AVOID AVOID AVOID
can you hear it?
that is the sound of scraping the barrel of career ending rubbish. it's nothing but a nudge nudge wink wink xenophobic poke at French people emboldened by brexit.
stopped after the first 10 minutes as they became boring and trite these guys are far too old and are becoming increasingly irrelevant.
much more entertaining shows out there are not worthy of my time
as a sidebar Jeremy clarkson's enormous beer belly looks really strange, God love hm but he needs to go on a detox both physical and mental
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@another-googleuser You must be fun at parties.
Only just entertaining, locations were the highlights. Overall the GT series has lost it's grass routes of being a "Car show".
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@mattrox TG & GT were never really about the cars! It was the comradery between Jeremy, Richard & James (the cars were always second).
Can't get over how bad this was. An utterly ridiculous premise with so many gaping plot holes, wooden acting and an ending that's telegraphed from the start. A major blot on Finchers portfolio, certainly his worst film and 3 hrs of my life I won't get back.
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This review is so short and so unexplanative yet it got so many likes.
:joy: That's pretty much a staple of the Trakt Reviews section.
..clicks play......ehhhhhhhhh....hmmmmm....stop... exit... Click Pornhub dot com ahhhhhhh better.
.squirt!!! The endloading replies
@pretty188 first, enter www.pornhub.com, next remove pants, 3rd enjoy
What a poor movie, i really don't understand how many people like this movie...
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@correia9 it's overly overrated indeed, but I guess the 1 score is a bit exaggerated.
Not the best of first episodes to be honest. MC so far has been one of the most despicable and unlikable characters I've seen. Glad he got some comeuppance this episode but he has a LONG way to go before I have anything resembling a positive opinion of him. What an arse.
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Sorry, you cross the line when you almost cause a fucking car accident to try and get in a girls pants.
"I don't have a clear shot." Have you tried moving a few meters to the right?
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@arkam_ They were in a completely open field and the sniper chose to set themselves in the one spot that put the hostage right behind the gunman. Then they proceed to miss twice, and maybe hit their target on the third shot? Was the real moral of this episode that British snipers are pathetic?
When I See Review About The Whole Series, I See So Many Negative Reviews & Some Pos. I Think I Must Giving It A Shut. But.... Hmmm. I Can't Get Anything From It. Romance? Not Really! Adventure? Not Really! Love? Not Really! Good Plot? Not Really!
This Series Have So Many Think But Not In a whole package. In Season 1 U Get 4 Good Episode And The Other Just Waste Of Time. In Season 2 U Get The Same 4 Good Episode! In General, I Feel choosing this, just another bad idea!loading replies
Reading This Shout Hurts My Brain.
Review by Andrew Bloom
VIP9Sometimes you have to cross a line. Sometimes, you do everything right; you do everything the way you believe that it should be done, and you still lose. Your forbearance, your good deeds, your extra effort to do the right thing, only enabled the bad guys, only let them profit from their misbehavior. So you have to make compromises. You have break some of the rules yourself; you have to sully yourself by playing their game; you have to be like the bad guys to beat the bad guys, for the greater good.
These are the thoughts motivating Mike Ehrmantraut as he wraps his hands around the rifle he'd previously shied away from. But they're the same ones going through Chuck's head as he tricks his brother into incriminating himself on tape.
Mike has a code. He doesn't want to kill people. His shaky hand after his run-in with Hector's henchmen shows he doesn't even want to hurt people. And he certainly doesn't want an innocent person to come to harm because of a choice he makes. But as Asimov explored in the short stories involving his Three Laws of Robotics, sometimes these principles conflict; sometimes they pull a person in different directions and force them to make some hard choices.
The eminently capable Mr. Ehrmantraut tried to abide by his no-kill policy, and still deliver a blow to his erstwhile rival. He tried to exact his vengeance on Hector in a way that would take the crime boss out of the picture, but also keep the innocents out of harm's way, and insulate himself and his family from the Salamancas' reach. Instead, it all goes sideways. Bad luck keeps the cops off of Hector's trail. A Good Samaritan loses their life in the exchange. And the man Mike went to great lengths to leave still kicking is summarily executed in the desert.
Mike tried. He tried very, very hard to have his cake and eat it too, to earn the money that he thinks will help him buy his soul back after the death of his son, to dip his toe in the mud without getting too dirty. He tried, and he lost anyway.
