be really enjoying himself and while I'd often found Thor to be the blandest Avenger in the past, he had a lot more personality and charisma to him here. He was extremely likable and funny, but he was also the hero you rooted for throughout the movie. Cate Blanchett didn't get to do much as Hela, to my disappointment. She looked incredible and she did the best she could with what she was given, but in the end, the Goddess of Death didn't do much in terms of breaking the tradition of one-dimensional, evil-for-the-sake-of-it MCU villains. But she did at least seem to relish and enjoy her evilness. Tessa Thompson stole the movie for me. She was amazing as Valkyrie. She had wonderful chemistry with Thor and I like the idea of the two of them together, she's a much better love interest for him than Jane, but she was by no means reduced to that role here (thankfully!). She was a fully-fledged character with her own arc and personality. She was brash, badass and absolutely deadly in a fight while still having a more vulnerable, softer side and dealing with horrible trauma. She reminded me of Jessica Jones in that way. Watching her go from a drunken scavenger back to a mighty warrior ready to fight for her home and her king was a pleasure. I absolutely loved her and I hope to see more of her in the future MCU movies. Tom Hiddleston delivered as always, Mark Ruffalo was a great addition and Bruce's partnership with Thor was fantastic, and the supporting cast was also very good.

The soundtrack. Man, the soundtrack. 11/10, totally buying it. One of the best I've heard in a while.

The cinematography was gorgeous. So many colors, so many beautiful shots (the one with the Valkyries bathed in light riding towards Hela who was surrounded by darker colors? Holy shit, that looked like a baroque painting. Absolutely stunning). It was a pleasure to watch. The special effects were simply outstanding as well. Fenris/Fenrir was magnificent and let's just say I want ten angry, giant wolves immediately.

I had high hopes for this movie. The first Thor was pretty good, the second was meh (perfectly adequate, but painfully forgettable), but there was a lot of hype around this one and I really wanted it to be great. And it was! I had a blast watching it and I'd definitely see it again. Every standalone hero trilogy in the MCU so far has had at least one fantastic installment. Iron Man had the first one. Captain America had The Winter Soldier. Now, Ragnarok joins the circle. I'm very happy that it turned out as well as it did.

Just to preface this, I thought A Force Awakens was emotionless trash that undermined the entire purpose of the original three films.

Rogue One was the opposite.

The best thing about this movie was the emotional impact. It underlined the sacrifices made to make the original trilogy possible. Some people have called it long, but that helped build up characters that you actually felt for, and who weren't carbon copy ripoffs (cough cough A Force Awakens). The final scenes as the two main characters face their fate, recognizing that it was worth it, gave such a high emotional payoff. Each major death scene actually made you feel something.

The second best thing was K-2SO. Very funny, and much needed comedic (but not goofy) relief.

The CGI for landscapes and the world creation was outstanding. When I see a movie like Star Wars I want to be amazed and see things that I haven't seen done before. I want to be impressed and drawn into new, beautifully crafted worlds. In this respect, the movie just kept delivering over and over.

The cinematography was great during the action sequences. The sequences looked epic, and the violence and sacrifice felt meaningful. The Vader fight sequence was intense.

It also had interesting ties to current events with its commentary on terrorism/rebellion/weapons of mass destruction. By the way, the science genius character realizing that he isn't priceless in developing some major device is fantastic. All of the movies with "only so-and-so can figure this out" are very disappointing.

The moral message of the movie was also very clear and well delivered.

I really enjoyed the movie overall and thought that it was a big step in the right direction. It was adventurous again, it was sometimes shocking, original, and most of all meaningful. A Force Awakens failed on all of those points. It's good to see a franchise movie that's taking a bit more risk than average. AFA was just like the new Star Trek films, shiny bling low-impact action movies that just happen to be set in space. Rogue One pushes far beyond to show the what drives the Rebellion in a world we know and love.

Despite the fact that I really liked the movie, it had some flaws:
- Tarkin face CGI
- Some of the acting in the first half.
- Tarkin face CGI
- Some of the cuts were really weird and the pacing felt off for portions of the first half.
- Tarkin face CGI
- Forest Whittaker just deciding to die instead of trying to escape.
- Tarkin face CGI
- A few unbelievable plot lines (thankfully most were minor). Like Cassian being sent to kill Galen for almost no reason, and then deciding not to for no reason, and then Jyn forgiving him surprisingly easily. How did she even know that he was trying to kill her father?
- Tarkin face CGI
- Does every Star Wars movie need to have a father character die? Why didn't Cass follow orders when he heartlessly killed someone else in his first scene?
- Tarkin face CGI
- Heavy handed political messaging.
- Tarkin face CGI
- Said "hope" too many times.
- Tarkin face CGI
- You can just push Star Destroyers that easily?
- Tarkin face CGI
- The word "Stardust"
- Tarkin face CGI
- Too many random worlds introduced that you don't have the time to get invested in.
- Tarkin face CGI
- Too much awkward fan service.
- Tarkin face CGI
- Darth Vader's voice sounded off.
- Tarkin face CGI
- Some of the dialogue was really terrible.
- Tarkin face CGI

Nothing to say really besides: that’s how you do it!

This has without a doubt the most impressive stunts of the franchise, and it really knows how to use its characters and challenge them. There’s a lot of propulsive energy, lush cinematography and great editing. Lorne Balfe does a great Hans Zimmer impression, and Chris McQuarrie does a great Chris Nolan impression. Alright maybe I’m oversimplifying there, because I have to commend McQuarrie for doing another stylistic reinvention of the franchise, the cinematography and general feel aren’t just that of Rogue Nation 2.0. I’m not even sure if the constant evolution of this franchise comes from a place of creative ambition or commercial opportunity, but at least it keeps the films fresh. Some of its core elements will always remain the same, however. For example, the plot’s once again just a vehicle for all the juicy stuff. You could call it out for being generic or basic, but they find so much creativity and fun in these tropes that it becomes very entertaining (intrigue, the mask sequences, the craziness and constantly rising intensity). Sure, there’s a very predictable twist at the end of the second act, but more often than not, it managed to surprise me. Henry Cavill is a great new addition, bringing back Rebecca Ferguson was the best choice they could’ve made, and Pegg & Rhames remain the reliable anchors that add some heart & humour. It’s all exceptional stuff, it could very well go down as the best action franchise in history if the next films stick the landing.

9/10

I'm a simple girl. If a show has anything to do with superheroes, if it's in any way connected to Marvel or DC, there's a good chance I'll watch it. And I'll probably love it, whether it's dark and gritty like Jessica Jones or charming and family-friendly like Supergirl. Legion is no exception to the rule.

I'm not a comic book reader. I didn't know the first thing about the character when I started the episode, and I had no idea what to expect. Having just finished it, I think I can safely say that this show is unlike anything I've watched before. In a good way. I enjoyed every second of the pilot. The cinematography is spectacular. The bright colors, the flashing lights, almost horror-like moments, blurring the lines between reality and David's delusions, scenes of people dancing - because why not?, seemingly random shots and flashbacks, and the general insanity all create a completely unique atmosphere. It's almost hypnotizing, making it impossible for you to look away, drawing you in. The plot isn't the most revolutionary, but the way the show is shot and edited still makes it feel fresh and original. I like the characters and I'm excited to see what will happen next.

I can see why they're pacing the series, why new characters are necessary, newer villains, etc. but it's not intriguing. it's lifeless. The show could have an episode dealing with paper cuts and having to find toilet paper over 35 minutes, fans would still watch it with anticipation.

I can see the writers and directors trying to replay /recycle new antiheroes and heroes learning the ropes, facing enemies, but it's just not fun to watch Noah Bennett run around doing his thing.

It should be, it fails to live up to the hype because they're afraid of delivering too much too early. When Noah isn't on screen, the show fails to be interesting.

There's no charismatic personalities other than maybe luke/zachary (unrecognisable as chuck, or johnny flame), and even more rarely miko/kiki (katana girl) is emotive or likeable beyond the wooden, stereotyped doll caricature. There's no tension or loss, no risk, no reward, and there's no confluence of ordinary characters with abilities. Hiro and Claire, and later, Sylar, were iconic because they were normal, with abilities. Not so much with the new class.

