Arius

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.

Maybe it's the fact that the end is nigh for B&B, but I really enjoyed this episode and the way it flashed back to how Batman had his first adventure with three of his most regular partners on the show. This was basically three shorts with a loose frame story, but as the opening teasers demonstrate, this show's great at shorts and each of them worked well. Green Arrow had the most standard adventure of the three, with Cavalier providing some comic relief and he and Batman engaging in their usual oneupmanship. Plastic Man's was the best, with a tightly-written little story and ample creative use of the hero's stretching powers. And Aquaman was great as always with his fish tale that got more and more harrowing the longer he told it. The frame story ending with Mr. Freeze felt a little perfunctory, but the end with Aquaman resuming his tale was the right comic note to end on.

As for the cold open with Space Ghost, I have to admit that I really only know the character from Space Ghost Coast-to-Coast, and so while I recognize the tropes of the old Hanna-Barbera superhero style (which the segment seemed to ape well, no pun intended) the segment didn't do much for me in particular beyond the novelty of seeing someone who, for me, is a pure absurdist comedy character teaming up with Batman.

There's something about future-looking stories that feel special. Generational stories in genre works, whether it be Batman or Star Wars or Harry Potter have a certain appeal that comes from the idea that what we're watching is a link in a bigger chain, that each bad guy defeated or obstacle overcome is a ripple that's affected by the past and makes an impact on the future. A happily retired Batman, who has married Catwoman, passed the cowl on to Dick, and is raising a son is a detour from the crimefighter severely committed to the cause we so often see Batman as, and it's a welcome diversion.

There are, by necessity, a lot of narrative shortcuts in the episode. Alfred's voiceover works as a device to bring us up to speed and take us through the aftermath in a story that is, frankly, a little to big to be told in 22 minutes. But it works as a thumbnail sketch, with Damien Wayne's hesitance to take up his father's mantle firmly established, if not exactly explored, enough to sell the stakes of the episode. And the writing for The Joker (alongside his fourth wall winks) is the best it's ever been in this series, with his axe-crazy nihlism coming through beneath his gallows-humor exterior. Telling a generational Batman story in a half hour is a tall order, and while this episode isn't perfect in the effort, it builds on the backgrounds we already know for these characters to convey the import of individual choices, and the frame story of Alfred's novel gives the episode an easy out for continuity, while not selling short the story actually being told.

(Oh, and in the teaser, it's nice to have a hint at a conflict with Darkseid, and given The Question's connection Rorschach and his appearances in JLU, I've always had a certain fondness for him, so I enjoyed that segment as well.)

Well, this is a shame. This comic is one of the best of all time. Seriously, it is amazing. So you'd think that a animated movie adaptation from it would be great for sure.

And then you start the movie and it is about Batgirl going on a random, generic mission. Batgirl getting annoyed and angry with Batman. Batgirl banging Batma- wait... what? WHAT IS GOING ON? THIS HAS NOTHING TO DO WITH THE COMIC'S STORY.

Yea, they literally just tacked on some junk to make this at least 75min. Frankly, that first 30ish minutes in is worthless. I have no idea who wrote that and thought it matched the tone for the source material.

Then we do get into the direct adaptation. Now it is sticking very close to the comic, down to the same exact lines and frames. Part of me likes that, but the other part wonders why it is even needed. Why not just read the comic if it is going to stick directly to it? Well, whatever, it is great dialogue and a fantastic plot.

And then I go back to thinking it doesn't fit the comic well enough. In some scenes, the timing doesn't feel right at all. Some of the lines just don't come out like I feel the scene's tone is supposed to be. One big moment is the dramatic shooting. Gordon's reaction to that event does not seem nearly as emotional as it should be.

Finally, the closing scene starts of great. Mark Hamill, oh, I don't think I mentioned this yet. Mark Hamill is great as always. So Mark Hamill starts it off, and that leads to some combined laughing. His works, he knows how his character laughs. But Batman... his laugh seems really fake to me. That kind of ruins the impact of that finale.

Not as bad as the epilogue scene though, that made it worse.

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.

