Quite a ballsy move going for a bad end after all that. I see a lot of people are upset about it since this bad end was basically a combination of about 3/4 other route endings, but with only 13 episodes I don't see what else they could have done really. This makes sense, and it looks like there will be a Season 2 covering the Moon and Terra arcs (which are the true route of the story anyway). Hopefully it'll be a bit better in terms of quality too.
As a big fan of the VN I can't say this series is completely without merit, but I do think it makes for poor standalone piece and is definitely a "for fans only" series. So little time is spent explaining a lot of the elements of the plot that only someone who's read the VN will get it. The same thing happened with Grisaia and the same studio was behind that too. I'm not blaming them specifically, I just think it's a shame that the last few Key properties have ended up with sub-par adaptations that don't hold up on their own.
I will of course be watching the second series but I wouldn't blame anyone for not bothering after watching this. All I can say is that as if often the case with these things, the source material is far better and I would urge anyone who is willing to give it a chance - there's a reason I was initially looking forward to this adaptation so much and it's because the VN itself is great. If you do plan to check it out, be aware that whilst the original Rewrite VN has been fully translated, Key are also planning a release of Rewrite+ (the original game and the fandisc, plus some tweaks to the original story) in English in the future.
6.5/10. Look, I love John Oliver's commentary on Donald Trump as much as the next guy, and lord knows that Trump keeps generating material, but at some point it becomes hard to wring the comedy from it and not just be exhausted and dismayed by it, and I think I've hit that point. Oliver's doing a yeoman's job with the material, but it's just too much at some point.
The same, more or less, goes for Oliver's look at Jill Stein and Gary Johnson. In some ways, I think it's an important public service given the groups that I surmise make up his target demographics, and I appreciate the thesis of the piece -- that there are no perfect candidates out there and each vote you cast involves a certain amount of nose-holding, but pointing out the flaws in the two third party candidates felt, to some degree, like hitting easy targets. The closing message of the piece kind of saves it, but there's a certain amount of a "look at this asshole" tone in the segment that I wish Oliver would leave for purity test partisans like Samantha Bee.
That said, the interstitial segments about the infinite patience and internal workings of the mind of the man who runs CSPAN's call-in show was sublime, and the sort of off-the-wall but enjoyable stuff this show does better than any other. Overall, this one was a step behind usual offerings, but it's LWT, so there's almost always still something worth watching.
6.5/10
Homeland is what it is at this point. It's still adept at doing tense scenes involving the threat of a terror attack. It's still adept at Quinn: the badass spy sequences. It's still adept at showing scenes of backroom politics in the CIA. What it's not particularly good at anymore is making me care about the characters involved in those types of sequences.
I have a hard time getting on board with Carrie's 5-minute (or 2-year) retirement. The show has to hammer the point home that no one believes she's really out, and maybe that's in keeping with the audience's expectations -- there's not a show if Carrie doesn't get involved with the CIA again, or, at least, there's a very different show. So the scenes where she calls back home, where she talks about having someone there waiting for her, meant to show that she's different, feel cheap because it seems inevitable that she's going to fall off the wagon in more than one sense of the term this season, and showing us "how far she's come" is only a weak sense to give that predictable fall from grace some stakes. Obviously, your mileage may vary, but maybe I've just gotten too familiar with the structure of these types of stories for them to have meaning for me anymore. Or maybe the show will subvert my expectations and I'll look like a fool. But I'd be shocked if she doesn't end up sleeping with Quinn and/or the head of the foundation and getting involved with the CIA again by the end of the season despite her Brody-expy waiting for her back in Berlin.
The journalist story felt kind of perfunctory. The character's pretty annoying, even when she makes good points, but perhaps that's intentional. The power struggle with Saul, Dar, and Allison has promise, as does the hacker character, but it's a big "withhold judgment until more goes down" on that front.
And Quinn's hunt for his latest target, who appears to lead a number of western girls toward some kind of attack, was intriguing as to where that seed is going to pop up later in the season, but the teaser at the end where Saul(?) is telling him which target to go after next seemed strange and a little hacky.
Overall it wasn't the most inspiring episode of the show, but as usual, there were some decent elements and the promise of both well-done and facepalm-inducing things to come.
Amazing movie overall. I instantly fell in love with it, it's so charming and funny and the way the soundtrack blends perfectly with every single scene dazzled me. Most of the actors have some sort of musical background and it makes it even better. This movie is an ode to music in a way that it was more important to me than the story it was trying to tell. Every actor was crazy good, but kevin spacey and jamie foxx were amazing. Ansel was great in its way, I know him more for his music than his acting so I don't know if he was looking off because of the character or because of his acting. But it created a weird vibe and I appreciated that.
The only reason why this movie is not a 10 for me is the third act. It felt so rushed, one minute baby is trying to save the girl from the post office, the other he's Impaling Bats with a beam. Deborah didn't even questioned why Baby was suddenly killing people and robbing cars, she just went with it and helped him, all for that sweet escape. Did it ruin he experience? nope, but I left thinking it could have been even better.
Few other thoughts:
Opening credits with Baby walking to the street with his eadbuds: AWESOME.
Ansel pulling an Ansolo with his mixtapes: AWESOME.
Dollar bills and bullets sincronized with the song: SO FREAKING AWESOME!
This isn't a bad movie, but I also don't think it's particularly great either. The performances all around were good, save for maybe Kirsten Dunst who seemed to be trying a little too hard to be unlikable as a supervisor. The story was intriguing enough to make it all the way to the end of the movie, but I really feel like this story deserved a lot better, especially regarding the importance of these three women in our history.
The editing felt really off at several points, cutting to other shots far too frequently when it didn't need to. The music used also felt extremely out of place, especially for a period piece like this. Pharrell Williams shouldn't have been involved with this, with special regards to the song Runnin' which not only was overused but also completely unnecessary in trying to force a comedic tone when it didn't need to. They should've used more music from the time period the movie was set in.
I don't feel like I wasted my time watching this, but I wish there was more care put into this. I seriously don't get why it had so much Oscar attention, especially when compared to the nominees it was right next to.
[6.8/10] It's not like this was a bad episode, but here's the thing. One of the things I've always liked about LWT is that Oliver feels like an honest broker. Sure, he has a certain slant, and always has, but it felt like he was spotlighting things that received too little attention to have political spin, or that he'd wade into more mainstream politics but try to approach the topics even-handedly.