The show's desperately trying to get the audience to like ... someone, but there's too much mary sue, nobody has failed in a big way, and the season arc is disconnected from the plot in a massive way, there's no fatality or risk in the deus ex machina, already depicted in the poster (avoiding spoilers)

The ensemble cast are "good", but this would get better if it did not exist in the same story as Heroes, it's significantly weaker and less enjoyable as a result of being dragged around by the coattails of the original ensemble of Heroes, that haven't shown up but keep getting name-dropped every few minutes.

This could change, but the show should be so much better or even possibly darker than it is.

This movie is exactly as good as you think it will be.
Remember how you were wondering how they could pull off such an ambitious movie like the Avengers and then they did some how? Well that, but again, and it is still excellent.

(this review gets a little into details, but nothing really spoilery)

When Tony Stark, a man who thinks he is justified to do anything in the name of protection shockingly goes too far and creates Ultron, a murder bot who loves murder. Ultron, who is basically evil Tony, is very quippy. But this being a Whedon flick, everyone seems really quippy (don't worry, it's not as annoying as that sounds).

One of the best things about this movie is the destruction that you see happening in the action scenes. Something about the other Marvel movies never really made the people seem in danger when everything was exploding, but there are people everywhere in these scenes, screaming in horror as the super people punch the murder robots. Many innocent bystanders die in this one. Easy. Some of the other movies just seem too "clean", no sense of danger.

I also really liked the characters in this one. The other Marvel movies always seem like maybe one or two supporting characters from the other movies show up, but this movie has so many people in it. All your favourites!

Also, it had a really great "adventure continues" vibe. This movie starts with Avengers action and ends with Avengers action. There is no more "how they came together" or "this changes the very foundation of the universe". It was an awesome addition to what is now a serial story. More of this and less of origin stories!

So in conclusion, check out this sweet indie Whedon film, you might not have heard of it but it's pretty cool.

So I finished Part One and had a few hours to think about it. The show is definitely interesting. It’s not perfect but I see it setting-up to something bigger in Part Two. The first few episode are a bit off, not horrible or unwatchable but, does have some questionable pacing, lack of music, and some of the more direct jokes aren’t as funny as I would like them. A lot of the “good” jokes seem to be sprinkled in the background or hidden inside of other dialog, I wouldn’t be surprised picking-up on new jokes on a second re-watch. That said episodes 1-5 would be a 5-6/10. Normally a weaker opening to a series would lean me more towards dropping, however...

The reason I say the show is interesting is that the trailer and promo material advertises the show as a comedy first with some adventure on the side, however, it’s very much a slice of life series with hints of adventure down the line in Part Two. I wasn’t expecting this and I actually like this angle more. In fact I wouldn’t be surprised if Part Two was exclusively adventure focused. Most of the episodes in Part One are about the daily life of the disobedient princess and falling into situations, all the while adding a LOT of world building. Part One seems very focused on familiarizing you with the world, people, concepts, etc... While this is taking place we get short cutaways to an unknown group of wizards/sorceress monitoring the situation in Dreamland, the main location in Part One, suggesting something bigger going on.

I wont spoil anything at the end of Part One but the world building and hints towards a grandeur story definitely make this series interesting and I want to learn more. Obviously these are just promises for the moment but the care put into the world and the slower pace at the start to familiarize the characters gives me hope that this series will offer more. For now it’s a 6/10, good but until we see the rest I wouldn’t put much into the rating.

Also the 2D animation is very good. CGI blending is better than most shows and a surprising amount of the scenes have a lot of animation in areas you wouldn't expect it. Casual walks in the city treat you to scenes with plenty of bystanders moving and interacting with each others in 2D (some are 3D). Lots of other shows would offer stills & pans so this gives this show's world a lot of life.

World Premiere Review:

If I can sum up it up in one word, it's a giant "meh." I liked all of the new Star Wars up until this point, but this one was so forced. It didn't help that they had to reshoot more than half the movie with a different director, albeit with the great Ron Howard.

First problem, no one can fill Harrison Ford's shoes, it's impossible. The new characters are boring and forgettable. Still, Donald Glover just nails Lando...they should just do a Lando stand alone movie next time. Chewie is also awesome and funny as usual. I should also mention Malla is cannon now from the Christmas Special? Just speculating that's who he kisses with when he frees his people. Lumpy will probably show up in Solo 2. I saw George Lucas shift uncomfortably in the theater a couple seats over during that scene which was amusing. The story is just ok, it's a little slow and boring. At least the action sequences are fun.

Here's my biggest peeve: L3-37 is the most forced, obnoxious Star Wars character since Jar-Jar. I was so happy when this Social Justice Robot, who is supposed to be Lando's co-pilot, gets destroyed close to the end. This attempt to be "relevant to the times" sticks out like a sore thumb and the actress voicing it made me wince every time she spoke. Hopefully that's the last we hear or see of it.

Finally, Emilia Clarke's character has the depth of a sheet of cardboard. Worst of all though was the twist at the end where fucking Darth Maul shows up now post Episode 3. She is working with him and it was so cringey and shoe-horned in, I'm so tired of him not being dead. I tolerated it in the Clone Wars with spider-maul, but he just needs to go away.

I just stepped out of the theatre and I'm ready to write this review for you all. So, let me start off by saying, this movie is nothing like the other Star Wars movies. I was expecting something like Rogue One, but as soon as they started making jokes I knew it was going to be something different. I liked it though, I did. It was action packed, quite funny and a bit romantic. I dig it. The action scenes were probably my favourite thing about this movie, those were very well done.

Alden Ehrenreich did Han Solo proud. I didn't really know the actor before this, but he's good! Sometimes it almost felt like I was listening to Harrison Ford. It was great to see him and Chewbacca together en find out how their relationship started in the first place. I really enjoyed seeing them bonding and all that. Woody Harrelson never ceases to amaze me, to be honest. He is a brilliant actor if you ask me. I felt like his character stayed a bit in the background throughout the movie but I think Tobias Beckett sure made an impact on Han. Talking about making an impact, let talk about Qi'Ra (probably the coolest way to write Kyra). First off, I adore Emilia Clarke. I think she's a great actress and she's absolutely gorgeous. I had to get used to the idea of her in a space movie but she did very well. Her character is still a bit of a blur, to be honest, but I think Qi'Ra could be an interesting character to explore further. Donald Glover as Lando is perfectly cast. They truly did a great job. My brother said, "I thought he was the son of the original Lando". I think when people say that, you've done a pretty great job. I liked L3 as well, she was a bit much sometimes but she brought some humour to the movie.

Overall it sure was a fun movie to watch. It all looked very beautiful and the special effects were great. The only thing that bothered me was some of the creatures they created. I think they could've been "more real". I don't know if that makes sense, but maybe you notice it too when you're watching the movie. It could also just be me, I don't know, it confuses me a bit. I really liked getting a glimpse of Chewbacca's story and a closer look at the Millenium Falcon. That's one great ship with way too many buttons, isn't it?

I enjoyed Solo: A Star Wars Story and I'm going to rate it with a solid 7. I'm pretty sure there's more where this movie came from so I will be waiting patiently till then.

[7.6/10] Solo has the scruffy confidence to be its own movie. Of the ten Star Wars films, it’s the only so far not to tie directly into the events of the main saga. That alone makes it interesting and laudable as the first real cinematic step of Star Wars ceasing to be a film series and starting to be a “cinematic universe.”

Which isn’t to say the film isn’t closely connected to its predecessors. Solo reveals how Han and Chewbacca first became a team. It features the first meeting between its title character in Lando Calrissian. It even shows how Han ended up with the Millenium Falcon. And that’s setting aside references to a “gangster on Tatooine” and hints of a growing rebellion and familiar characters popping up in unexpected places. Make no mistake -- the film is certainly interested in reminding its viewers where all these characters will be in ten years time.