You get a good look at an extension of the Bat family in this one. At first, I thought it was Batgirl on the cover, then I learned that it turns out to be Batwoman (so hot)! There's also Batwing on the cover; "two birds with one stone" there. It is the third film taking place after and part of the Son of Batman and Batman vs Robin story arc. Damien returns and learns to be more like his father, "justice, not vengeance". His mother, Talia, also reappears (still freaking hot) and is the main enemy here. The Batmobile design here looks like the one in the live-action Batman Forever/Batman and Robin films. Nightwing plays such an important role here and is probably the one who knows Bruce Wayne/Batman the most. There was a point where Katey was watching News 52 on TV, and right there I knew it was a reference to the New 52. I like how it wraps up with a little surprise in the end.
The animation team responsible for this trilogy so far has done fine job. I admire WB Animation's style and I kinda wish they had shot for a higher level of quality for the recent The Killing Joke film adaptation, at least in character design, but you get what you can get I guess.

"I tried your way, Charles.
I tried to be like them.
Live like them.
But it always ends the same way"

The abusive relationship between Professor X and Magneto continues to bring strong intrigue to when they will meet next and what they will be in the middle of.

At first my fear was Jean Grey had been miscast, instead following the "she has the same hair color it is fine" formula but after that steady start by the end of the film she came into her own and i am looking forward to seeing her again. Scott and Kodi i loved though, with Storm and Quicksilver moving in, i am looking forward to the next generation! With more Jubilee!

The only character i was really down on as most have also said, Mystique. Mystique's actions are fine but it is Jennifer's delivery that leave a lot to be desired. Especially in the scene where Quicksilver is revealing that secret to her. I think old high school friends in drama class could of made me more convinced in their reaction.

Those last few minutes gave my inner child a squeal. It might be seen as a step down but it is still as fun as the previous two and the strongest of the X-Men trilogies. Between X-Men, Deadpool and MCU. Marvel properties are hot. -sweeps Fantastic Four under the rug-

By the way, What kind of bullshit shot from the arrow was that to kill the mother and the daughter instantly and at the same time?! I suppose tragedy is drive for Magneto but i could of blinked

I love this show and I loved this episode. The New Rogues aka "Harrison Wells Cast audition". He has to be the best actor in the multiverse. I loved the different versions but come on, I want Harry to stick around. He and Cisco are one true pairing. I love their dynamic together. So funny. I would've chosen Hells Wells. God, that was absolutely awesome.
Besides, I love Killer Frost's powers. I hope she doesn't turn evil, but helps Barry and the gang around.
Plus, Barry and Iris together, sure felt kinda weird, plus making out in front of your dad, who so happens to be the adoptive father of your boyfriend. I guess you have to cool it a bit Iris, although it wasn't like they were trying to shoot a porn film or something. it was just cuddling bit any old how, it feels weird.
And Start back. They sold me that Start was back and all we've got was a flashback and a hologram. And Mirror Master and Top were kinda awesome, I presume. Actually, I paid more attention to the subplot that to the actual metas. And what about this, Barry found a way out of this pickle without help from the gang. It also felt weird, though.
Looking forward to see Killer Frost next episode and that weird monster we've got now.

"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.

The movie hypnotized me in my late teens... thought it was the best film ever made. I rewatched it just before the HBO series started and wondered just how many bong hits I'd taken before watching it the first time around.

The HBO version is great, but very slow moving. Events from the season finale should've unfolded by at least the 3rd episode. During the final 2 episodes there was a lot of explaining going on, and some good action sequences -- but I wish the explaining had taken place much sooner -- characters engaged in lengthy talking-head explanatory scenes seemed forced, more like a recital than watching a story. I was never a fan of the series "Lost", but I think this method of storytelling should appeal to those that were.

In the movie, the android's eyes lit up indicating a malfunction, then the amusement park went crazy. With the series, no eyes light up and instead there's a gradual buildup as to what was happening behind-the-eyes. It's so gradual though that I would've enjoyed the series more if I'd binged it -- a week at a time of snail-paced plotting can be frustrating. It's good, but lacks the pacing that made the original movie so engaging.

