This show had no absolutely no right being as good as it was. What a fantastic surprise this has been.
To be enjoyed like a long, rambling fantasy novel -- not like a punchy action flick (though it is sometimes also that).
Well, now I know what it would look like if BoJack Horseman was real…and naked.
A bit of a nothing burger, it doesn’t really get interesting until the final 20-30 minutes.
There are a few entertaining bits inbetween (e.g. there’s a fun scene with Paul Rudd in a Wallmart), but there’s not nearly enough going on.
It’s just mostly bland: some decent acting and directing, but there’s not a lot of action, mystery, charm, clever comedy, drama or characters to get invested into (besides McKenna Grace).
For example, Finn Wolfhard gets as much development as the older brother from Jurassic World, he’s a teen and he wants to get laid. That’s all you get, and it’s not that interesting.
There are, of course, a lot of ‘member berries, which add nothing besides empty nostalgia.
The original Ghostbusters leave the biggest impression with just 5 minutes of screentime, and they clearly didn’t even give a shit about being there.
It’s not the worst thing ever, but this falls short of the benchmark for this kind of movie.
Just watch the original, or anything directed by Spielberg and Cameron in the 80s/90s.
5/10
The weaker it gets, the louder it gets. The less creative it gets, the busier it gets. And it was very loud and very busy.
I love how mad some comments are on here, goes to show that this is exactly what they need to see, this isn’t wokeism, or a gay agenda, it’s simply showing that there is more comfortability in sexualities these days, and it’s time to grow up because this “agenda” is here to stay :)
Randall is so exhausting. Always have to be the victim or the guy who tell the stories. He loves too much to be the center of attention and seen as perfect.
Beth is suffering from so much little things and the mom syndrome where you have to look after everyone. So difficult to conjugue that with your own ambition.
FUCKING AWESOME!
The Lost Boys is kind of a ridiculous and cheesy film, but it’s still a fucking masterpiece! Probably the only good vampire movie I have ever seen. The film’s aesthetic!! cries So beautiful!! Some great 80s actors involved in the film. AMAZING soundtrack! The Doors fits in with The Lost Boys so perfectly smooth. The movie’s theme song “Cry Little Sister” is also so chilling and beautiful. The setting of the movie was the perfect choice, and the cave! My god, if only that cave were real, I’d pay good money to go see it.
The Lost Boys is a typical vampire movie, however it still touches on comedy, drama, and is kind of a coming-of-age film, where trying to discover self-identity is involved. It is an extremely well-built film. And man, is it stylish!
Please watch this film instead of that cheesy ass romantic bullshit film called Twilight.
Wow, where to start? It's a sweet story about love, but the 1960s incredible sexist viewpoints are unbearable. The strong-willed female commissioner was overtaken by a being that just wanted a man to love her (and of course, "the concept of male and female is a constant throughout the galaxy"). Ugh. Redeemed somewhat by the ending. Zephram Cochrane was far more interesting in First Contact.
I had never heard of Sparks, and I am not sure if I had ever heard their music. After watching this film I am now obsessed with them! This movie is a Must See!
[6.9/10] It’s hard to know whether Star Trek’s messages are getting less subtle, if I’m just more attuned to them, or the show is generally preachier as it nears it end. Whatever the reason, The Original Series feels more and more apt to deliver its messages loud and clear for the audience to hear.
Having covered racism, war, and overpopulation, the show turns its attentions to classism and segregation in “The Cloud Minders.” The Federation is in desperate need of this week’s version of unobtanium (called zenite) in order to cure the latest botanical epidemic sweeping the galaxy. That puts a ticking clock on their adventures in this episode, which is a tack the show returns to often, but still operates as a solid nuts and bolts way to add some urgency to the proceedings.
In order to retrieve the necessary macguffonium, the Enterprise travels to a segregated planet. A small but lucky proportion of its population literally lives in the clouds, in a city called Stratos where the denizens consider themselves genteel and cultured. The leader of the planet, Plasus, and his daughter Droxine (who is, naturally, wearing one of costume designer William Theiss’s beautiful but demeaning dresses that seems to defy the laws of physics) live there. The leader literally and figuratively looks down on the other portion of the population who live below, creatively called the troglytes. They are workers who mine the local minerals and presumably do all the other menial work on the planet.
Shockingly, this arrangement isn’t pleasing to everyone involved and there is trouble and insurrection afoot. A select few troglytes are educated and brought to live on Stratos in order to serve the residents of the cloud city, and a number of them have banded together to form a resistance movement called The Disruptors. Vanna, one of the ringleaders of the Disruptors and a former lady in waiting (or something along those lines) to Droxine, is withholding the zenite and trying to take hostages to get concessions from the ruling class.
As with “Let That Be Your Last Battlefield,” the episode isn’t exactly subtle with its points or its framing of the conflict. The residents of Stratos, Plasus in particular, view the Troglytes as inherently inferior, and absolutely incapable of being equals. The Troglytes, meanwhile, view the people on Stratos as selfish snob who treat them poorly and deny them basics like warmth and sunshine in their elevated paradise. It’d be hard to miss the class critique implicit in the episode.