So it's come to this -- a sniper's nest overlooking a Salamanca hideout in the harshness of the New Mexico desert. His silent vow not to take a life, his distaste for snuffing out another man's existence, have to be put aside. More harm will be done--at least in the final tally--if he doesn't violate that code. He buys the sort of weapon he turned down the last time he considered killing a Salamanca. He sets up from his far away vantage point, to where his enemies seem to be in miniature -- tiny lives off in the distance. He lines up his shot. And he waits.
Then, that pesky moral code comes back again. At the moment of truth, Nacho stands between him and Hector. The greater good says do it. The pure utilitarian says that Hector will continue to inflict misery and pain, that Nacho isn't exactly an angel himself, and that a semi-innocent man will be killed regardless of whether Mike shoots or doesn't, so he may as well take out the real bad guy in the process. The retributivist says that Hector deserves it, for threatening a little girl, for ordering the death of an innocent person, for having a man killed who may not be nearly as innocent, but whose only crime in Hector's eyes was succumbing to Mike's scheme.
But Mike can't. He just can't. It's the reason he caught a beating instead of taking a life in the first place. It's the reason he gave Nacho half of his money for taking the rap for Tuco. It's the reason he's spurred on to right this wrong in the first place. Only the people who kill the innocent--Hector Salamanca, Matty's murderers--deserve to die, and Mike just doesn't have it in him to stomach the collateral damage that would come along with preventing Hector from hurting anyone else. The moment passes; another undeserved death takes place, and Mike waits once more.
Until the sound of his car horn calls him away. He finds a branch lodged between the seat and the steering wheel, calling his attention to a note with a simple message -- "don't." Someone is smart enough to know what Mike is up to, and has a different plan. Who is that someone? [Speculative Spoilers here -- an enterprising redditor found that if you take the first letters of all the episode titles in Season 2, they make an anagram for the phrase "Fring's Back."] We don't know for sure yet. But it's someone who wants to stop Mike from going through with it. Mike is ready; he's been pushed past his limit and he's ready to do what needs to be done, but his conscience and outside forces keep him from crossing that line.
Chuck has no such limitations, either from within or without. But the episode's cold open gives us a window into what drives him, what's shaped the way he looks at his brother. Chuck has tried to be an upstanding man, at least from his own perspective. While Jimmy is reminiscing about a crazy time at their mother's birthday party, Chuck only remembers everyone else having to clean up Jimmy's mess, literally and figuratively. While Jimmy strolls off to grab a sandwich, Chuck waits dutifully with his comatose mom. And when he's alone, he breaks down. Chuck may seem heartless at times, but he is still a man of feeling, and his quickly recovered demeanor when the nurse comes in suggests that, like Hamlin, he may put on a mask to project the image he thinks he needs to uphold, regardless of how he really feels.
Then his mother lurches back to life for just a moment, and Chuck is captivated once more. But with her final breath, does she call for the son who stayed by her side? The one Who made something of himself? The one who was there to help his parents rather than exploit them? No, she calls for Jimmy. The hurt, the jealousy in Chuck's eyes looms large. This is the final insult, the last thumb in his eyes that for all Chuck's good deeds, for all his effort to do right, to be right, everyone, even his own Mother, loves the personable Jimmy McGill just a little bit more. Chuck keeps their mother's final words from his brother--better to keep him from enjoying the fruits of his misbegotten labors--but their sting lingers.
(Incidentally, it's a great little swerve to show Jimmy waiting beside at the hospital, only to then reveal his brother sitting next to him, letting the audience know that this is a flashback and not the aftermath of Chuck's incident at the copy shop.)
That's how Chuck processes these events, and that's what's lurking in the back of his mind when he realizes that Jimmy has sabotaged him. Jimmy can't be allowed to him win. He can't continue to prosper and benefit from stepping outside the lines just because he knows how to work a crowd. He can't be a bad actor and still be rewarding by living so large and so well on the back of so many lies and cheats and shortcuts. As Jesse Pinkman so memorably put it, he can't keep getting away with it.
To prevent that, to expose Jimmy for what Chuck thinks he really is, he has to take a page out of his brother's playbook. Chuck's plan to entrap his brother into confessing his misdeeds on tape is nigh-Machiavellian, but also feels like the sort of scheme that Jimmy himself would cook up.