Medieval World and Roman World -- with 'spy' androids to integrate the subplots would've been great -- but those worlds have disappeared from the story -- likely it might have been too expensive to produce. Unfortunate, as it would've helped with pacing. As it's been renewed for a 2nd season, I'm wondering if those worlds might be worked in. Slow pacing or not, I'll be watching as many seasons as they put out... ;-)

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.

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.

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.

I have mixed feelings about this movie. I love DC, I love Greek mythology, and Wonder Woman movies are generally the best of both worlds, at least that last animated one was amazing. So my expectations were sky high after choosing to see this movie, over Alien, The Mummy and others currently at the box office. I was definitely disappointed, but I really enjoyed the movie. Just weird.

I wanted more from WW's mother, first of all, since she was quite amazing in her own right from all the comics and previous movies. I hated the love affair between WW and Captain Kirk, but I understand why it was so necessary for the plot. And, mostly, she was basically Captain America in DC form. Both in WWI, fighting the Germans, with a secret weapon, both on a special covert mission to end the war, both in USA colors wielding a shield to stop bullets and tank rounds, and more. I disliked the cookie cutter similarities between the Cap and WW. Lastly, I really disliked the flashbacks, within the flashbacks. Just start the story from the beginning in the first place!

Now on to the Awesomeness that is the Wonder Woman movie. Her abilities were top notch. The superhero aspect was brilliantly captured and portrayed. The animated version was ported into the real life version flawlessly. She is by far the best superhero in film, next to, currently deceased, Superman. Wolverine, Spidey, all the Avengers, Batman, Green Lantern, and anyone else with a movie franchise would easily get bitch slapped by WW. Well, having said that, I do think Thor with Hammer, has a slight chance, but without Hammer, he is a peon compared to WW, the God Killer! The fight scenes were simply amazing, the story was true to her past incarnations. And the thing I liked most about this movie above all else was the ugliness of the movie. It captured the underlying theme of femininity, excellently. This was a dreary, dirty, ugly movie. The sets were ugly, the costumes were ugly, the story/plot had a ugly feel to it. The ugliness gave such a brilliant contrast to the breathtaking beauty of the star of the movie, Gal Gadot. I couldn't take my eyes off her. Her beauty was unprecedented. I know she isn't the most beautiful woman in the world, but this movie made me believe Wonder Woman was. Now the island of Amazons had some extremely attractive women on it, but Gadot was by far most beautiful of all. This movie has rewatch-ability because of her beauty alone, mix in those amazing fight scenes, and it is quite a good movie to see.

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.

Being a massive fan of the original Teen Titans comics that this animated film is based on, I was a lil apprehensive about how good this was gonna match up. I gotta say I think they did a brilliant job! It's not quite up there with the original but it's pretty damn close and another fine release from the DC animated universe.

What's really good about this is that you don't need to be a comic nerd like me to get into and enjoy this film. You get to know the characters​ straight away and the story is easy to follow tho like original story, it does throw a couple of great curve balls so for the first time viewer, you're gonna be all like "What the hell?!? Damn!!".

I can see that at the time of me writing this, this film is averaging around 8/10 but I'm gonna give it a 9...possibly biased as I loved the comic so much. Definitely well worth a look whether you are a fan of the DC animated universe or not. I would rate this up there with Justice Flashpoint Paradox which I think is the best of the DCAU.

If you're reading my review to get a sense if this film is worth watching, I think I've covered that so I'm gonna shut up now and YOU go and watch this great film!

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...