But it’s also good enough not to be about that. Solo is part-heist flick and part coming-of-age film. It’s more interested in Han’s big adventure in this movie and how he gets to be the sarcastic smuggler we meet in A New Hope than it is in how he fits into the broader Star Wars Universe, to the film’s benefit. The promise of these “Star Wars stories” is that they can use the diverse, elaborate world that George Lucas and his collaborators created to spin all kinds of yarns untethered to the concerns of the Skywalker family. Solo still anchors its story on familiar faces, but tells its own tale, and comes out the better for it.

The big problem with Solo is that it has two modes: (a.) irreverent action/adventure flick filled with colorful characters and (b.) semi-serious interrogation of What Han Solo Is™, and it’s much more entertaining and effective at the former than the latter. The script, penned by Empire Strikes Back scribe Lawrence Kasdan and his son Jonathan, does a superb job at introducing all these figures, old and new, and then letting them bounce off on another in the confines of a rickety old ship and a job pulled at various rough-and-tumble locales. But it falters when trying to use that setup to get at its title character’s true nature.

The film’s thesis on that front is a solid one -- that he is unavoidably rough around the edges, and wants to be “bad,” but deep down he’s good. That is, after all, his essential arc in the Original Trilogy, where a seemingly good-for-nothing smuggler is revealed to have a heart of gold and sympathies to the cause of the Rebellion, or at least his friends. Solo retraces that arc a bit, and weakens Han’s progression in the saga films a little in the course of that, but the Kasdans get Han: the talk that’s bigger than his paydirt, the cocksure improvisational confidence, and the innate goodness that peaks through his rough-hewn if charming exterior which he’ll deny to the end.

The film just does a much better job of showing us those qualities through Han’s actions and attitude than in having various other characters ham-fistedly comment on it and wax rhapsodic about who he’s been and who he’ll be.

The best parts work, as they must, thanks to Alden Ehrenreich, who takes over the role originated by Harrison Ford in 1977’s A New Hope. Following in those iconic footsteps is a tall order, but Ehrenreich makes it work. He doesn't stoop to doing an impression of Ford, short of a few conspicuous mannerisms, but still manages to capture the character’s rakish charm and overconfident, anything goes spirit. Yes, it’s a little hard to grok that this guy becomes 70s era Harrison Ford in ten years, but Ehrenreich absolutely works as Young Han, and the movie wouldn’t work at all without that.

The other characters that populate the film vary a bit more, but are largely fun and entertaining. Woody Harrelson’s turn as Beckett sees him filling the weathered good ol’ boy niche he’s carved out for years now. Emilia Clarke does fine as Qi'ra, who manages to be a little bit more than just Han’s love interest, but only a little. Donald Glover’s charisma carries the day as he inhabits Young Lando, but occasionally he comes across like Glover doing his best Lando impersonation than a fully convincing character (though his chemistry with Ehrenreich sparkles over that nicely). And there’s plenty of other fun, if seemingly disposable side characters, like Paul Bettany’s genteel but menacing villain, Dryden Vos, and Phoebe Waller-Bridge as a delightfully irrepressible droid revolutionary named L3. Even relative newcomer Joonas Suotamo brings character beyond the fur to Chewbacca, alongside Star Wars sound designer Ben Burtt’s traditional groans and growls.

When Solo deploys these characters well, it’s a hell of an action-filled romp. Seeing Han’s Oliver Twist-esque origins blossom into his up-and-down efforts to live on the fringes of both the law and the galaxy are fun and thrilling. The movie takes the viewer to new, scrappier corners of the galaxy, packing the frame with wild new creatures and settings that help make Star Wars feel big and diverse again.

Han’s goals and wants are clear; his compatriots are well-if-quickly sketched, and the set pieces are nicely chaotic and spontaneous, as befits the way any plan involving Solo should shake out. The pacing is off here and there, and certain action sequences extend to the point of exhaustion (likely a casualty of the hand off from the nixed boundary-pushers Phil Lord & Christopher Miller to steady hand Ron Howard). But the core setting of the film -- a band of well-traveled and wannabe outlaws does a job with pitfalls and smart remarks -- works like gangbusters.

Then, the final act hits, and the film stops being fun and starts being serious. There’s double-crosses on double-crosses, heavily sign-posted character-defining choices, and cliché, ponderous statements about who Han is supposed to be or can’t be or might have been that one time (we’re not really sure).

Solo, like its protagonist, has its heart in the right place here. It’s laudable to try to turn this adventure into something revealing about one of the franchise’s biggest characters and not just an empty-calorie escapade. But the film can’t support the weight of that introspection (not to mention all of that clunky extrospection) and becomes bogged down when trying to unravel both its less-compelling plot threads and its character study in one big convoluted finale.

But one thing is for sure. This movie is not about the Skywalkers. Despite an eyebrow-raising tie-in, it is not about the broader Star Wars Universe. It’s about Han Solo, and It is, for the first time, a genuinely independent Star Wars story. For most of its run time, Solo is a standalone (if franchise-winking) adventure from the days when Han was still cutting his teeth as a smuggler and outlaw. The film has its problems when it departs from that, but still shows the benefits, and the fun, of Star Wars movies that follow the lead of Solo himself and aim to go it alone.

Where's my breath?!

Things really explode in episode 4. The previous two episodes did feel a lot like a build up to something, and that 'something' is one hell of a detonation.

I'm really liking the storyline of Dex so far, especially when you get extraordinary scenes like the one involving CCTV. The way those deep, cold eyes stared into the camera was unbelievable and sent shivers down my spine. I just can't get over how amazing Vincent D'Onofrio is as Fisk.

I just have to mention the fight scene though. This is, without a doubt, my favourite long take fight scene of the show. It's just pure adrenaline that doesn't seem to end. It's even more realistic than the hallway scene in season 1. The effort and preparation they put into this must be off the Richter scale. Well, it looks like the show's going to pick up another Emmy nod for stuntwork... ...and just when you think your jaw couldn't fall any lower, the episode ends like THAT and proves you wrong, sending your jaw to another world. I guess it's lucky these don't release weekly, because I wouldn't be able to handle the week after this ending.

Seriously impressive stuff; I'm addicted.

Searching is the new thriller directed by Aneesh Chaganty. Widowed father David Kim (John Cho) searches for his missing teenage daughter (Michelle La) with the help of multiple laptops and hard-talking detective Rosemary Vick (Debra Messing). All the action takes place on screens; the mystery unfolds through texts, FaceTime, YouTube and video blogs.

While some may have their doubts about watching what is essentially a filmed set of screens for nearly two hours, this unusual set up soon feels natural. After all, many of us spend a lot more than two hours without looking away from a screen in our daily lives.

The portrayal of familiar online habits on the big screen is cleverly used for comic effect. The constant rewriting of messages and the replacement of the jovial exclamation mark for the famously passive aggressive full stop is fully relatable and funny to watch. Some of the visuals are also arresting because they are taken out of their familiar context. Most notably, David’s screen saver is transformed into an enormous malignant jellyfish when shown without the borders of a laptop.
The clever parallels between the title, Searching, and the extensive use of search engines (particularly Apple’s “Finder”) throughout the film invite us to look at how we use the internet. Google asks us to “Search Google or type URL,” but when the missing object is a person rather than the answer to inane questions, these words take on a much more frightening currency.

Searching maintains a fantastic tension throughout the search for Margot. The contrast of the horror of the situation and recognisable ordinariness of the technological format is extremely effective in unsettling the audience.

The twists are truly chilling. By the end, there are perhaps just too many wrenching turns, which slightly dents the believability of the film. This is the only thing stopping Searching from getting a solid five-star review. It is a wonderfully sharp, brutally tense and inventively shot thriller that shows the blossoming possibilities of technology in film.

It does not happen often these days that an anime, or any tv show for that matter manages to get such a tight grip on me. But Made in Abyss manages to do it with flying colors.