That hasn't really been the case lately. Don't get me wrong, I can 100% understand not being able to keep your journalistic objectivity when you're talking about Donald Trump and the things happening in his wake, but it makes Last Week Tonight a more run of the mill program to me, just part and parcel with the scores of shows out there pointing to how terrible this stuff is with an admittedly amusing brand of snark. Sure, when Oliver talks about the new Republican health care plan, he's more informative about what's in it than most, but it comes off like doing the same thing everyone else is doing.
The best thing to say is that he does find a unique angle on it at the end, essentially saying that whatever you think of the bill, it's not the bill Trump promised, and it's likely to be the best he can do. But even that isn't a sterling or especially novel insight into it. There's some dada-ist glory to the show's "Catheter Cowboy" repeatedly asking Trump is he "gets it" but otherwise it becomes part of the din. And bits like making fun of local news anchors for their responses to International Women's Day or a MadTV level gag reel about Samsung products exploding doesn't do much to distinguish the show either.
Again, it's not bad. It's all sound enough and true enough and funny enough, but for a while there, it felt like Oliver had brought a different tack and a different energy to the political comedy show, and it's starting to feel like everything else.
5.7/10. This episode basically has two genuinely good moments. The first is Barney's speech at the beginning, which again, feels like the genuine side of him that the relationship between Barney and Robin was and is mostly missing, but which is problematic for reasons we'll get to a little ways down the road. The second is the tag where Marshall and Lily get revenge on Ted by taking his daughter to do a bunch of her firsts. It's the kind of timeline-jumping gag that this show is pretty unique in being able to pull off.
But the rest of it is a reaaaaallll mixed bag. There's meat to the idea that Robin only wants something when she's told she can't have it. (And it even ties into Barney and Robin's previous deal at the end of S3.) But Robin turns into the broad crush-having-machine so quickly that it doesn't click. Her trying to run plays is a nice change of pace, but in contrast to that speech, it's all a big Road Runner chase, so the lack of a grain of realness into it robs it of its power, comedically or dramatically.
At the same time, Ted's realization that he was making Marvin his "baby" now that the GNB building, his prior "baby" is done is a nice enough emotional beat for the character. (And it led to the other good comedic moment -- Marshall explaining why Ted cannot give his lollypop to a kid at the pool), but the jokes weren't really there and the ramping up to get to that point is a little easy. The C-story with Barney's Bro Bibs is pretty slight, but it's good enough for a larf.
Janeway and Chakotay are stranded together on a planet for several months, and - unsurprisingly - nothing happens. There was never any serious attempt to give the two of them a romantic relationship through the show, and that was definitely the correct path to take. Here we have a heterosexual man and a woman of similar age stuck together potentially for the rest of their lives, so of course there's going to be some mutual need that develops eventually. But when it's happening on Star Trek: Voyager and you know that everything will be back to normal by the end of the episode, it only feels forced. Add to that the fact that the two of them have no real chemistry together. Hell, Janeway showed more affection towards the monkey than she did Chakotay.
Also, that monkey was supposed to be an alien? It was just a plain old fucking monkey. Somebody behind the scenes was feeling lazy.
Things back on the ship are better. Tuvok is placed in command, and that throws up all sorts of interesting dilemmas because he's a Vulcan. And Vulcan's just don't make very effective captains given their lack of flexibility, so any time we see one in charge there's a good chance that sparks will fly. That comes in the form of Harry who finally gets something to do this season, and it's quite exciting to watch.
Also, WOW, was that actually some continuity from an old episode?! Not only are the events of 'Deadlock' discussed, but Denara Pel returns and is quite a welcome sight, and the Doctor's previous relationship with her pays off.
Overall a repetitive episode that attempted to delve into the characters but only really worked for Harry Kim and Tuvok.
6.5/10. There's a few times when I know a subject and feel like Oliver & Co. are giving the other side the short shrift, but there's also episodes like this, where I know very little about dialysis but something feels off. Little details like treating settlements as admissions of wrongdoing (90+% of cases settle) and taking individual testimonials rather than pointing to survey data or broader figures makes this feel like bending things to make a point rather than making a fair assessment. And what's particularly frustrating is that I completely believe there are problems in the commercial dialysis industry, but contrary to the show's usual M.O., Oliver doesn't really offer a solution or a proposal to how it could be improved. He just concludes with a meh riff on Taco Bell and encouragement to donate your organs after you die which, hey, I am totally on board with, but doesn't feel like a real policy answer to the problem identified.
The top of the show was just okay as well. Again, sometimes Trump is hard to make fun of because the stuff he does is so ludicrous in and of itself, but this was another instance of Oliver offering pretty much the same take as other late night commentators. His gags about New Zealand's leader were amusing enough, but as John himself pointed out, it's not like they haven't done this sort of thing before already, and the terrible pizzas was kind of an easy gag.
Overall, I'm glad to see the show doing a main story on a little-known issue again, but this didn't feel like as fulsome or fair a look at the problem as I've come to expect from LWT.
Suffering Sappho!
If there were ever a movie I wanted to be good, (though, realistically, I want almost every movie to be good) it would probably have been this one. Believe me, I was pretty hyped for this film. Actually, my initial reaction to the trailer for this movie was an awesome (in the literal, Biblical sense) headdesk, crashing to the table below, as I bellowed my indignation that I could not have been involved in the making of this movie myself! Is that a little grandiose? Sure, but so am I, so bear with me.
Unfortunately, the reality of this movie turns out to be a little bit of a patchy mess. It is uninspired in its aesthetic (not terribly surprising from the director of infamous Disney reboot "Herbie Fully Loaded," lesbian B movie "D.E.B.S.", and several episodes of "The L Word"), the pacing is erratic and jumbled at times, and the writing flies in the face of historical accuracy and vernacular speech.
Where the movie deserves praise, although sometimes at the expense of its worldbuilding mise en scene, is in the casting and performances of the three principals, Evans, Hall, and Heathcote (in credits order, though not truly in order of importance or merit). Here, each had moments of true brilliance, as the triad stood alone (sometimes too alone, to the detriment of the too-flimsy film world around them) against a sea of angry, very red, very white faces.
