Whew. Finally watched this after having it in the queue for awhile. It's a classic and I only know it from the Cable Guy joke. I did not expect it to be as shocking as it was. I figured it was shocking for its day but there is some shit in this movie that I did not see coming. So shocking I was saying "what, what, whattttt" out loud to myself alone. And that Cable Guy scene? Spot on. This movie was definitely not fair to the Turks, I will say that. I mean the whole movie is rough but specifically the trial scene where he calls them all pigs, etc. Not cool. But Oliver Stone and the makers have since apologized more than once and done talks on it so I think it's okay to enjoy the movie otherwise. Yeh?
A great movie. I've cried so much throughout the movie. If you don't find it touching then I am sorry, you don't have a heart. I recommend watching it, but prepare your tissues.
Exceptionally dark and sad movie. The two boys in this movie are very impressive actors and break your heart by the end of it.
I didn't cry at all during most part of the movie, just the last 10-15 minutes are... ;_; most tearjerking.
[9.1/10] Maybe the secret trick to getting a good, spiritual, philosophical episode of The Original Series is just to bring Diana Muldaur in as a guest star. It’s hard to believe that the future Dr. Polaski, who rather irked me in her turn on The Next Generation, is such a shot in the arm to Star Trek, both here and in “Return to Tomorrow”.
Muldaur brings a grace but also a firmness in her portrayal of her Star Trek characters. Dr. Miranda Jones is an interesting role to play, requiring her to be both the equal and opposite of Spock as a human with telepathic abilities raised on the Vulcan home world in order to master her abilities. Muldaur is up to the challenge. Writer Jean Lisette Aroeste gives Dr. Jones agency in the story, and Muldaur gives her a presence, and leans into her resistance to the various individuals fawning over her, in a way that makes her a memorable and important guest star right off the bat.
“”Is There No Truth in Beauty,” true to its name, is an episode that plays in both poetry and irony. While philosophical ruminations on the nature of beauty could be tedious in other hands, Aroeste’s script makes exchanges over dinner, or debates between Kirk and Jones feel lyrical, serious, and engaging. Despite the outlandishness of the premise, Star Trek takes it all seriously, and that pays off.
By the same token, it doesn’t shy away from the elegance or ironies of the situation. The notion of a beautiful woman who is blind, and thus unable to see her own beauty, but also who also understands (and is understandably dismissive) of the effect it has on those around her, is an interesting one. By the same token, her affection for Ambassador Kolos, someone no human can look upon, makes sense.
Full disclosure, it’s tough for me to articulate what makes this episode great because so much of it is in the execution, which is laden with layers of complexity and performance that are hard to put into words. For instance, the alien species introduced here, The Medusans, have a ridiculous name, and the idea that merely looking at them in their true form could make a person go mad, could be a ridiculous plot device.
Instead, “Beauty” turns it into a meditation on the nature of aesthetics, and a compelling premise about what makes us who we are and how we’re shaped by the ways in which we can and cannot perceive the world. To that end, the highlight of the episode comes when Spock mind-melds with Kolos and the two become one.
For one thing, it’s another chance for Leonard Nimoy to stretch his acting muscles a bit and portray a version of Spock who is more expressive. (Though to be fair, the show goes to that well fairly frequently.) It’s a treat to hear Spock laugh, to see him call Kirk a good friend, to have him chuckle with recognition of Bones, and speak poetry to Uhura. Making Spock emotional, practically human, for more than about three minutes would quickly start to feel like too much, but the episode whets the audience’s appetite for this glimpse at the repressed inner feelings of Spock without overdoing them.
At the same time, Nimoy and the script craft a quick but compelling character in Kolos. It fits that Muldaur links this episode to “Return to Tomorrow” because the two installments play at similar themes. Kolos remarks on the odd futility of language, again speaking poetically, and marvels at the way corporeal beings are so alone, limited to their shells. It’s a form of lateral thinking, truly capturing the way a different form of life would respond to the novelty of ours, in a fashion that gives force to Kolos’s short time as a humanoid.