For me Made in Abyss is the complete package. The story is captivating, the characters are very likeable, the music is perfect for setting the overall feeling you are supposed to get, and above all, that feeling for wanting to experience the unknown, to venture out into the debts of the abyss (no pun intended) and that feeling you get when watching this anime in your underbelly of yearning for something more, and to press on, no matter the consequences or the dangers is in my opinion one of the absolute cornerstones of this anime that makes this a masterpiece!

The story starts off very innocent and cute. And from the first few episodes you might think that this anime might be just a light anime because of how young the children are, with some comic relief. But if you keep watching that you will see that with every episode as Rico and Reg go deeper into the Abyss the story gets more darker and more disturbing.

To be frank, i did not fully understand when Rico and Reg said goodbye to their friends in episode 3 that goodbye really meant farewell forever. But as you can see in the later episodes (at the very least for Rico) there is no coming back alive once you go down the Abyss deep enough. In my opinion that makes Rico her fortitude and resolve to venture into the unknown, and leave everything and everyone she loves and knows behind even more daring and captivating.

I really REALLY hope that this anime gets a second season. Because this anime is the very reason i watch anime in the first place. I can wholeheartedly recommend this anime to anyone. Trust me, you will not regret it.

My god... Does Ava DuVernay know that you can actually zoom out a camera? I've never seen so many "closeup" face shots in a single movie in my entire life. I'll never be able to get Oprah's giant-sized face out of my mind...

As for the movie itself, It's a bit all over the place. Some parts and themes are very well-done, such as Meg's journey to accept herself, while others are really half-baked (especially the relationships between Meg & Charles Wallace, Meg & Calvin, etc). Too many things just get thrown together or just suddenly happen by sheer "coincidence" without a solid lead-in or development. This could have definitely used some additional scenes and runtime to flesh characters and their relationships between each other out a bit more. Reese Witherspoon's character is actually my favorite of the 3 "Mrs."'s. Oprah and Mindy Kaling's characters definitely did not hit home.

Visuals were pretty stunning for the most part, but sometimes went a bit too overboard. Don't even get me started again on the cinematography and editing... This movie definitely had potential and I was excited to watch it, but it just misses out on some major points. It was enjoyable overall for the visual fest and seeing the world of A Wrinkle in Time, but other than that it is just an average film. I'd temper my expectations for sure. 5/10 as it is just an average movie...

Apparently this is just the third $100+ million budget movie directed by a woman. I'm not sure that Ava DuVernay's movie is going to help buck that trend...

What.the.actual.fuck.
"I am the Flash, and I don't exist anymore".
Seriously, what the hell was that? Anyways, I'm not gonna say it was horrible, cause it wasn't. Sure it had some writing issues (aka Speedforce), but it's not the worst I've seen. At least we didn't go back to Barry's house the night his mom got murdered so I'm calling it a win. It wasn't as good as the other two finales, but it was entertaining and we got to see a shot of the three Flash running together which got me too hyped.

Savitar, the God of Speed, a guy who can time travel, who can vibrate his hand through your chest and kill you in a heartbeat, gets downed by a freaking bullet? Like seriously? I couldn't believe it, then I realized he's still Barry and I understood. Bullets and tranq darts got to be Barry's worst enemy.

H.R., I was ready to watch another Wells die. He's the real hero. He fucking sacrificed himself to save Iris. He alone changed the future in just a second. Like he once said, a hero among heros. Drumsticks up for him! And then, everyone was just chilling with his death? He died and they got over it too fast.

Savitar kills Iris everybody: "oh no, you horrible monster. My life is ruined. What do we do now? I'm depressed"
Savitar kills H.R. instead Everybody: "oh it's ok, everything is fine. Don't you worry, we're gonna get you some help". The only person who understood him was Tracy. She was the only one with common sense.

I'm royally pissed off that Black Flash got killed by a single cold blast. Like what the hell, RF has been trying to escape from him for a whole season and he get kaputt like that? No way in hell. And Savitar is defeated by a freaking bullet? For God's sake. RF, one of the smartest people in the multiverse couldn't figure out that freeze was the only thing he needed to survive.

Black Flash getting killed with a single cold blast and Savitar with a bullet was dumb as hell. I guess you can't lock up the darkness, but you can freeze it to death.

I love this show so much. It never fails to meet my expectations.

There were so many hilarious moments in this episode. Where do I even start? Barry saying "Oh my God, I've become Oliver"? Harry and Cisco's bickering? All the different versions of Harrison Wells? Barry getting kicked out of the house? I honestly can't pick my favorite.

One little thing I really enjoyed was the exchange of "I love you's" between Barry and Joe in the middle of their awkward conversation at the precinct. It was such a small moment, but it literally made me go "Awwwwww". I love my beautiful family.

Mirror Master and Top were cool, I guess? As far as villains of the week go, they weren't outstanding, but the way they trapped Mirror Man at the end was pretty awesome.

No! Jesse and Harry! Come back! I don't want Harrison Wells with a sense of humor! Give me my Harry/CIsco bromance back!

Is Joe finally getting a love interest? Yay, you go, Dad Cop! You deserve it!

Caitlin, my sweet baby... Don't worry, everything will be fine, we still love you. Just don't turn evil, please. I mean, I really don't think the writers will go down that road. If they do, I'll be really, really angry. We have such a wonderful team dynamic on this show and Caitlin's an important part of it. There's absolutely no need to ruin that.

The problem with big tentpole pictures like this one is expectation. People already build up a picture of the film in their heads thanks to the trailers and all the hype surrounding the film. I, myself, was hyped up for this film following the exciting trailer.

The critics have not been happy and many people have dusted down their computers to criticise the film. Again, the problem I am sure was expectation. This film is good, sometimes excellent. Oscar Isaac is fearsome as Apocalypse, though I felt the character could have been more apocalyptic. The action is great and once again Quicksilver steals the show, in terms of story and lightness of tone.

I was disappointed so see one character die - why do they always have to die? - will there be a Days of Future Past 2 to bring him/her back? - no, but can't we just have a little but of fun instead of creating dramatic tension by killing somebody?

The film is flabby at times, a little off with the pacing during the first hour, and needs a serious injection of adrenalin at times. However, the film does kick up a gear and there are many crowd pleasing moments before the films end. There are a lot of characters in the film but that isn't a bad thing. Most are used well, others are merely cameos - hello, the Blob!

So what if this isn't even the best X-Men movie, although arguably it comes a close second or third. Its not the end of the world if it isn't the best superhero movie this year. Civil War comes out on top and Batman V Superman wasn't as awful as people made out. The film is very good and on reflection will be seen as one of the best movies of the summer, I am sure. I hold no hope for the Turtles film, am not sure on the new Ghostbusters, and Warcraft and Assassins Creed are an unknown property to film (though they both look ace - I'm just trying not to get carried away with hype).

Enjoy the film for the spectacle it is and remember a time not too long ago when superhero films were looked down upon by Hollywood execs.

So, Dan Harmon and Justin Roiland create this particular animated series, that gets quite famous.
They need a ridicolous amount of time writing new episodes despite a 70 episode deal they got at one point and I am sure they will never be able to deliver upon just by how much time they need for ten episodes. Then Justin has the "idea" of doing his own animated series that's copying Rick and Morty basically, just without Rick and Morty and without multiverse? Timeline is important here, Wikipedia says, the series was shelved but not for how long.
The art style is the exact same, the randomness and over the top stories are the same, several voices are the same, all that this is lacking is good writing. Solar Opposites, funny name considering the not so much "opposites", is airing on another network. In other words going into competition to R&M. Is this a very elaborate prank from DH and/or JR, even though DH isn't mentioned? Or does Justin want to piss of DH? How's this even legal from a business standpoint?

SO does scratch the R&M itch. But it's nowhere near the greatness of R&M. SO doesn't try as hard, though.
There's almost no continuity. The stories of the main characters are so random, as random as any interdimensional cable episode, there's no point in watching. You could watch any episode in any order you wish, without losing or missing anything regarding the main characters. That makes this series incredibly boring for me personally.
The most interesting subplot, with actual continuity so far that needs a certain episode order, is "The Wall". That part is the best part of this whole season 1 and really a good idea with actual fun, consistent characters. If Cherie survives for revenge in S2 it would make me gladly come back. Other than that I don't particularly care for this to get a second season.