Maybe I Should Have Some Bread Instead
Oh No Making Breakfast Isn't Easy As It Looks
I Know Maybe I'll Have Some Cereal That's Easy
That's Not Enough
Much Better
Oh Good Mom And Dad Are Awake
Uh Oh
Look Mom I've Been Helping I Made My Own Breakfast
Sure Mom
Squish Squish Squeeze Squish Squish Squeeze
I Can Wipe The Table And Make It Nice And Clean
Bumpy Bumpy Bumpy Bump
Oh Dear Look At That Big Gray Cloud Spot
It Looks Like It's Going To Rain
Perhaps We Better Head Back Home
That Was Fun
I'm Ready Now Grandpa I Finished My Bath
Well Is Too Wet For Me Bye
Oh No It's Time To Go Home
Oops I Almost Forgot My Umbrella
Come On Everybody Up Here
What About This
Arf Arf
One Two Three Bump
It's Almost Time For Your Bath Spot
Bumpy Bumpy Bumpy Bumpy Bump
Can I Play A Little Longer Please
Alright But Just Until Your Bath Is Ready
Oh Spot Would Love A Bubble Bath
Vrrom Vrrom
Ruff Ruff
Dirt Incoming
Vrrrrroooom
Hello Spot
Hello Squirrel
Spot You're Bath Is Ready
Okay Mom I'm Coming
Here's Some Dirt Squirrel
You Better Leave Your Truck Outside Spot
Alright Mom
Hop In The Tub Spot
I Love You Mom
I Love You Too
Now Don't Forget To Wash Behind Your Ears
Okay Mom
Wait A Minute I Need To Get Something
He He He
Here You Go Fish
Not Yet Mom I Need To Get Something Else
Wait A Minute I Just Need To Sail My Boat
In My Bath
There Is A Big Sea
On The Big Sea There's A Boat
And The Boat Sails Across The Big Sea
Until It Bumps Against My Foot
In My Bath
There Is A Small Fish
And He Likes To Swim And Play
But When I Turn Into A Crocodile
Then The Small Fish Swims Away
In My Bath
A Duck Is Quaking
As He Floats Around The Tub
And If Sometimes He Goes Under
Up Again He'll Always Pop
Up Again He'll Always Pop
Quack Quack He He He He
Out You Go Spot Time For A Story Now
It Is Great Thanks Mom
Once Upon A Time
In A Land Far Far Away
There Once Lived
Hmm Oh Yeah I Forgot To Brush My Teeth Too
Oops Almost Forgot My Sleeping Bag
Green Light Go
Red Light Stop
Vrrom Vrrom
I Got It
It's Getting Late Boys It's Time To Clean Up And Put Away Your Toys Please
Okay
Okay Mom
I'll Help You Spot
Here's The Ball
Catch
Got It
Oh Look At That
Look Spot
Weee
Vrrom Truck
All Done
There Doesn't Look All Cleaned Up
It's Almost Bedtime
We Put Everything Away Mom
Very Good
I Have To Go Home Now
Ruff
Thank You For Helping Steve
Bye Spot
Bye Steve See You Tomorrow
Good Boy Spot Now Go Brush Your Teeth
But Where's My Teddy Bear
When I Go To Bed
And Turn Out The Light
I Have A Friend I Cuddle At Night
Teddy My Teddy Oh Teddy It's You
Teddy Bear Teddy
When It's Very Late
And It's Time To Sleep
I Have A Friend Who Helps Me Count Sheep
Teddy My Teddy Oh Teddy It's You
Soft And Furry Warm And Good
You'd Give Me A Hug Just Like A Bear Should
Teddy My Teddy Oh Teddy It's You
I Thought You Cleaned Up Spot
I Did But But Now I Can't Find My Teddy Bear
Look He Was Here All The Time
There You Are
Thank You Mom I'll Clean Up Again In The Morning
Alright Spot Sweet Dreams
Good Night Mama Uuuuaaahh Good Night Teddy
I'm Going To Grandma's House

“It was bound to happen.”

Disturbing and hauntingly real -especially considering today’s political climate. After our screening, my roommate and I catch our bus home and didn’t talk to each other for the next 40mins. I couldn’t help it but think about the most recent news I’ve seen: white supremacy rallies, anti-racism rallies, terrorist attacks, etc. Fuelled by the news and what I had just seen in the theatre, I felt anger, excitement, fear, confusion -and somewhat determination- all at once.