I never felt disengaged from the characters, and they were written flawlessly. Where these figures deviate from history (which, I hear, is at many points) I will allow poetic license, because they are painted so vividly and with such charming life. Even when the script is bad, the actors presented it well. Just as even when the script called for the location to be set in New York state, it still looked like Massachusetts.
This movie was truly robbed. With a better cinematographer, two more really good rewrites, and maybe some more specific focus, this movie could have been a serious awards contender, and a very great piece of art. As it is, it's been a blip through the cinemas, to be misunderstood and forgotten until such time as polyamory is more accepted in the social mores of the day, and it can be further misunderstood and miscategorized as evidence of how backward society was in 2017, that this was our take on the Marston/Moulton story.
Of course, by that time, there will be a better "Wonder Women" movie. There had damn well better be.
Klingons, I love 'em. They are going to become a major part of DS9 and this is the first episode dedicated fully to them. It could have been nothing more than a fun diversion, but bringing back the actors who played three Klingons in The Original Series was an absolute stroke of genius.
Kor, Kang and Koloth (it's easy to forget which is which) steal this episode in every way and bring so much fun to the proceedings. Kor especially is a joy to watch bringing his drunken humour to everything. It's easy to believe that Kang is a revered warrior as he takes charge of this little gang, and one of my favourite moments is Odo's realisation of who he is dealing with when Koloth arrives in his office.
But at it's heart this is a Dax episode. The tough choice she has to make about whether or not to follow through with her blood oath is portrayed well, notably in her conversation with Kira. She manages to piss of Sisko, but there isn't any real fallout from it. The episode begins to lose its impact a bit once we get to the end battle; it's severely underwhelming and the Albino turns out to be little more than a pantomime villain. The guards that the band face are beyond pathetic and there's no sense of a challenge there. For all that, the final moments are quite strong as Jadzia needs to figure out if she's capable of murder.
The return of Brad Dourif once again means that he completely steals the show. I sort of wish that his character could have been involved more across episodes, but I also wonder if it would have been a case of having too much of a good thing.
This is a decent end for the second season with a pretty enjoyable cliffhanger. It's a shame that it brings back the terrible Kazon because they weaken everything. Additionally, Seska has now become very cartoony and lacks any menace (and why has she still not reverted back to full Cardassian after all this time?). I don't really see how the Kazon are constantly able to outsmart Voyager given how disparate they are, and how unintelligent they continually prove themselves to be.
The baby plot is a bit stupid, and I don't think Janeway would have made any of the same decisions if the child belonged to a low ranking ensign or lieutenant that wasn't a part of the senior staff. Her job is to get these people home, not make dangerous diversions at every opportunity. It's a prime example of why I have problems with this show at the most fundamental level.
But for character moments, this mostly delivers. Stranding the crew on a barren and hostile planet is really interesting, and Janeway steps up to take command of her people. The main crew all work together quite nicely. Really, though, it's the quiet and powerful moments with Janeway, Tuvok and Lon Suder that make the episode for me.
We're up to episode 7 with Yona of the Dawn (Akatsuki no Yona) and it has been one of the most pleasant surprises for me this season. Yona of the Dawn is being animated by Studio Peirrot and I know that they got a lot of flack for Tokyo Ghoul (among other shows), so I was a bit hesitant to start this. However, so far the pacing has been great and Peirrot has stayed faithful to the manga. The ancient setting is pretty cool and immersive, and later on adds an interesting fantasy element that gives Yona of the Dawn its own unique world. There is also a solid romantic element (and quite a struggle involving it along with many will they/won't they moments), very well-animated action & fighting scenesn (Hak is a beast), drama/feels, and some nice comedic moments spread throughout.
As I said before, the gradual pacing of the show has been great. Because of this well-done pacing, the main characters of Yona, Hak and Soo-Won have gotten great opportunities and scenes to shine, develop and uncover some deeper feelings and emotions that allow us really connect a lot more to their situations and struggles. Yona has been one of the better versions of an estranged princess that I've seen, and Hak has served as an excellent foil to her (while being a complete bad ass and a gentleman and scholar at the same time). Soo-Won has been portrayed as a deeper and more conflicted antagonist so far especially due to his childhood friendships with Yona and Hak. I really hope that they keep him that way instead of going full classic bad guy.
I believe at the moment, Yona of the Dawn is set to be at least 2-cour. I've greatly enjoyed the adventure that Yona and Hak have set out on so far and I'm really excited for the future characters and developments (can't spoil it) to come. Definitely check this show out if you are looking for a new adventure anime with a splash of romance, an ancient setting, a bit of a fantasy element, and plenty of strong characters to bring it all together. Here's hoping that Studio Pierrot doesn't screw this up.
8.5/10. There was what seemed to be a recurring theme in this episode, and it was an interesting one - whether a personal cost is worth the greater good.
It started with Allison, asked to weigh the lives of all those individuals who would be hurt or killed by a terrorist attack in Berlin, with her own personal freedom and financial security. She obviously chooses the latter, but it's an interesting position to put the character in. It's arguable whether she had crossed the moral event horizon so far. Sure, she'd played the CIA for suckers to the Russians after being caught in a similar position, but there's a certain "it's all in the game" quality to the double-crosses among spooks. And yet there's something about shooting an innocent person, one who believes she's been framed, in order to save her own skin and ensure a terrorist plot goes forward that feels unforgivable.
Allison has been one of the most interesting and compelling additions to the show this season, and much of that is due to the actress, who tells so much of the character's story with her expressions, and who has the perfect "I'm faking, not acting" tone when she talks to Saul after the attack.
Mandy Patinkin as Saul is another actor who brings his A-game every episode. In his story, the question is whether the possibility of preventing a terrorist attack justifies harassing an innocent person who may know something about it. When that man commits suicide, the fact that Ingrid (who is also great) just keeps rolling, and Saul has to stop to process and tap out for a moment is a quiet commentary on that idea. Saul is an old hand. He's been through this sort of thing before, but the bodies keep piling up, and even he can't help but feel like he's had enough when his hard-nosed (if softer than the Germans') interrogation leads a man to take his own life.