If JR wants to do R&M, he should focus on R&M and push Harmon (and all the other writers) to do more, instead of half-assing his own stuff. Other than that I simply fail to understand why this exists other than to leech off of the success of R&M. Creating an instance of "you like R&M? You must like this, too. It's from one of the creators". But no. I do not like this. I don't hate it, but I certainly do not like it. Would this not rely on so many similarities or be a direct and open spin-off I wouldn't mind, though.

Kristen Schaal should have been cast as the voice of Jesse as well. Mary Mack sounds way too much like her and Schaal's voice would fit that character very well.

Season 2 edit:
Season 2, which is more like S1 Pt 2, has improved on a lot of the early issues.
It's still very episodic without consequences but the stories and the chaotic energy of Roiland seem to fit and work a lot better in these 8 episodes. Korvo, the most unlikable of the aliens, tones down his Jerry-ness by not being constantly obnoxious. Glad they do go forward with evolving Pupa and the Wall substory was - again - the best part of these episodes with S02E07 the best episode of this show so far. Absolutely great how that turned out. Going to bump this from a 4 to 5. First 8 episodes are meh at best (excluding anything Wall related, those parts are a 7 at worst and 9 at best), later 8 episodes are okay and overal more entertaining.

If you don't believe in Santa after watching this movie, you're just "denying your inner child."
This is my favourite Christmas film of all time. I used to watch this constantly as a kid (no matter what time of year it was!) and I still watch it every year at Christmas. It never fails to give me goosebumps, because it always takes me back to being a child, and it is an incredible reminder that magic really does exist.

I'm also a big fan of Home Improvements, and Tim Allen is equally as hilarious and entertaining here. Not only is he a brilliant comedian, but he really knows how to play those sentimental scenes that tug at your heart-strings.
Eric Lloyd who plays the young boy Charlie is fantastic throughout and can equally play a multitude of moods in a believable way to make the story flow so well.

When I was little, I always found the role of Neil, played by Judge Reinhold quite irritating, because he is too much of a grown up and his lack of understanding childhood is unreal. But now I've grown up, I understand that most adults are as stupid as his character is and so I've began to sympathise with his point of view, even though I entirely disagree with it. I understand he's MEANT to be irritatingly stupid!

Another character who deserves a special mention is Bernard, one of the Elves, played by David Krumholtz. When I was little, I used to colour in a bit of paper with a dark green felt tip pen and stick it on my forehead, so that I could have "hair" that looked like Bernard's. (I'm not sure it did look QUITE like his hair, but it was worth the effort.) I've always had a soft spot for Bernard. Even though his character can be quite bossy at times, he can also be quite endearing at other times. He has a lot of compassion for people who DO believe in magic, but doesn't have any time for people who don't.... A bit like me! And that's why I identify with him the most. Like the rest of the cast, he plays this part so well.

Both the background music and the soundtrack songs help add to the festive feel of this film, and helps bring Christmas and Santa to life. If you STILL don't believe in Kris Kringle after watching this movie, just remember this dialogue from the film:

Charlie: Have you ever seen a million dollars?
Neil: No.
Charlie: Just because you haven’t seen it, doesn’t mean it doesn’t exist.

This whole episode was perfection. Except for 2 things:

1. Kara/White Bread bullshit

2. Yet another edition of "Where's Maggie, you know, the main character NCPD Detective Maggie Sawyer and why is Man-Hell on my screen instead of her?" Seriously, though. She only had like 5 minutes of screentime in this ep. This is bullshit.

I love Lena Luthor. And goddamn, her relationship with Kara is amazing. That feeling when two female characters basically fulfill every classic romantic trope (obvious Romeo and Juliet vibes because of the Super/Luthor conflict, Kara saving Lena more than once, Lena calling Kara her hero, Lena looking mortified when Supergirl gets hurt in front of her, Kara believing in Lena against all odds, Lena sending a million flowers to Kara's office, the list goes on) and look like they're about 2 seconds away from making out every time they share a scene, but heteronormativity exists and you know they'll forever remain strictly in the realm of subtext and fanfiction. That feeling sucks and I'm bitter.

I don't blame Lena for being kind of torn in this episode. Lillian played the mommy card very well. Katie McGrath and Brenda Strong are both awesome and they created a super interesting dynamic between the two characters.

I firmly believe that Lena is good. I need her to be good, otherwise Kara will be so disappointed. Get away from me with the staring-sinisterly-at-the-chessboard thing, writers. I don't accept it.

Baby Lena was so cute! What a beautiful genius baby. I want to adopt her.

Kara finally has her friends back. This is the kind of content that I watch this show for! It's good and pure, and Kara is a precious cinnamon roll. I just want her to be happy, have a good support system, be surrounded by people who love and care about her, and have a lifetime supply of potstickers. Is that too much to ask?

Also, shoutout to J'onn for being the most wonderful, supportive, telepathic Space Dad in the history of everything.

Thank you, Mr. Next-Episode's-Bad-Guy for saving us, at least temporarily, from the true villain this season: the forced romance between our amazing heroine and the "arrogant dude-bro" (Kara was spot-on, I actually cackled when she said it) who steals all of her screentime. Just burn this shitshow of a ship. Please. I'm so tired of white men being prioritized over everyone else, including the freaking main character. And is it just me, or did Kara seem awfully miserable in that last scene? Compare the way she looks at Mon-Ewww to the way Alex "Heart Eyes, Motherfucker" Danvers looks at Maggie. They couldn't be more different.

[8.8/10] Before Joss Whedon made 2012’s The Avengers and changed the caped crossover game forever, he made an incredible television series with a disarming title called Buffy the Vampire Slayer. Despite its gothic overtones, Buffy had the rhythms of a superhero story, with special abilities, recurring villains, and powerful deaths and resurrections. And in its fifth season finale [spoilers for a 15-year-old episode of television], Whedon presented his protagonist with a choice: save someone you love or save the universe.

The stakes were similar to Avengers: Infinity War’s, even if the contours were a little different. A mad god was on the loose, threatening to destroy all of creation. To complete this universal destruction, she needed Buffy’s sister, Dawn, who was, through some magical meddling, the key to this grand undoing. When the crisis became eminent, friend and foe alike advised Buffy to make a hard choice and sacrifice her sister for the good of the world. But Buffy, undeterred, chose to find a different option, to rally her allies and fight this evil rather than give into it.

It’s the kind of noble choice that characters in all kinds of stories make in these situations. There’s some kind of no-win scenario, and the resourceful, occasionally Kirkian hero finds a way to overcome the odds, protect those closest to them, and slay whatever dragon is threatening their village of choice. In that episode, it was meant as a tribute to Buffy’s steadfastness and loyalty, of her devotion to her sister, and her determination to never give up and never stop fighting as long as there’s a glimmer of hope.

The only problem was that I was yelling at my T.V., “To hell with your sister! The whole universe is hanging in the balance here!”

In an odd way, that’s the message, or at least the overarching theme, of Avengers: Infinity War. The film is one giant, bejeweled scavenger hunt, with the long-teased uber-villain Thanos scouring the realms for the six titular infinity stones in order to wipe out half of all life in the universe. It’s a plan with innumerable fault points -- moments in which one hard choice, one sacrifice of someone you love, could have ended this quiet path of horror, or at least prevented the worst of it from coming to pass.

And yet, every step of the way, none of the Avengers are able to make that choice, or at least, make it in time for it to make a difference. Loki, Gamora, Star-Lord, Eitri, Dr. Strange, and Scarlet Witch each have the chance to end Thanos’s quest. But in the end, when the lives of those they care about hang in the balance, they cannot bring themselves to do it.

The arc of the Marvel Cinematic Universe has been, broadly speaking, one of love and connection, where unlikely allies find themselves forging bonds through trying circumstances and achieving greater things through that unity and shared purpose. Infinity War frames those bonds not as the thing that allows our heroes to face the newest, gargantuan threat, but as the thing that keeps them from being able to stop it.