NOCTURAMA is something that is happening now. The film follows 7 kids carrying out a Paris bombing and the aftermath of it. It is a modern tale of rebellion. Rebellion against consumerism and politics, of freedom and symbols, and banks. It feels like a desperate cry for people without genuine avenues of expression. In fact, we never know the true motivations behind their plans but we don’t really need to. These kids want to rebel and rip apart the system but they’re also the product of that system they’re so desperate trying to tear down, after all, in the aftermath, we see them put on suits and see mannequins dressed exactly like them. The thing about NOCTURAMA is that these kids could be everyone; they could be anyone. They want to fit in and be unique, to stand for something. They want to tear everything down but they’re also trapped in their own time and their own experiences. We see things twice or thrice from different perspectives seeing how different their reactions are, how trapped they’re in their own worlds. It is a reflection of people, but especially young people, angst. Because people are angry, but at what?

NOCTURAMA might very well be a rally against commercialism, politics and the idea that we are a free in modern society. The message of NOCTURAMA -and of modern rebellion- is that this could be you. But it is also a desperate cry for help. “Help me,” cries one of the characters. No one does. Everyone has already decided what he is and he isn’t allowed to be anything else. He isn’t allowed to be a teen, a victim, or anything else anymore. We'll never know why they did what they did because we don't want to listen, we don't want to know. He is a terrorist and so he must be removed. Right?

First of all, I avoided ALL spoilers. Didn't see even one trailer. Never saw ANY art concept before viewing the movie. It made everything more impactful. Been doing this since Ant-Man, and it really changed my experience in the theatre.
Oh, only in the MCU. The rest are inconsequential, doesn't really matter (I'm looking at you DC with your shitty movies and at you Star Wars).

Now about the underused characters someone mentioned:
half of the heroes are dead, most of the ones that are alive now are the characters that have a trilogy (Tony, Thor and Steve) and/or are essential to the continuation of the Universe. The ones that are dead now, probably will continue the Marvel Universe when the old heroes die or retire in the next movie (more die than retire imo, and can you imagine they killing Spidey for real?).. My guess is that Tony, Cap, Thor and Doc (he saw that 1/14000000 win possibility, remember?), together with Cap Marvel (and even Gamorra's sister who knows) will work together to bring the dead back to life in the majority of the movie then, maybe 40-50 minutes of a might battle royale with the deaths of our favourites heroes and a ending sad enough to make everyone cry buckets.

Gonna be even more epic.

I mean, OK… The Mona Lisa has been on permanent display in the Louvre Museum (in France, not New York) for over two centuries. All of the paintings on display are probably reproductions, anyway, which begs some questions, like whether all other copies of the Mona Lisa (including the original) now have the necklace, or just that one. Did the subjects disappear from the other copies while they were in the real world with Alex? (The shoes following The Scream back into his painting was a great gag, though.)

The physics with the charmed football (and the Atravesandus Spell in general) make about as much (or as little) sense as when characters in Star Trek series "phase" out of normal—see https://trakt.tv/comments/161466 for more of my thoughts on that nonsense. (Seriously, if the ball is charmed to pass through objects, how does it splash into the pot of soup? How do Jerry and Max even throw or catch it? Hold it? How does a charmed person breathe, even? Wouldn't their lungs pass through the air molecules instead of absorbing the oxygen? So many questions!)

I do have to admit, this is a actually pretty good episode from a story standpoint, but I just couldn't suspend my disbelief enough. A great story can be (and was, in this case) let down by technical problems in how it was actually portrayed.

[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.

“It's risky, but it's worth a try”.

At least you tried.

Even before the camera’s began rolling, this movie was met with trouble. You probably heard all about the behind the scenes drama - If not, basically Phil Lord and Christopher Miller were attached to direct, but got fired halfway through shooting, because I’m guessing Lucasfilm had no idea these guys are best known for making comedy movies, even though you hired them to add ‘a comedic touch’. Lord and Miller were replaced by Ron Howard. An acting coach was called on set for Alden Ehrenreich who’s playing Han Solo, as he was struggling to capture the spirit of Fords iconic character. Michael Kenneth Williams role was removed from the final film and new characters added in.

Just madness. However, how was the final product? Surely it must have paid off, right? Well, not quite.