And then there's he and Carrie risking Quinn's life in the hopes that it will prevent the same attack. Again, there's the same issue of balancing a single life to potentially save dozens, if not hundreds more. It's heartbreaking to see Carrie clearly conflicted, using her genuine feelings for Quinn to try to bring him back to consciousness, but then aghast at herself when he provides nothing useful and seems worse for wear. The fact that they're playing in the space between Carrie the spy devoted to stopping terror at any cost, and Carrie the human being who feels a connection to this poor man who's spent most of the season in some state of being near death's door is interesting moral territory.
Even Laura Sutton, likely my least favorite recurring character this season, has an intriguing storyline where she puts her own safety and security and job on the line for what she believes is the greater good. When she threatens to release the hacked documents until she's given access to the man being held by German Intelligence, it seems far nobler than her general browbeating of the intelligence apparatus to Carrie or During or whomever, not just because it's for one man, but because she sees it as for every man, as her standing up for common citizens everywhere, and every time that a government decides it can suspend people's rights because of an imminent threat. It may seem misguided, at least to me (who knows how many lives will be lost if those documents are released -- though Lockhart handing over documents to terrorists didn't seem to have too much collateral damage last season), but there's at least something that feels self-sacrificing about it.
And then there's Qassim, who starts to question whether the larger goal of driving the West out of his homeland is worth the smaller, but still very significant loss of life -- from the woman in a hijab to a father and daughter -- that the attack would inflict. Again, there's a personal cost to these innocent people that Qassim cannot shake, even in the face of his larger goals, goals that seem all the more hollow when Professor Aziz is an atheist who is disdainful of the country that took him in.
Of course, in the background of all this high-fallutin' thematic material, there is the veritable ticking time bomb of an impending terrorist attack that gives the episode a sense of urgency through it all. We see Carrie at her best once more, running down leads and talking her way through corrupt Hezbollah leaders, good Samaritan doctors, and even strangers on the subway to try to save the day. There's an excitement, a build to all of this that feels very earned and well-realized after the progression of the season as a whole. Let's see if Homeland can close it out at as high a level as the show has been able to maintain so far.
It has a rocky start with some terrible expositional dialogue and it's hard not to laugh at the fact that the harvesters look like containers of Pringles, but I do enjoy this episode. The pairing of Miles and Julian was always one of the best parts of the show, and it's especially great here in the early days because Miles still just doesn't like the doctor very much - but he's starting to warm to him a little. O'Brien has a short fuse whenever they are together which makes me laugh, but I've always liked to think that Julian knew the Chief wasn't too fond of him and changed his ways a bit.
I really like the way that Sisko believes Keiko without any question when she demonstrates her reason for believing her husband is still alive. Maybe it's because our commander was married, and I couldn't picture Picard doing the same thing.
The rescue of Bashir and O'Brien is a bit too convenient, and Sisko and Dax's trick at the end is a bit too obvious but it's nice that the solution taken was a sensible one for once. The final moment with Keiko is just perfect.
Possibly gets the award for the worst alien haircuts ever.
A worthy conclusion to the 2-parter, probably more satisfying that the opening episode. Again, Brad Dourif acts circles around everyone else and makes it look effortless (the contrast between his and the terrible Kazon performances is startling). Superb scenes of him grappling with his reality and conflicted feelings add so much depth to the proceedings, and I actually felt some emotion at his passing. There's a lot of fun to be had with the Doctor's scenes and the stuff on the planet manages to have some exciting parts (the cave monster, ooh).
Losing Hogan did actually have an impact since he's made quite a few appearances throughout the show, but it does bug me a bit that the main characters are always safe. That was just the nature of 1990s episodic television, I guess, but on Voyager it stands out as dishonest.
In some way, this episode feels like the entirety of Star Trek: Voyager condensed down: the crew are stranded in a hostile and unknown place, and within moments of arriving they manage to piss off the local inhabitants (seriously, this crew are ridiculous for this). Crew members die along the way as they make mistakes and learn about the environment they've come into. New dangers appear each more terrible than the last, but the crew manage to work and overcome them. New friends are made.. Eventually it's all sorted out and they get back to where they originally started with all of the main characters present and accounted for.
I feel like things were wrapped up a little too quickly in the end. Suder's noble death is given the briefest of mentions as Tuvok gives him a one-sentence goodbye. Seska dies (why? Nobody else died from the same thing) and Chakotay just covers her up and that's that. We're denied a proper resolution between her and the Voyager crew, not a good decision.
Also, the sudden revelation that the baby is not actually Chakotay's doesn't make any sense and is a really badly botched writing job.
I'm hoping that this is an end to the Kazon storyline, even though Maje Cullah and his son live to fight another day. There could have been some really interesting stuff done with Seska, so it's a shame that she was the one to die.
I like the idea of this episode--slowing down a bit and telling the story of how Allison got involved with the Russians in the first place--but the execution was pretty clumsy.
I don't mind the flashback interspersed with developments in the present structure, but it is a bit played out and they made it really obvious when scenes from the past were meant to inform the present. For instance, Carrie telling Numan to google "Banana Joe's in St. Lucia" after seeing the guy's screensaver was more than enough to let us know that she'd put two-and-two together without needing to cut back to the scenes where Allison mentioned St. Lucia.
The story itself was a bit too paint by the numbers. Spy gets frustrated and wants to escape, skirts the rules, gets caught and turned is pretty standard stuff, and it's not as though there was some specific twist on it here than made Allison's journey through it more interesting. The dialogue didn't help either. Both the actress who plays Allison and Claire Daines haven proven themselves to be superb actresses in the show so far, but their exchanges in the flashbacks were awkwardly worded and pretty stilted. What could have been an interesting dive into Allison's psyche and what brought her to where she's willing to play turncoat became more of the facile backstory type bit that wouldn't feel out of place on Agents of S.H.I.E.L.D.
The other big stories are puttering along. I'm still not a fan of the Quinn story the show's embarked on in the second half of the season. Him becoming the pirate king was suspect to begin with, and again, it feels a little too convenient that he just happens to fall into the gang of terrorists who are planning to unleash a dirty bomb of some sort on Berlin. If too much of your story relies on coincidence, and the reasons for getting all your major players in one place are a bit contrived, it's hard to buy in.
Saul's story continues to be a highlight. I've always enjoyed the backroom dealing and horse trading sides of espionage that the show occasionally traffics in, and there's enough twists and turns in his story to make it interesting. I assume Etai is lying to Saul or at least not telling all that he knows (collaborating with the Russians?) so I'm curious to see where it goes.