Because they cannot bring themselves to let go of what, and more importantly who, they love. Whether that love is familial or romantic, The Avengers cannot bear to sacrifice it. The one figure in the whole film who can and does is Thanos himself. He is the only soul in Infinity War who faces down that choice -- sacrifice who you love or see your grand plans fall to ruin -- and finds within himself the will to do it. That horrible strength is the one thing he has on our heroes, more than his powers or weapons or ingenuity, that lets him win this war. He is willing to do what none of The Avenger will or even can, and it creates one of the most devastating losses and endings in any superhero film so far.

It also creates a villain worthy of the moment. Until now, Thanos had been one big, vaguely-defined promise. A sinister smile in The Avengers, a minor appearance in Guardians of the Galaxy, and one final tease in Age of Ultron were all Marvel movie fans had to go on. The results amounted to a generic baddie who made the occasional threat and pulled strings behind the scenes, but was still largely a blank slate when it came time for him to step into the spotlight and assume the villain role for the team-up of team-ups.

Thankfully, that gave the directing duo of the Russo Bros. and the film’s writers the chance to fill in those blank spaces with a distinct and interesting character. Rather than the figure of the stentorian, megalomaniacal baddie Thanos has cut up until now, the “Mad Titan” is a quiet, almost contemplative antagonist in Infinity War. There’s a genteel, even empathetic quality to him in the film, one that makes him an unexpectedly subdued but no less effective a challenge to Earth’s Mightiest Heroes.

Some of that comes from his modus operandi. Rather than mere universal domination, Thanos’s goal is to wipe out half of all life in the universe. But rather than tasking him with destruction for destruction’s sake, Infinity War turns Thanos into an acolyte of creative destruction, one who sees himself as a humanitarian. In a universe with limited resources, he wants to slaughter half the population not out of revenge or vindictiveness, but so that the remainder can live and live well, and avoid the devastation that his own planet faced when those resources ran out.

In that, Thanos is the MCU’s Ozymandias -- doing a terrible thing that results in the loss of countless lives, but intending for it to serve the greater good. His perspective is efficiently conveyed and surprisingly heady for a popcorn flick, dealing with notions of the extremes of a utilitarian viewpoint that blend well with Thanos’s own seemingly dispassionate but subtly affected presence in the film.

Much of that owes to Josh Brolin’s performance. There is a wistfulness, almost a sense of resignation in his voice and bearing as Thanos cuts his path across the galaxy. It would be easy for the uber-baddie of the MCU to come off miscalibrated in the attempts to find depths of character and motivation in this big purple goon, but Brolin finds a balance between menace and an unassuming warmth in Thanos that nigh-instantly makes him unique as a villain and interesting enough to justify his position as the would-be final boss of the Marvel Cinematic Universe.

But much of it also owes to the animators and artists who bring Thanos to life. Much of the action in Infinity War falls victim to the same, weightless CGI maelstrom that afflicts blockbuster movies of all stripes. While individual images of armies of Avengers squaring off against alien attackers, or hollow mechanical ovoids hovering over New York City stand out, too often the film devolves into quick cuts of 3D cartoons smashing into one another, without enough clarity or realism to make them more than a clash of computer-animated piñatas.

Thanos, however, is a consistent exception. More than any other computer-assisted element of the film, his gravitas and impact as a character in the film is dependent on subtle changes in his facial expression that reveal smaller shifts in mood or reaction. As much as for any other fully-CGI character on film, Brolin’s performance is captured in the slight curve of Thanos’s lip, the furrowing of his brow, the squint of his eyes.

Despite his standing as an armor-clad, purple-skinned ruffian, Thanos is a villain with a soul, one conspicuously on display even as he toys with and decimates our heroes. That alone is an achievement of performance, digital artistry, and writing that comes together to craft a villain befitting of the grand finale to a decade’s worth of adventures.

Unfortunately, Infinity War has trouble keeping up with all of the scads of characters who have accumulated on the MCU’s rolls in the course of that decade’s worth of adventures. While the Russo Bros. managed to strike a delicate balance in Captain America: Civil War, servicing a broad set of characters in a single story, they can’t quite manage the same feat for the Avengers writ large.

The opening act of Infinity War is full of throat-clearing. In addition to establishing Thanos as a challenge beyond the everyday (something the film accomplishes by having him kill the bad guy from the first Avengers flick and manhandle The Hulk with ease), the film has to check in with all the major figures from the Marvel movie roster, paying at least lip service to what they’ve been up to since we last saw them and running through reunions and updates galore.

The result is a film that is lopsided and overstuffed. Eventually, the film’s narrative coalesces into a few distinct threads. Thor, Rocket, and Groot go off to forge a weapon to defeat Thanos. Iron Man, Spider-Man, Dr. Strange, and the remaining Guardians aim to stop Thanos on his own planet. Gamora is dragged along with the mad titan himself. And the remaining, earthbound Avengers, most notably Scarlet Witch and Vision, fend off Thanos’s goons on the homefront. But the parties wax and wane over the course of these challenges, and the movie never quite finds its center as this mass of characters ebbs and flows from one scene to the next.

That extends to the crossover-based excitement promised by the very concept of the film. Some unique pairings work like gangbusters. Thor’s adulation from the Guardians, replete with Star-Lord’s instant jealousy and attempts to puff himself up, are a delight from beginning to end. Others, like the attempt to replicate Tony Stark’s combative chemistry with Steve Rogers by subbing in Dr. Strange, tend to fizzle. And others still, like the complicated dynamic between Thanos and Gamora, become the emotional backbone of Infinity War. But there’s little consistency on that front, and it helps make an already top-heavy film feel more scattered and disjointed in assembling the pieces of its grand finale.

It also tries to maintain the humorous bent of the MCU, to the point where the quipping starts to feel mandatory rather than organic. Calling Thanos “Grimace” is in the proud tradition of Buffy making fun of a bloody-lipped vampire opponent for having “fruit punch mouth.” But eventually, the bon mots start to pile up and feel shoehorned in. Levity is one of the Marvel movies’ strengths, but after a while in Infinity War, the hit rate for the jokes starts to waver, and as the stakes increase, the smart remarks begin to feel like the writers meeting a quota rather than letting the repartee emerge from the situation at hand.

The cumulative effect of all this unevenness is a movie full of tremendous moments in its first couple of acts -- the heart-to-heart between Rocket and Thor, the elaborate head-fake at Knowhere, and badass lines from the likes of Black Panther and Captain America -- but also one that has trouble finding its footing for much of that runtime. There are a ton of moving parts in Infinity War, and oftentimes the movie feels more like a twelve-car pileup than the elegant ballet the Russo Bros. mean to choreograph.

Still, despite the movie ungainliness in places, the unifying force of Infinity War are those same choices faced by different characters across the landscape of the film. Time and again, the movie depicts moments where one person could have stopped all of this (or at least severely hindered it) and cannot bear what it would take to do so. At one point in the film, Captain America tells his compatriot, “we don’t trade lives” and it’s both the philosophy that unites each of the Avengers and, in a way, dooms them.

Loki could keep the Space Gem away from Thanos, but despite all their sibling rivalry, he cannot watch his brother dying at the hands of this brute and do nothing. Gamora could deny her estranged father access to the Soul Stone, but she relents when cannot tolerate seeing her sister, Nebula, being tortured. Eitri could have refused to make Thanos the implement that makes his terrible deeds possible, but is willing to risk the fate of the universe in the futile hope of saving his people’s lives. Time and again, the people who could have prevented Thanos’s plan from coming to fruition are unable to let the ones they care about suffer or perish in order to make that happen.
Even the ones who attempt to make that choice falter or dither until it’s too late. Though Peter Quill seems the only one willing to accede to his loved one’s wishes to kill her rather than let her fall into Thanos’s hands, the Reality Stone sees that his efforts come to nought. And worse yet, it’s the same emotional connection to Gamora that causes Quill, in his grief and anger, to try to hurt Thanos, in a way that thwarts his allies’ attempts to simply stop him for the time being. Once again, that bond, reinforced and cemented here before it’s wiped away, is what causes Star-Lord, and the Avengers more broadly, to fail.