‘Solo: A Star Wars Story’ is a mix bag and feels unimportant. Nothing about it felt thrilling or exciting. Not to say it’s a bad movie, because it’s not. There is good things about it and surprisingly none of the re-shoots showed, it’s not visible like “Justice League”. Unfortunately, the flat jokes and an obvious cash grab for future franchises only left me cold. It adds nothing to the Star Wars universe, just exploring little things we were told about briefly in better movies. Nobody asked for it and yet here we are, so let's dive in.

I couldn't imagine the amount of pressure Alden Ehrenreich was facing. Talking on an iconic character played by the most iconic actor alive today. Must be a daunting task and the fan base didn't help either. His casting was met with a lot of negative reactions - I, however, always stood by Ehrenreich ever since he’s casting, after seeing his breakout performance in “Hail, Caesar!” gave me a little hope for the young Solo. I can safely say that he deserved a good performance and never felt like an impression of Harrison Ford. Portraying him more innocent and naive. Although, I can think of others actors who would've gotten the part and might have done it better. I must admit, there was plenty of times where I kept on forgetting he was Han Solo, but from what he had to work with, he did the best he could and I applaud him for that.

Donald Glover does a great job capturing the mannerisms and the voice of Lando Calrissian. You can tell he put a lot of effort into this role. Even trying to step into the shadow of Billy Dee Williams and he slips right in. While feeling like an impersonation at times, but makes every scene enjoyable to watch, no matter what. Comparing the two actors, you can see this younger version transforming into the older version of the character, easily.

Emilia Clarke was fine. She’s certainly better here than any other movie or role outside from Game of Thrones. I didn't fully buy the chemistry between Emilia and Ehrenreich, and yet, that never took me out of the movie, as it wasn't prequel level bad. I must say, her character could go into an interesting route if Lucasfilm kept they promise of where she could go next from the set up. I’m interested to see where it goes, to be honest.

The others cast members were also great. Thandie Newton and Jon Favreau, while having small screen time, but brought so much character into their roles that I wished both stuck around a little longer. Same thing with Paul Bettany, who could've been a fantastic villain if more development and screen time was put into his character. I mean, a space gangster with sag sounds amazing. Still, Bettany was excellent and was clearly fun with this role. I’m surprised not a lot of people are talking about Woody Harrelson, who’s great in everything and proven to have a wide range of incredible roles under his belt - Of course here, there’s no difference. Towards the end of the film, I didn't like where he’s character went, but I blame the writing on that, not the actor. What more is there to say about Woody, he’s never given a bad performance.

Ron Howard did the best he could, as a last minute replacement to fix all loose ends. The camera work during the action sequences were visually pleasing and very much his style of film making. Let's not forget the gorgeous cinematography and some fantastic set designs, creature, and droid designs.

Now for my issues with the film: Despite some nice looking shots, the dark color palette and how poorly lit this movie was really surprised me, because it didn't add anything to the story. Some may argue it adds to environment of the story, but to me just made it look worse. Every Time there was a reference, nod or wink from the original franchise it kinda felt, well…’forced’. I saw this almost a week ago and nothing super memorable stuck with me.

Oh and L3-37 is the absolute worst. The character itself is another sassy droid duplicating K-2SO from Rogue One. The difference here, she got on my nerves straight away. The droid rights sup plot kept pushing the main focus away from the actual story itself. Many have pointed out how she came across as a parody of SJW (Social Justice Warrior) and I can see the comparison. It's odd that Disney would do that, being all about diversity and equal rights would make a joke of this. Just replace L3 with Thandie Newton character and everything will be fine.

Speaking of the studios...

Lucasfilm needs to get their act together if the schedule of movies expands to 2030, from what some early reports say. It’s obvious there’s no plan with these movies and making up things as they go along. Because as I speak, this movie is under performing at the box office as fans clearly had enough. From what I have heard, that cameo at the end was only added in at the last minute. Telling the origin of a character that should have be left as a mystery. You even find out how he got his name and how that scene was presented was so cheesy.

Overall Rating: “Solo: A Star Wars Story” is a mess saved by a great cast, great production designs, impressive action scenes, and characters (except for L3). I've heard different opinions for this movie - Both sides gave solid arguments and made me realize this movie has it’s fans. Again, not a bad movie, just a decent one. Also lightsaber!

[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.