Similarly, there continues to be more to During than meets the eye, but I can't for the life of me figure out what his game is. Maybe he's trying to embarrass the intelligence community writ large? Sleep with Carrie? Both? Who knows.
But overall, this was a weaker episode that had the right idea in deepening Allison's character and making us care about her journey, but couldn't really get the execution right to make it actually happen.
Another very solid episode from this season. I appreciated the twist that even if Dar doesn't buy Allison's story, he is--as he is wont to be--concerned about the political fallout if they were to reveal that the CIA had been duped by the SVR for 12 years and so he tries to maintain the status quo. But at the same time, I appreciated that Saul was clearly so betrayed by what had happened that he couldn't play along, if he was even trying to. Allison is playing this perfectly, and it's an interesting direction.
The other strongest element of the episode was the bonding between Carrie and Astrid. Nobody does a cryface like Claire Danes, but there's a dry steadiness to Astrid to where the clear hurt on her face after she found out about Quinn conveyed just as much as Carrie's tears did. The actress who plays Astrid is always a strong (and often funny) presence on the show, and I'd like to see her get more to do.
On the other hand, the pair's ability to find Quinn based on the floor tile pattern in the video was a little convenient, but they at least laid the groundwork with some CSI-esque technobabble to try to make it plausible that the BND and CIA could narrow down the possibilities enough for Carrie and Astrid to track him down. And the scene where they realize he's alive was a joyous one, even though it was inevitable--again, thanks to the great acting from the actresses who portray Carrie and Astrid.
I was less moved by the story involving the terrorists. Sure, there was tension in the scenes where Bibi discovers that someone helped Quinn, and Qasim is sweating bullets. But Qasim's the only character here who has more than one-note to him. Maybe the show is trying to develop Bibi a bit, but in the mean time, the whole crew just seems like the plot brigade boys, only there to introduce the season's big terror threat without much development.
And at the same time, I got a bit tired of the debate between During, Jonas, and Laura over what to do with the falsely accused electronics store owner who may have information about the attack. The debate itself is kind of facile, and none of these people are in the category of the show's most interesting characters. The intelligence agency (CIA? BND? SVR?) picking him up after Otto tries to bargain for his protection was a semi-interesting way to go with it, but still, meh. In my continuing speculation as to Otto, I'm now wondering if he specifically tipped someone else off to get the electronics store owner taken in away from Saul, but I'm sure we'll get the reveal of Otto's larger game plan somewhere down the line.
Otherwise, I appreciate the focus that an impending terror attack with Peter Quinn as the poster boy gave the episode, to where everything else could revolve around that plot point. It wasn't as strong an hour as some in this season, but it still did a good bit to advance the ball as to the larger season arc, and to give us some insight into the major characters and where they are after all that has happened. That makes it an above average entry in Season 5.
While I walked in the theater I expected a good movie. Because I liked the concept of the story as it was set-up in the trailer. But mostly because I 'trusted' Tom Hardy and Gary Oldman to pick a good movie to play in. While I walked out the theater I had different thoughts unfortunately. The film was disappointing to me and I will try to explain why. It wasn't the acting and 'world building' but I disliked the directing, screenplay and filming.
First of the directing and filming, all of the action scenes where flooded with shaky cam. This was handled very badly in my opinion. I couldn't figure out what was happening most of the time. Due to the shaky cam, number of cuts, close-ups and the peace of all that. That was the main reason why I disliked 'Safe House', which is also made by Daniel Espinosa. It almost felt like he was trying the make the filming and directing 'not perfectly on purpose' to make it 'real' but it didn't worked out at all! It all felt kinda clumsy and there were way to many meaningless shots overall. There were some exceptions, some shots of the cities and area's they visited where beautifully. They really landed the rough and dark tone that they successfully tried the show. Although they over did it sometimes.
Then the screenplay or script, which is based on a 'best selling novel', again! First of you get a nice back story of Tom Hardy's main character, which felt real to me. All of the other characters felt a bit empty, like they were there to fill a place that was written for them. That made it almost impossible for my to understand the characters and the decisions they make. I also missed the whole balance in the story. The first part was way to long ( set-up ), the middle was rush ( plot kicks in ) and the final party ( ending ) was also rushed and kinda unbelievable. I think because of this I wasn't sucked in to the story. The second and third party felt way to easy and straight forward. Like solving a child murder case which is spread over thousand of miles is easy. I think the story could be told in a better and more interesting way.
Overall I was disappointed by Child 44. The dark Russia after WWII was displayed intense but the story lagged suspension and balance. The action scenes sucked even more than the conversations because of the directing and filming methods they just. Tom Hardy did is part good but not brilliant and unfortunately Gary Oldman's characters was barely in it. I give Child 44 an 5 aka 'Meh'! Thanks for reading!
Ugh. Where to start? I'm embarrassed to admit that, as a teenager, this was one of my favourite episodes when it first aired. I though the concept of being trapped inside a board game was really cool. And yes, the idea still is pretty great, but when it's executed like this it just makes you want to turn away in shame.
The concept of the episode isn't the problem, it's the poor writing and absolutely horrendous acting involved, from both guest stars and the main cast. Alexander Siddig again comes off the worst here, I can only assume that it's a mixture of him following direction and having very little experience. Falow is way too over the top, and the Wadi in general are a stupid design in all aspects. The less said about the hopscotch scene the better, you can almost feel the embarrassment the cast members were experiencing.
The only ones who come off well here are Quark and Odo. Odo gets a fantastic scene with Lt. Primmin (we won't be seeing him again), mocking him about Starfleet procedures. Quark has a funny grovelling scene in which Armin Shimmerman doesn't hold back chewing up the scenery. And the writing of the episode itself isn't a total loss, the opening scene with Sisko and Jake is just a beautiful father/son piece.
To make matters worse, the episode drags. The final sections in the cave just seem to go on endlessly. This is a really weak moment for the show, but for all that I think I still prefer it to the terrible previous episode ('The Passenger'). There's at least an element of silly fun to be found, but for God's sake don't show this to anyone you want to introduce to the show or sci-fi TV in general.
This episode is overshadowed by the controversy surrounding it: Deep Space Nine became among the first prime time US TV shows to show a same-sex kiss, in this case between two women. In 1995, this was a big deal - in 2017, we see this sort of stuff in daytime TV adverts and in the episode it becomes nothing more than a beautiful moment between two people. I'm so glad that times have changed in that respect, but I'm also somewhat proud that my favourite television show had the guts to do this back then.