It’s the same thing that keeps Scarlet Witch from being able to quell this threat. Vision is just as direct as Gamora in asking the one he loves to let him die rather than risk the fate of galaxy. But she resists and delays and does everything in her power to hold onto her loved one even with the world in the balance. Eventually she, like Peter, relents and, in a harrowing moment, removes the Mind Stone from Vision and seemingly stops Thanos, but by then, he has the Time Stone, and in the film’s penultimate gut punch, he rewinds the clock and renders her actions moot.

Thanos himself is the only character in the film willing to make that choice and make it without hesitation. In the climax of the film’s second act, a long-absent Red Skull returns to instruct the Mad Titan that in order to obtain the Soul Stone, he must sacrificing something he loves. Upon hearing the news, Gamora believes she’s won the day, because there’s no way the father who treated her as he did, who put her through what he did, could love anything, let alone her. There are tears in Thanos’s eyes, revealing that he is not the monolithic bastion of evil he seemed until now, but someone who knows what must be done, what costs must be borne, to achieve what he believes must be achieved in order to save the galaxy from itself.

So he bears those costs. He throws his own daughter to her death and claims the fruits of the sacrifice. He offers sympathy to Scarlet Witch but undoes her own hard choice to serve his ends. He snaps his fingers and half the world comes to an end, as familiar faces shatter and blow away into nothingness. It as an emotional wallop, for the film’s heroes and its audience, as the one figure in Infinity War who most threatens the galaxy is the one willing to sever those bonds, to go to those lengths, that the Avengers cannot bring themselves to trespass upon.

Predictions are a fool’s game, but there are a few things to remember in the shadow of Infinity War’s devastating ending. First and foremost The heroes lost in this most recent Avengers outing were, largely, the new blood of the MCU. The likes of Spider-Man, Black Panther, and Dr. Strange are far more likely to anchor the next decade of Marvel movies than they are to disappear forever. It won’t take away the shock of power of the moments when they disintegrated before our eyes, but resurrection is the watchword in comic book stories, and Disney is unlikely to let the cornerstones of its next wave of cape flicks linger in oblivion for too long.

But more importantly, Infinity War is a film that seems keenly aware that it is in conversation with 2012’s The Avengers, the film that kicked this uber-franchise into another gear. And as much as the original Avengers flick was about the forging of those bonds between its heroes, it was also about self-sacrifice.

Tony Stark’s arc in the film centered on Steve Rogers’s challenge that Stark is all about himself, and never the sacrifice play. It gave Tony the extra motivation to redirect the nuclear bomb headed for New York City into the portal to another world, with no hope of returning to see Pepper, the person he loves most in the world, ever again. He survives, naturally, but it’s the choice he made that truly mattered -- the choice to put oneself on the chopping block in order to save others, and maybe to save the world.

It’s the same choice that Buffy the Vampire Slayer made in her own fateful finale. When push came to shove, and it became clear that fighting the good fight alone wouldn’t be enough to fell the mad god who threatened all of existence, Buffy still refused to put her sister on the chopping block. Instead, she stepped into that blow in her sister’s place, sacrificing her own life to stop the villain and save all that there was to be saved.

And maybe that portends the path forward for Avengers 4. The Avenger who comes closest to succeeding in Infinity War is Thor, and on the surface, that would seem to support the “connections to others only hold you back” theme of the film. Thor has a quietly harrowing conversation with Rocket where he acknowledges that he’s basically lost everyone. In a movie where every hero is stymied by their unwillingness to let the people they love come to harm in order to save the universe, it’s the one man with no one left who forms the plan and strikes the blow that nearly wins this war for the good guys.

But his is also a choice of sacrifice. When it comes time to forge the weapon that may be able to slay a god, Thor himself must put his life on the line. He has to hold open the mechanism to let the power of a star flow through him and into the enchanted metal that could create the awesome implement. He is severely weakened and wounded by the blast, but succeeds in creating something with the potential to defeat Thanos. And there, perhaps, Infinity War tips it hand.

Because even if The Avengers are not willing to trade lives, they are willing to offer their own. Even Dr. Strange, who seems to be making the same sort of choice that Loki and Gamora and Scarlet Witch did, may be playing the long game. Having glimpsed the lone, possible future where The Avengers succeed, he could be allowing events to come to pass where he disintegrates into nothing, with the hope that it will set the surviving heroes on the path to righting all that’s gone wrong.

That effort may very well require just this sort of ultimate personal sacrifice. There’s been lots of talk about how Infinity War and its successor represent a turning point, a close of one significant chapter of the Marvel Cinematic Universe and the beginning of another. It’s conspicuous how many of those who survived the terrible geometry of Thanos’s finger snap are among the original set of Avengers who broke out in Whedon’s 2012 blockbuster.

If, as Infinity War seems to posit, the thing that sets Thanos apart, that allows him to succeed when there are so many chances for him to fail, is that he is willing to give up what he loves in order to achieve his goal, then maybe what sets The Avengers apart is a reciprocal form of devotion. From Captain America letting his plane fall into the ocean, to Iron Man carrying that Nuke away from New York City, countless time our heroes have won the day by placing themselves onto the altar rather than allowing who or what they love to be forced onto it.

No one knows for sure what the next installment of The Avengers mega franchise holds in store. But it’s not hard to imagine the current generation of Avengers collectively making that sort of choice to preserve the next, not to let someone you love go to save the world, but to let yourself go to save them, and the world with it, a form of love that Thanos, however teary-eyed and mournful of prices paid, may not be able to comprehend or, accordingly, defend against.

Infinity War is not simply half a movie. It is, standing alone, a complete and harrowing story of single-minded devotion and loss, of good-hearted, courageous individuals unable to cross the line that could save everything, and suffering unimaginable losses in the process. Despite the movie’s overstuffed roster and uneven quipping, the Russo Bros., Kevin Feige, and Marvel Studios as a whole deserve to be applauded for delivering a film built around such a singular, unifying set of moral choices, that commits to the painful consequences of those actions with a conviction not seen in major franchise filmmaking since The Empire Strikes Back.

Those final moments -- where heroes young and old, and the hope for the future they represent, disintegrate and fall away like ash -- are heart-rending in the best and worst way, accompanied not by maniacal laughs or vainglorious boasts, but instead by impressionistic reflections on whether this fraught endeavor was worth it, and quiet smiles at the sunrise. It transcends popcorn thrills and pre-viz action and becomes art, by whatever definition you’d like to throw at it.

But the film is also a question waiting for an answer, a cinematic dangling participle, that makes the bold choice of leaving the viewer with the images of brave men and women fading to nothing, while implicitly gestures toward an inevitable aftermath. As the shock of those images fades, they reveal a call that demands a response.

Avengers: Infinity War tells the story of a man who will sacrifice what he loves in order to, by his own measure, save the world, when no one else can do the same. But it asks, and leaves open the question, of what the heroes we’ve been watching for ten years will do, the depths of self-sacrifice and lengths to which they will go, when there’s never been more to avenge.

[8.6/10] It's amazing how an episode about a hot-button issue like homosexuality from ~25 years ago can still feel so well-done and relevant today, without ever seeming overly preachy. The gist of how "Homer's Phobia" accomplishes this is simple -- it delves into Homer's fears about gay people but (a.) always depicts John as a decent, charming, and endlessly patient guy, and (b.) depicts Homer's anxieties as ridiculous and harsh but also realistic for someone of his age and upbringing. It makes Homer seem believably boorish and overblown about the whole thing, while John is consistently delightful, making Homer's rudeness toward him and homophobia seem all the more misguided.

Beyond that, it's a really funny episode. John Waters is a natural as a voice actor, and he brings John to life while giving him a rhythm of speech that makes him engaging and immediately sets him apart from the rest of Spingfield. The steel mill is an all-time great sequence. And the show pokes such fun at the idiocy of Moe, Barney, and Homer trying to "stop" Bart from turning gay that it manages to make their concerns seem hopelessly backward but also wrings comedy from it.