Mission: Impossible – Fallout is the best movie of the summer. In a summer full of hits “McQ”, Cruise and the rest of the IMF crew have found a way to make their earthbound spy game, in it’s sixth iteration, hit harder than Thanos’s gauntlet, franchise veteran Brad Bird’s beautifully staged Incredibles sequel, than a CGI mutant dinosaur, than The Rock fighting a building with his bare hands. From the opening moments of Lorne Balfe’s percussive score (the best since Whiplash or at least since you discovered the kitchen pots and pans could make disconcerting noise if you hit them with a spoon) you know you’re in for something hilariously and gratefully unrelenting, a marathon of entertainment. That’s before iconic theme’s been heard or a title card’s been seen. This movie is special. It has nods for the die-hards and new wrinkles for those accepting their first mission. It is probably one of the greatest action movies ever made, one of the most technically impressive movies I’ve ever seen, and a lifetime achievement award for an actor who’s been dogged at upending our expectations for nigh a lifetime in Tom Cruise. I hope there’s more. I almost can’t comprehend how their could be. I thought we ran out of things for Ethan Hunt to jump off of two movies ago.

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.

Together with the previously released Sicario and Hell or High Water, Wind River forms the so-called 'American Frontier'-trilogy by screenwriter Taylor Sheridan. The common denominator are the scenarios for these three films. Sheridan sketches an uncompromising picture of contemporary America, where issues such as poverty, violence and a staggering government system are the order of the day. Again delivering a blood-curdling crime thriller.

The crime scene is the Wind River Indian Reservation in the American state of Wyoming, an inhospitable area characterized by silence and especially a great amount of snow. During a tour through this environment, game hunter Cory Lambert (Jeremy Renner) finds the lifeless body of a young Native-American girl, kilometers away from the civilized world. What was striking is that the girl didn't wear shoes and coughed up a lot of blood just before her death. Suspicious circumstances, so let's call in the FBI. That help comes in the form of inexperienced FBI agent Jane Banner (Elizabeth Olsen) who classifies the dismal scene as a murder. Together with Cory Lambert she decides to open the manhunt on the perpetrators. Although she starts the (murder) investigation with good intentions, she does not seem to fully realize what kind of world she has come to. Luckily there's always a grounded local character nearby, reminding her, "In Wind River, you're on your own."

And with that, there's no harsher moment of truth. The authorities hardly pay attention to the atrocities taking place in this corner of the United States, which means that every victim will only play for their own judge. For a thrilling like Wind River, that's nothing more than a starting point, somewhere very unpleasant, because shortly before the movie ends. We get a message about the harsh reality this movie is based on, which doesn't leave any doubt: To this day, indigenous American girls are not registered by the government if missing. That horrific notice provides Sheridan's film with unexpected urgency and social relevance.

Even without the interference of that raw reality, Wind River is an excellent film, that rises far above average. Mainly due to the sensationally good work on paper. Althought the film is an original work of Sheridan, you often get the feeling you're watching the filming of a literary novel. Constant is the psychological depth, not the effect of a complicated murder plot. In addition, the characters are not walking clichés, but people of flesh and blood, who struggle with the complex emotions about issues such as debt and loss.

Moreover, the dark and poetic tone of the dialogues fits perfectly with the images of the wild snow landscape. Just like in the western classics of yesteryear, the melancholy of times gone by is omnipresent. Yet there is a glimmer of hope between now and then. In a similar way as in Hell or High Water, sudden violent outbursts alternate nicely with dry comical moments, withouth the seriousness of the situation being violated.

Perhaps the greatest achievement is that Wind River manages to sell an emotional boost within the limited playing time of hundred-and-seven minutes. Sheridan makes it plausible that the murder investigation has a devastating impact on the live of the sleuths. Nevertheless, his film does not feel hurried or sentimental. It's as if an entire season of True Detective got put in a compressor, after which only the strong moments have been preserved. Add that to the fantastic casting of Gil Birmingham, Jeremy Renner (in perhaps his best role so far) and Elizabeth Olsen, and you have a crime thriller that will see you return to many top ten lists of film and genre lovers.

8.5/10

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!

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.

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.