What makes it work even more is the message that is sent, and it highlights how ridiculous it is that anybody could take offence. The fact that this relationship is happening between two women is not addressed at any point in the episode - the scandal is just the fact that they were married in their previous lives. It effectively put things in perspective and, like Trek has done so often before, has something very important to say.
Once we step away from all of that business, the episode itself is nice but not amazing. There's some great chemistry between Terry Farrell and the guest actress and they both give it their all, but the script is very melodramatic. It also felt to me like Dax was acting very out of character - maybe this could be explained away by her remembering what she was like when she was younger, but it's jarring. There's also the obvious fact that this relationship isn't going to go anywhere, because Lenara Khan is not going to join the main cast of characters.
There's a lot of technobabble, too, which further detracted from my enjoyment. But there's some great moments of levity as we see people confusing Quark with magic tricks and especially with Worf having fun by telling people that Klingon dreams are too dark for humans to take (with a twinkle in his eye).
The whole Trill taboo thing does raise the question of how Dax is allowed to interact with Sisko on a daily basis, since they are friends from a past life of hers.
Garak - perhaps the most intriguing character in all of Star Trek - gets a whole episode dedicated to his story for the first time. Andrew Robinson is absolute gold in the role and completely makes it his own, but this is also a great showcase for Dr. Bashir. We can see first hand how much he has changed from the early season 1 character he was, and yet he's still true to that initial set up. He's still got the arrogant and brash streaks, but he's far more mature.
As enjoyable as this episode is, it almost feels like it tries to do a bit too much. With Garak's overlapping lies and stories being delivered in a rush and then an abrupt slow down as Bashir attempts to help him, the pacing of this is very elastic. I also find that I don't enjoy the character of Enabran Tain at all - I don't know whether this is due to the writing, the actor or just the whole concept of him, but something about him makes my brain want to switch off.
I really like the little things that crop up in this episode, like the fact that Julian admits he knows that Chief O'Brien doesn't like him, that Sisko is being treated for a sore throat due to yelling at admirals, the discussions on Cardassian literature, or that Odo enters some very ethically wrong areas by monitoring all of Quark's communications. All this put together leaves an episode that throws a lot at you and it hinges on some excellent performances. And at the end, we feel like we still barely have learned a thing.
Mini-update to my previous post for the show... It's AMAZING. Watch this NOW!! The show only got better and better (until it sadly ended... for now). This is definitely not your traditional shoujo show. It has a great mix of that light shoujo humor that we all love along with some great animated action and pretty serious moments/feels that parallel some very superb character development. I got so addicted to Akatsuki no Yona that I already read ahead in the manga before the last episode and now I’m just waiting for scantalations (aka suffering). The next parts in the manga after the conclusion of the first season are even better.
This was probably my most surprising anime of the season/s. While the romance isn't full blown, it develops and is hinted at with lots of curves thrown our way. While it's a long ways away, there are just a few moments every few episodes that just make you ( ͡° ͜ʖ ͡°)
My best comparison to this would be a more of a romantic shoujo version of Seirei no Moribito with its protecting theme and the bits of fantasy elements and world building developed throughout.
I can't recommend this enough. A very solid 8/10 from me and I have the manga at a 9/10 (I just might be on a Yona high though). I try to recommend it to everyone as it has been criminally underwatched (but it is building a lot of good word of mouth).
I'm pumped for the upcoming OVA. Hopefully, a second season is announced after the OVA comes out. And I need my new scantalations in the manga. Being ~30 chapters behind sucks :(
tl;dr - Watch Akatsuki no Yona. Now.
Mini-update to my previous post for the show... It's AMAZING. Watch this NOW!! The show only got better and better (until it sadly ended... for now). This is definitely not your traditional shoujo show. It has a great mix of that light shoujo humor that we all love along with some great animated action and pretty serious moments/feels that parallel some very superb character development. I got so addicted to Akatsuki no Yona that I already read ahead in the manga before the last episode and now I’m just waiting for scantalations (aka suffering). The next parts in the manga after the conclusion of the first season are even better.
This was probably my most surprising anime of the season/s. While the romance isn't full blown, it develops and is hinted at with lots of curves thrown our way. While it's a long ways away, there are just a few moments every few episodes that just make you ( ͡° ͜ʖ ͡°)
My best comparison to this would be a more of a romantic shoujo version of Seirei no Moribito with its protecting theme and the bits of fantasy elements and world building developed throughout.
I can't recommend this enough. A very solid 8/10 from me and I have the manga at a 9/10 (I just might be on a Yona high though). I try to recommend it to everyone as it has been criminally underwatched (but it is building a lot of good word of mouth).
I'm pumped for the upcoming OVA. Hopefully, a second season is announced after the OVA comes out. And I need my new scantalations in the manga. Being ~30 chapters behind sucks :(
tl;dr - Watch Akatsuki no Yona. Now.
Mini-update to my previous post for the show... It's AMAZING. Watch this NOW!! The show only got better and better (until it sadly ended... for now). This is definitely not your traditional shoujo show. It has a great mix of that light shoujo humor that we all love along with some great animated action and pretty serious moments/feels that parallel some very superb character development. I got so addicted to Akatsuki no Yona that I already read ahead in the manga before the last episode and now I’m just waiting for scantalations (aka suffering). The next parts in the manga after the conclusion of the first season are even better.
This was probably my most surprising anime of the season/s. While the romance isn't full blown, it develops and is hinted at with lots of curves thrown our way. While it's a long ways away, there are just a few moments every few episodes that just make you ( ͡° ͜ʖ ͡°)
My best comparison to this would be a more of a romantic shoujo version of Seirei no Moribito with its protecting theme and the bits of fantasy elements and world building developed throughout.
I can't recommend this enough. A very solid 8/10 from me and I have the manga at a 9/10 (I just might be on a Yona high though). I try to recommend it to everyone as it has been criminally underwatched (but it is building a lot of good word of mouth).
I'm pumped for the upcoming OVA. Hopefully, a second season is announced after the OVA comes out. And I need my new scantalations in the manga. Being ~30 chapters behind sucks :(
tl;dr - Watch Akatsuki no Yona. Now.