Again, it's so impressive that an episode that tackled an issue that's changed a lot in the public consciousness over the past couple of decades still manages to thread the needle to where it seems sensitive and still funny.

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.

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.

I was disappointed at first. Then it blew me away!

Possibly the worst marketing for a tv show ever. In the first season we won't follow a crew's journey to Mars like everyone thought, but we will instead see people preparing to go there. Their struggles, problems and everything in-between. We won't see what we thought we'd see. Because of that, I was disappointed, but one episode later, I saw the real beauty of this show and what makes it (in my eyes) worth watching.

Having binged it in two sittings, I won't deny that this is a slow show or that - at times - not much happens. But what I won't say is, that it's boring. At the core, the story is about the characters and how they're dealing with the fact that they are actually going to Mars. How it affects not only their lives, but also the lifes of and the relationships to their loved ones.. It surely is more drama than sci-fi, but not in a bad way.

Along the way you'll start to care about the characters and you'll realize how well-acted this show is. With a great cast, the show tells a compelling story. You'll see incredible cinematography not many shows have. You'll appreciate the variety of music throughout; epical, magical, partly eery and mysteriosly beautiful music.

To me, this show was a real surprise and I give it a 9/10. I'm really hoping for a second season!

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.

I can't believe I didn't watch this movie earlier—a young girl loses her family and gets taken care by an Italian professional assassin.

Be warned that this movie has extremely graphic content and might include scenarios that will cause you to feel uneasy and possibly disturbed. I highly appreciate the film's presentation of the relationship between Léon and Mathilda. Although I found it somewhat off-putting that they were so close, I rather prefer perceiving their relationship as much more platonic. Mathilda loses a family that she already felt unconnected with. Her family was dysfunctional and she was treated horribly by her violent and abusive father. Léon made Mathilda feel like someone finally cared for her. She felt loved, and Léon—who's spent half of his life alone—enjoys that companionship. Luc Besson (Director) surely is a creep for scripting such a strangely uncomfortable relationship between a little girl and a grown man. Many people believe that this film presented pedophilia. However, I much rather perceive that the film simply demonstrated to the audience a little girl—very much miserable—crushing on a man who saved her. And a lonely man finding companionship and opening himself up to generosity.

I was missing out on such an amazing film!! You don't want to be missing out either!! MUST WATCH.

P.S. I much recommend you rather watch the Léon: The Professional 2-hour-long, international version (French).

5.1/10. Sometimes it’s hard to discern the line between exploitation and embrace, especially when dealing with a film from more than eighty years ago. Freaks, a film that puts people with deformities and developmental disabilities front and center, is ostensibly on their side. The theme of the film is that these people, derided by monsters for their outside appearance, are or at least can be, kind and decent people, in contrast to the film’s antagonist who are pretty on the outside or blessed with physical advantages our eponymous heroes lack, but ugly and cruel on the inside.

The film delivers with message with what amounts to a fable set in the circus. Hans, a little person who is a part of the sideshow, is engaged to Frieda, another little person who’s in the act, but becomes enamored with Cleo, a beautiful acrobat in the circus. Cleo initially just uses Hans’s affections for gifts and attention, whilst carrying on behind his back with Hercules, the circus’s strongman, but when she learns from Frieda that Hans has inherited a great fortune, she conspires with Hercules to marry him and then poison him so that they can take the money for themselves.

The rub is pretty straightforward. Despite pretty reprehensibly leaving his fiancé, Hans wants only the best for Cleo and more importantly, the “freaks” accept Cleo into their community. The chants of “One of us! One of us!” and “Gooble gobble!” have become iconic, but what’s often left off from the popular quotation is the other third of the chant – “We accept her!” There’s a divide between the “freaks” and the “regular people” at the circus, one that can lead to mutual mistrust, but the community welcomes Cleo despite that, because, they believe, she loves one of them, and that’s good enough for her to become one of them.

This, of course, is a bridge too far for Cleo, who can’t accept the communion offered to her by this community, and reveals, if not the details of her plans, then the fact that the “romance” was an act on her part. The “freaks” are shown to be kind, welcoming people, and Cleo and Hercules, the “normal people,” are shown to be harsh and even evil. We’re supposed to root for the people with deformities and against the beautiful and the strong.

And yet, even if director Tod Browning’s heart is in the right place in terms of theme, there’s something that still feels exploitative and condescending about the film. Far from focused on this main narrative, Freaks is filled to the brim with minor subplots and vignettes about the other denizens of the sideshow. Aside from the fact these little detours practically kill the film’s already consistently-sputtering pacing, they also seem to be putting the stars of the film into the same kinds of gawking “otherness” that it implicitly criticizes the film’s antagonist for.

Most of these scenes involve focusing on the quirks of the various “freaks” for laugh or for curiosity. Whether it’s showing how a man without limbs can light his own cigarette unassisted, or taunts at a person said to be half-male and half-female, or a continuing subplot about one conjoined twin being able to feel what happens to the other and the unique hurdles of their dating life, there’s less a sense that this is a kind look at people who differ from the norm, so much as it is presented as a chance to chuckle or marvel at what is, at best, an air of exoticness, and at worst, a tone derision and oddity.

This also plays into Freaks’s difficulties as a horror movie. The film’s scariest moment takes place in its climax, where the eponymous collection of sideshow acts advances upon the villain of the piece in the midst of a horrible storm. The scene is impressively shot, with an unnerving sequence of these individuals brandishing guns and knives and other weapons and descending upon Cleo under cover of darkness. There’s something frightening and tense about the steady pursuit, that feels of a piece with the zombie films that would emerge decade later.

That, however, is the part of the problem. While Browning can charitably be said to have intended to depict a close-knit community defending one of its own against an external evil, there’s a firm sense in which the “freaks” are dehumanized in these scenes, treated as primitively tribal or animalistic. While Hans and Frieda are given full, if thin, characterization, and the benefits of some pathos (which veers into pity), the other individuals with deformities or disabilities are treated less kindly, even as the film seems to want its audience to sympathize with them.

But it also gives us two “normal” characters to latch onto: Phroso, a clown and Venus, another beautiful circus performer. Their only purpose in the film appears to be to give the audience some non-“freaks” to root for as good guys in the midst of the movie’s main plot, and the rushed story of their romance sputters on all the way to a tacked-on happy ending that shows a reunion between Frieda and Hans. It’s part and parcel with the array of go-nowhere vignettes that are spackled into the main narrative of the piece.

Still, some allowances have to be made for the time in which this film was released. While it’s easy for me to look back from the vantage point of 2016 when our treatment of such individuals has vastly approved (contrary to the programming lineup of TLC) and judge the way in which the deformed or disabled are depicted in Freaks, Browning at least has the decency of wanting the audience to like the titular group that are the selling point of his film. The tone he takes to do so may be, at times, rather patronizing or othering, but he wants the “freaks” to be people that the audience cares for rather than recoils from. While he’s still content to put the things that make them atypical on display for a buck, much the same way as the carnival barker in his frame story, there’s an attempt to make the humanity of the “freaks” shine through, which helps to soften the palpable feeling of exploitation that permeates the film.

"The Force is with me and I am one with the Force."

Chirrut and Baze were my favorites. This film made me think i want more stand alone films then a continuation of Episodes. As someone who has only jumped on to the Star Wars franchise over the past year, watching all the films over the past few months..this has to be my favorite next to the original film and what a fitting place. I can't wait to re-watch it back to back.
It most definitely made up for the Force Awakens which as a new viewer almost put me off. People more informed in film might be able to pin point what Rogue One has done better. That last battle to get the plans, i couldn't blink. Both the space and ground combat really conveyed how desperate the Rebels were.
The C3PO and R2D2 cameo took me out of the film for a moment but the rest of the film felt seamless and pulled me right in. I would of liked to have seen more of the relationship between Jyn and Saw but i am sure novels and television will take that on for us (or already have). So many emotions in those 2 and so hours and i can't wait to watch again, at the theater! Perfect cinema experience and worth the outing. By the way, what an ending! Vader never looked so dominant.