One of the interesting things about Better Call Saul as its developed over the course of two seasons is the way it's explored the idea that as different as Chuck and Jimmy seem on the surface, there's a great deal of common ground between them. Chuck's shown a certain duplicitousness before -- in how he's used Howard as his hatchet man or pushed his partner to punish Kim as a way of getting to Jimmy. But this is something different, something more elaborate and even sinister. The layers to to Chuck's ruse, the misdirection, the orchestration, the cleverness in how he pulls it off all reek of Slippin' Jimmy. The younger McGill brother may be more personable, but there's a craftiness that he and Chuck share. Chuck may not have his brother's golden tongue, but he still knows what buttons to push when it comes to the CEO of Mesa Verde, and he knows how to pull off a plan as meticulous, manipulative, and perfectly-calculated as any of Jimmy's.
What's ironic about is that at the same time Chuck is becoming more like the man he misguidedly believes his brother to be, Jimmy is doing the same, but in the opposite direction. "Klick" may be the most overtly moral and upstanding we've ever seen Jimmy be. He rushes into the copy shop and starts directing traffic to get his brother some help, even though it will expose his attempt to cover his tracks. (And kudos to Michael McKean, who was amazing throughout the episode, but was especially good in his wordless but meaningful reaction when he sees Jimmy as he regains consciousness.) He stays by his brother's side throughout Chuck's recovery. He draws a line in the sand that despite everything that's happened, he won't commit Chuck, because it's not what he brother would want. He agonizes over subjecting Chuck to those tests even if he believes it's in Chuck's own best interests. He gives up his temporary guardianship even if it would leave Chuck, as he puts it, right where Jimmy wants him. He has a look of guilt when he watches the commercial he worked so hard to make and realizes he hasn't quite lived up to being the paragon of honesty and virtue he presents himself as.
And in the end, he confesses to his brother. Jimmy comes clean when he believes that the chain of events he set in motion caused Chuck to retire and dive even deeper into his psychosis. Jimmy may not believe he's really risking his career or his livelihood by doing so, but he is exposing himself, making a sacrifice by playing into Chuck's image of him. Jimmy absolutely loves his brother, and after all the effort he put into covering up his misdeeds, the lengths he went to in order to prevent Chuck from confirming his suspicions, the thought of his actions wounding his brother deeply motivates Jimmy to lay it all out there for him.
What's so tragic and deplorable is that Chuck is taking advantage of that. He's using his brother's love to hurt him. In a way, he's making the same choice Jimmy did when he obtained temporary guardianship over Chuck and forced him to take those tests at the hospital. He's taking the choice out of his brother's hands, because he doesn't trust him to make the right one. But it's also cravenly manipulative. Chuck is playing on Jimmy's own deep-seated concerns for him in order to undermine him. There's something especially cruel in the poetry of that, something that feels particularly wrong about turning someone's care for you against them in such a cold and calculated fashion.
It can be hard to explain what makes Better Call Saul great because so often it comes out in the little things. It may be the direction and editing, which convey Chuck's disorientation by flipping his perspective upside down beneath the hospital lights, or communicating Kim's pride in Jimmy by putting her beaming smile in the frame as his commercial plays. It may be the small but significant performance of the doctor who looks after Chuck, who manages to be a steady and caring voice of reason between each of the mercurial McGill brothers. It may be the little bits of dry comedy in an episode as significant as "Klick," from the "no offense," "none taken," exchange between Mike and the arms who wipes his prints off the rifle, to Ernesto's beleaguered wish that he was back in the mail room. Or it may be something like the quiet moment where Ernesto explains to Jimmy why he lied on his behalf -- for the simple reason that Chuck seemed out to get him, and Jimmy's his friend.
That, more than Chuck's fierce intelligence, more than Jimmy's golden tongue, more than one brother's pride and the other's lack of shame, is what truly distinguishes the McGill brothers from one another. When Jimmy plies his trade these days, when he employs a little subterfuge, he's usually trying to help people -- sometimes himself, but also the woman he loves and people like the seniors at Sandpiper. When things go awry, when it looks like people will really be hurt, he doesn't sit on the sidelines; he acts to rectify his mistakes, whether it's by talking Tuco into commuting the death sentences of his twin collaborators in the desert, or by admitting his actions to his brother to prevent Chuck from giving up his life and his sanity. Jimmy is far from pure, but he cares and he tries, and people like Ernesto see that.