Mini-update to my previous post for the show... It's AMAZING. Watch this NOW!! The show only got better and better (until it sadly ended... for now). This is definitely not your traditional shoujo show. It has a great mix of that light shoujo humor that we all love along with some great animated action and pretty serious moments/feels that parallel some very superb character development. I got so addicted to Akatsuki no Yona that I already read ahead in the manga before the last episode and now I’m just waiting for scantalations (aka suffering). The next parts in the manga after the conclusion of the first season are even better.
This was probably my most surprising anime of the season/s. While the romance isn't full blown, it develops and is hinted at with lots of curves thrown our way. While it's a long ways away, there are just a few moments every few episodes that just make you ( ͡° ͜ʖ ͡°)
My best comparison to this would be a more of a romantic shoujo version of Seirei no Moribito with its protecting theme and the bits of fantasy elements and world building developed throughout.
I can't recommend this enough. A very solid 8/10 from me and I have the manga at a 9/10 (I just might be on a Yona high though). I try to recommend it to everyone as it has been criminally underwatched (but it is building a lot of good word of mouth).
I'm pumped for the upcoming OVA. Hopefully, a second season is announced after the OVA comes out. And I need my new scantalations in the manga. Being ~30 chapters behind sucks :(
tl;dr - Watch Akatsuki no Yona. Now.
What happens when you give the keys to the Star Trek kingdom to the director of the Fast and the Furious movies? You get a franchise known for its thematic depth and attention to character reduced to a series of whiz-bang action sequences and only the shallow veneer of theme or character development on top of it. Make no mistake, Star Trek Beyond is a film that can barely get the surface-level details right, and stumbles in its abbreviated attempts to go beyond them. And the result is a generally dull action film that could have its serial numbers shaved off and thus be wholly unrecognizable as anything related to Star Trek.
The film is most striking in how it fails where its predecessors succeeded. It's true that there was little of the heady optimism at play in the 2009 Star Trek reboot, but what the movie lacked in thematic heft, it made up for in terms of giving the audience a journey focused on character. The greatest conflicts in the film are not between the Enterprise and the Romulans, but within and between the film's two biggest characters. Kirk starts out as a good-for-little scoundrel and through his experiences in the film, evolves into an officer, albeit one who is still charmingly rough around the edges. Spock starts out as a man unable to reconcile his human side and his Vulcan side, and through his experiences in the film's adventure, he find balance and peace. Most importantly, those two character arcs intersect in meaningful ways and make us invested in those in charge of the enterprise.
By contrast, Beyond suggests a similarly intriguing start for both Kirk and Spock, but peters out between the beginning of their journey and the intended destination. The idea of a somewhat jaded James T. Kirk, having lost some of his passion, wondering if his mission even matters given the enormity of space, and contemplating whether to hang up his spurs, is a superb one that made me think director Justin Lin and writer Simon Pegg (who also plays Scotty) and Doug Jung (who plays Sulu's husband) were following the 2009 film's lead in this regard. Similarly, the notion that Spock, rattled by his alternative timeline counterpart's death, also feels inclined to give up Starfleet to focus on carrying on the elder Spock's goal to rehabilitate the Vulcan people, creates numerous storytelling possibilities and a parallel sense of restlessness to the character that mirrors Kirk's. The state of play as Beyond begins seems poised to tell another compelling, character-focused story of growth and change.
Instead, by the end of the film, Kirk has decided to stay in active duty; Spock stays a part of his crew, and the reasons for their change of heart are fuzzy at best. Whereas the 2009 film spent ample time showing events that marked the changes in Kirk and Spock's mentalities and perspective, Beyond amounts to something along the lines of, "They wanted to leave. They went on an adventure. Now they don't" without nearly enough connective tissue to get at the why of the shift in their plans. It's an Underpants Gnomes approach to character development that falls flat. There are vague concepts of "unity" as an important principle floating the film, but Beyond does little to tie it into concrete incidents that motivate Kirk and Spock to be in a different place at the end of the film than they were at the beginning. Instead, they just go on an adventure and come back different, which makes their supposed evolution narrative unsatisfying and ultimately unearned.
It doesn't help that the whole "unity is good" concept underlying the film is dramatized in about as shallow and trite a manner as one could imagine. It's a fluffy theme to begin with, and Star Trek Beyond doesn't do much to make it any more weighty or meaningful in how its realized in the conflict of the film or the characters' actions, especially in the context of on-the-nose dialogue to that effect. Say what you will about Star Trek Into Darkness, and there's plenty to say, but at least the film had the moxie to explore, as its hallowed predecessors did, some of the major social and political issues of the day. There's room to criticize Into Darkness's approach, and other flaws derivative elements that hobbled the film out of the gate, but tackling concepts of militarization and the security state feels of a piece with the politically-charged spirit of The Original Series and its successors. Its reach exceeded its grasp, but there was a nobility in the attempt.
Beyond, on the other hand, is content to coast on a vague Barney-esque notion of teamwork as a guiding principle and theme that barely feels worthy of a generic space adventure, let alone a franchise like Star Trek. The new ally introduced in the film is a lone wolf, wayward traveler brought into the Starfleet fold, whereas it's villain is motivated by a rejection of unity and the benefits of collective action, in a skin-deep realization of that contrast meant to be the film's focal point. Idris Elba is completely wasted in the latter role, an outstanding actor reduced to snarls and platitudes that do not do him justice. In fact, few cast members are given material worthy of their talents. What little they're given to work with in terms of expressing this theme, undercooked though it may be, is lost in a sea of stock beats and action set pieces that feel almost wholly disconnected and inadequate to convey what the film is shooting for.
Those set pieces, which ought to be the saving grace of bringing in a director like Justin Lin, are also a surprising weakness for the film. While there's no shortage of action, almost all of it is shot and directed in a nigh-incoherent fashion that makes it difficult to follow what's happening from scene to muddled scene. Lin and cinematographer Stephen F. Windon pay little mind to ideas of geography or scope, rendering what ought to be a strength of Beyond, instead a collection of occasionally-cool moments with little to put them in context with one another. The film can boast an enjoyable anti-gravity sequence, and its Beastie Boys-fueled excitement is enjoyable if silly, but for the most part, the visual fireworks of Beyond fizzle out into a hodgepodge of undifferentiated combat and explosions.