But what elevates “The Cloud Minders” over some of its message-heavy brethren is the craft apart from the story. For one thing, this is one of the best production designs the cash-strapped show’s had in a while. The foam rocks are back in force, but most impressively, set designer Walter Jeffries really captures the ideas of opulence and sophistication on Stratos. The ascending staircases, the intricate art scattered everywhere, and red sky flanking the pearly confines of the cloud city immediately contrast it with the caves below. And as much as Theiss’s designs seem gratuitous to me, the costumes here, for both women and men, really are distinctive.
The episode also gets a shot in the arm from the direction of Jud Taylor (who returns after directing “Battlefield”). Whether it’s swooping around a rock formation, starting a shot from behind one of the pieces of art, or jostling the camera, steadicam style to capture the tumult of a Federation vs. Disruptor throwdown, Taylor’s cinematography keeps the energy of the piece up even when the script feels too obvious.
The other thing “The Cloud Minders” has going for it is that however heavy-handed the episode is about its ideas, there’s a pretty immediate sense of place. It may just be that the slobs vs. snobs type conflict is so trite that it can fill in the gaps, but the pontification by Plasus and angry complaints from Vanna, in addition to the set decoration and bits of exposition establish the terms of this planet quickly and effectively.
The episode weakens a bit when McCoy discovers that the Troglytes are actually mentally inferior to their cloud-minding counterparts, but only because the zenite, in its raw form, emits a gas that slows mental development and makes people more emotional. Naturally, Kirk commissions a gas mask and tries to introduce it by force when Plasus won’t condone it. Cowboy Kirk breaks Vanna out of jail, gets double crossed by her in the caves, but gets the upper hand and has Plasus beamed into the caves too so that they can both see the effect of the Zenite fact. Of course, they get more emotional and things break out into a fight until, as usual, Spock saves the day at the last minute.
The plot mechanics feel kind of perfunctory, with Plasus in particular feeling too obstinate and Vanna feeling too apt to rebuff someone trying to help her, but I suppose it feeds into the episode’s themes that these people are entrenched in their classist attitudes and resentments and even cold hard facts can’t dissuade them. The episode shows that progress is possible, however, when after the fistfight has been resolved, Kirk and Plasus are still arguing with one another, and it’s Vanna, the “inferior Troglyte” who’s supposed to be less sophisticated who recognizes the futility of it.
But there’s also hope in the form of Droxine, who, even before the zenite gas’s effects are revealed, seems to have more sympathy for the Troglytes than her father and more aspirations for unity than Vanna. She also harbors a crush on Spock (which, for once, seems to be returned by the Vulcan) which evinces the sense that she is a little more worldly and a little more open-minded than her planetary counterparts. She’s relatively underserved here, but there’s the hint that with her as an influence, and the gas masks in force, there’s hope that a peace and new age might be brokered.
It’s a little too tidy for a conflict that’s been raging for generations, but that’s Star Trek, and to the episode’s credit, it’s not as though all the problems are magically solved by the end of the hour, there’s just reasonable hope that they might be. (Oh yeah, and the Enterprise gets the Zenite with just enough time to make it to the endangered planet. Hooray!) “The Cloud Minders” isn’t necessarily any better or more nuanced in its messaging or themes than similar episodes, but it does a better job at creating an engrossing environment and setup for those themes to unfold in, and that makes it more enjoyable, even as the preachiness wears thinner than the fabrics Theiss has his leading ladies don.
Maestro is a magnificent film. It is not just a story of Leonard Bernstein's life but rather a story about human life. I found myself surprised by the emotions it inspired. It is a beautiful picture with standout performances. Bravo Bradley Cooper.
[5.4/10] Full disclosure here folks, I may just be burning out on the adventures of the TOS-era cast, so take this rating with a grain of salt. This episode is halfway between a typical Star Trek episode and a typical Saturday morning cartoon episode. The plots are pretty shopworn -- Kirk and Spock go meet an alien species, something bad happens that makes them sick/injured/trapped, and they find the solution just in time to have a We’re Not So Different moment with the aliens.
In this instance, the aliens are big seamonkeys who turn Kirk and Spock into aquatic creatures who can only breathe in the water. There’s some neat stuff in depicting the underwater culture, but for the most part it’s the usual “suspicious of outsiders” and “the long long ago” shtick. There’s some minor intrigue from the fact that the seamonkeys are fixated on preserving knowledge, but otherwise it’s a standard issue adventure with little that bad, but little to recommend it either. The episode certainly drags things out or throws in plot obstacles that seem like filler, but generally it’s fine if predictable in where things will go.
(As a personal aside, I have the chance to see The Wrath of Khan on the big screen in early August, so I’m going to try to catch up with everything prior to that movie before then. But I may try to slow down and savor the other TOS movies rather than try to watch all of them before Discovery debuts, which was my original goal.)
What the actual f**k. Interesting to say the least. There's definitely some nightmare fuel in there.
I had to watch it twice to see if I missed any redeeming qualities it had. In actuality, it made the entire movie worse. Do yourself a favor and don't see it, don't watch it, and don't acknowledge it exists.
Wow, the buildings were amazing. I would've chosen :mushroom: though.