But Chuck only uses those same skills to hurt people. Sure, he justifies it by seeing himself as an agent of morality, as it being part and parcel with his self-given duty to uphold what's right and just in this world. And yet even if he thinks what he does is for the greater good, when push comes to shove, Chuck uses that craftiness to deny his brother the seat at the table that he'd earned, to punish Kim for Jimmy's transgressions since she was the only one within reach, to wrest away a client when someone more deserving had done the legwork, and to incriminate a brother whose confession he was only able to wring out because of Jimmy's love and concern for him. Jimmy serves individuals; Chuck serves some greater sense of righteousness, and unlike Mike, he cares little for who's caught in the crossfire.
Chuck has a very personal, very exacting moral code, and it leads him to hurt the people who care about him the most. Jimmy's ethical mores are much more fluid, much more apt to let the ends justify the means, but he means to do good, more or less, and to help people, especially those close to him. And Mike is somewhere in the middle, intent on protecting the most important people in his life, trying to live up to the high moral standards he sets for himself even as he gets his hands dirty, and most of all trying not to hurt anyone in the process. "Klick" wraps its characters in these little moral conundrums, and teases out the connections and distinctions between its heroes and its villains as each tries to find their way out of them, and the lines they are and are not willing to cross to do it.
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Thanks for this in-depth review. Chuck just has so much resentment. I loved the anagram bit. Vince & his crew really know how throw nice little things like that our way. It reminds me of how they did the episode names from season 2 of Breaking Bad. I cannot wait for another excellent season of this show!
I'm just watching this on the side (dubbed even) but dang, it's worse and more clichéd than I expected. Hard to believe someone would actually produce this.
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@sp1ti Yah, this is beyond god awful. I love my overpowered isekai anime, but this one is definitely... not good. It seems like it's aimed at 10 years olds with how simplistic and clichéd everything is. The chances of me finishing this are... also not good.
The show that invented the "tit ribbon". Need I say more? A must watch.
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http://i.imgur.com/RJOJPyq.gif
NOW, I don't have to say anymore. ( ͡° ͜ʖ ͡°)
Started off interesting and with some promise, but really went downhill in the second half. I was bored out of my mind for some episodes. And that last arc was so short and anti-climactic you have to wonder what all that build-up was about.
The animation quality is definitely above-average and there were some good scenes (mostly in the first half), but overall a waste of time really.loading replies
@maniacb Agreed, big disappointment especially with the last EP and the last bit. I thought it peaked in the middle - the start and end were terrible imo.
Just a small note to potential watchers: this is not the best place to start with Fate/stay night. You are looking at the adaptation of the visual novel's third route and at this point they assume you are familiar with the stories players and initial outline. That said: I think ufotable did a fantastic job with this. I struggled a bit when they did the fast-forward but after that it was quite the threat.
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@dipperdolphin https://anidb.net/perl-bin/animedb.pl?show=rel&aid=3348 :smile:
I just went with the production order of the shows tbh. but there is probably "no right" for anime watchers. What I'd not recommend is to go with the chronological order. Fate/Zero was a prequel released after the fact so I don't see the need to watch that first. I knew beforehand that Deen's adaptation isn't the most popular (and am to this date not the biggest Fate fan) but at least that way the bar will not drastically change between shows. Just take your time going through them as you will have to watch the setup of the routes quite a few times... the third movie is still far away at this point.
@dipperdolphin That whole segment was absolutely brilliant.
"Hmmm, we don't have enough lolis recently, let's add one."
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@dipperdolphin i just hope that it will not become cliche harem anime :/
Eff me, this is a 2 cour show... going to drop this then. Really hoped for this to be an above average isekai but it really isn't. Any promise of individuality in the first episode was not touched upon and it instead went the boring Gary Stue-lets-be-friends-with-everyone route without a hint of an interesting story to be found.
(If you haven't seen a few of these enjoy yourself, be my guest but I'm too old for this now ;))loading replies
@sp1ti I think that what makes anime lewd is pervertness of characters and authors' accent on nudity. All these semi-lewd stuff in Kill La Kill were kinda like stylistic component that can be justified by plot (or I just really like this anime and made myself to ignore all lewds and now trying to justify myself...). Whereas in the slime there is nudity for the sake of nudity.
eliot wasnt in this episode at all who wrote this synopsis?
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@bobmarket Use the spoiler function, asshat.