The film does have its merits. The dynamic between Spock and Bones is the best realized element of the film and lives up to the humor and endearing qualities that Leonard Nimoy and DeForest Kelley imbued into that relationship. And for however much the film's action falters, its design work is impeccable, from the unique look of newcomer Jaylah to the geometric wizardry of the Yorktown Space Station. But they pale in comparison to the fundamental elements of Star Trek, whether they be from the pre-2009 shows and movies or the Abrams films, where Beyond totally misfires.
At its best, Star Trek features the focus on character that drove the original series, bolstered the 2009 reboot, and is realized in only a meager, perfunctory fashion in Beyond. The franchise can soar in its examination of meaningful social and political issues in a fantastical setting, in keeping with its science fiction roots, a virtue Beyond sacrifices in favor of a generic message about working together. This film skips the heavy lifting of showing us how the characters at the core of the franchise develop and grow, and the burden of telling a story that can be both heady and thrilling, in favor of an easy, unambitious action film that has a handful of good moments, but only the patina of what made Star Trek special. Star Trek Beyond is like any other middling cinematic sci-fi adventure of the past decade, with only a Trek-inspired coat of paint to distinguish it, and that's the film's greatest sin.
Edit: On rewatch nearly five years later I...still agree almost completely with my previous review. I probably wouldn't rate it as poorly, but even knowing where everything is heading, this film is a narrative mess that substitutes bland platitudes and indiscriminate action for having an actual story or character or point with any genuine depth. With Simon Pegg as a credited screenwriter, there's more charming references to The Original Series (e.g. Kirk ripping his shirt, Chekov claiming that scotch is Russian) and even some homages to Star Trek: Enterprise (a mention of the Xindi!). But those cute callbacks don't make up for this flashy, indiscriminate clump of a movie.
The one thing I would revise is that there's at least a decent arc for Spock here. he thinks that living up to Spock Prime's legacy means leaving Starfleet to help Vulcans, only to see how much his friends and colleagues need him and realize that Spock Prime's legacy was helping and standing by his friends. It's bare bones, but it's there, and the movie deserves credit for it.
Still, a rewatch does this no favors. If anything, it just confirms the film's Underpants Gnomes approach to storytelling, the jumbled pacing and lumpy structure, and the unavailing action sequences that make it something less than the fun success of ST'09 and less even than the noble failure of Into Darkness. I'd probably upgrade it to a [5.5/10], but it's still a real low-light among the reboot films.
A fantastic end to season 2 gives us a deceptively small episode that grows bigger as it continues and ends with events that will shape the course of the entire series to come. This has a little bit of everything, starting with some lovely father/son bonding between Jake and Commander Sisko, juxtaposed by the funnier relationship between Nog and his uncle Quark.
In many ways, Quark is the real star of this one. His arguments with Sikso culminate in quite a beautiful speech about the nature of Ferengi vs. humans, and it serves to demonstrate the casual racism that everyone, noble Starfleet officers included, show towards Quark and the rest of his species. It seems like Quark's words are strong enough to actually register with Sisko.
The camping trip is a really enjoyable part of the episode, both Quark and Nog providing some really good humour. More so, though, is the continuing and very genuine love between Jake and his father. Any time they end up reminiscing about Jennifer always results in some quite heartbreaking stuff, and both Cirroc Lofton and Avery Brooks always hit the right notes.
Things change with the arrival of Eris (who we will later learn is a Vorta) followed by our first look at the Jem'Hadar. These guys are just great, and at this point it's all about displaying how intimidating they are. They have personal cloaking devices, great strength and a highly aggressive attitude. One of the most powerful moments of the episode is the way that the soldier on the station just casually walks through the force field the crew think they have him contained in; it's done in such a nonchalant way and shot so well that it becomes kind of unsettling.
If we needed a less subtle demonstration, they destroy a Galaxy-class starship. That could easily have been the Enterprise, as it was thoroughly overwhelmed and had no defence. There's a few moments here which don't track with later developments - Eris has telepathic abilities that will never be seen again, and she doesn't recognise what Odo is - but they're small enough things that it's easy to forget.
[6.1/10] This is another one that just didn’t do much for me. The real good stuff here is all on the edges. Abed’s Batman routine is mainly comic relief, but damn if Danny Pudi doesn’t just commit and wring every ounce of humor out of it. And I especially like the Shirley C-story, where she realizes she’s projecting her own hurt over her estranged husband onto Britta and taking it out on Prof. Slater. Yvette Nicole Brown really gives a great dramatic performance there, full of hurt and realization. It’s subtle but strong acting that sells it
But man, am I not interested in a cliché pull between Jeff being a suave man on the prowl and Jeff being a good friend to the group. His exchanges with Slater have some good energy, but the whole shtick with Britta as his Jiminy Cricket is lame, and the whole conflict is too. At the same time, Pierce feeling insecure about his age could be interesting, but it’s played so cartoony and coupled with a drug trip that saps it of any force. (Though you can see Justin Lin trying out some fancy director moves here and there, so there’s that.)
Overall, this one is a non-starter and weak entry in the show’s early going.
Yeah, baby! I'm all about crossovers. And a vintage musical crossover? Sign me the fuck up!
I love the fact that Melissa Benoist, Grant Gustin and Darren Criss all used to be on Glee. It must've been a fun little reunion for them to shoot this thing.
Well, would you look at that. Fuckboy isn't just a former slave owner, he's a former prince of slave owners. What a catch, am I right?
(Can he please just die already?)
At least Kara dumped his ass for now, but let's be real, this is the CW. She'll take him back despite the fact that he's a toxic piece of shit. Just free her from this awful relationship. What do I have to do? Cause I'd sell one of my kidneys to make that happen.
Cop Maggie! Cop Maggie! Cop Maggie! Give me more of that, please! Give me 42 minutes of that, I don't give a damn. I love her so much.
Winn is really unlucky when it comes to the ladies. But seriously, this one was his fault. Having sex in a museum? Don't you have a bed for that? Or, I don't know, a kitchen counter? Or any other flat surface in your apartment? If you want an adventure, go skydiving, not commit felonies. And fine, I understand why Lyra did what she did, but why did she even need Winn for that in the first place? She's invisible, for crying out loud. She didn't need a patsy to take the fall. The police would have never been able to prove it was her, anyway.