There’s also some outstanding direction, design, and editing work in the episode. There’s more directorial creativity here than Trek’s tight production schedule and reduced budgets allow for. But “Beauty” depicts the madness of seeing a Medusan first-hand well. There is a frenetic, dizzying pace to the scenes where humans confront the Medusans.
The tye-dye flashes are a little cheesy, but for the most part the episode does well to convey the mental unraveling through a rush of images. The quick cuts offering different angles on the same events, seeing things from the maddened character’s distorted perspective, and the rapid jumps from one image to another, communicate the mental chaos well.
In the same vein, Particular kudos are owed to David Frankham, who plays Marvik. It’s a tough thing to play a man who goes crazy in the span of about fifteen minutes without seeming too over the top, but Frankham plays his scary “I simply love you too much” just right and then rants and raves in a way that convincingly portrays Marvik’s depleting sanity.
The episode isn’t perfect. Frankly, it goes about one act too long, with the story beat of having to save Spock’s mind after he sees the Medusan unsheathed feels a bit tacked on, even if it’s a necessary challenge for Jones to overcome her insecurities and inability to mentally link with Kolos. And watching Kirk berate and manhandle her so as to prompt that solution is more than a little uncomfortable.
Still, “Beauty” works as a high-minded reflection on what it is to perceive things and how that shapes what we value and how we identify, but also as an interesting plot progression with murder, unique challenges, and elegant solutions. Reveals that Jones is not only blind, but basically Daredevil with her sensor suit are intriguing and add poetry to the proceedings. Marvik steering the ship into an unknown hole in the time space continuum requiring a Medusan to steer them out of it makes for a clockwork problem.
And on top of all of these, the episode spends time to have the characters debating and challenging one another over what really matters aesthetically and qualitatively in life. Star Trek is, as ever, a bit ironically provincial about such things, but it still crafts interesting, unusual characters to communicate opposing views and enunciate opposing perspectives. “Beauty” is a highfalutin episode of Star Trek to be sure (though it has its share of action and excitement) and it’s easy to see how that might bore some folks or scare them away. But I love when Trek gets high-minded and philosophical like this, and bringing back Muldaur to deliver the lyrical dialogue here (and leaning on the talented Nimoy to do the same) results in a poignant and insightful episode.
[8.0/10] We’ve played this game before. (I’m beginning to sound like a broken record talking about how Star Trek is beginning to sound like a broken record.) It’s hard not to think of “Arena” in this one, with the crew being transported against their will into a hostile situation, improvising weapons using the local materials, and being rewarded by their uber-powerful instigators when they show restraint instead of viciousness. This is pretty standard stuff for Trek at this point.
And yet, “Spectre of the Gun” gets by on atmosphere, performance, and the cleverness of its conclusion. I’ll admit, there’s something that still strikes me as cheesy every time our spacemen from the future end up visiting some familiar earthlike civilization (“this week it’s gangsters, then Nazis, then Romans, hooray!”) but there’s an eeriness to transporting Kirk and company to Tombstone, Arizona.
A big part of that comes from the production design. There’s a part of me that assumes the half-pieced together set is a result of budgetary concerns than any real choice to create an eerie, half-formed sense to the surroundings, but either way it works. The episode offers the fig leaf that the Melkotians, despite their psychic abilities, don’t have a great grasp on Earth’s history and that this is the best they can come up with. The result is a boom town that doesn’t feel all there, in a nicely unnerving way.
That lends to a foreboding atmosphere that permeates the episode. Random storefronts flanked by a red sky, shop facades that lead nowhere, clocks floating in the sky without the right flora or fauna help establish the dream-like confines in which our heroes find themselves. Something immediately feels wrong about this place, and it’s a great example of the show using its visual tools to build to the plot’s conclusion.
To the same end, the episode has some really nice shots in it, like the symmetrical framing of Kirk, Spock, Bones, and Scotty tending to Chekov while boxed in by the silhouettes of the Earps. And it’s a neat trick to show the crew’s mind over matter bona fides by shooting them from the back and watching the wooden fence become riddled with bullet holes while they remain unscathed. There’s some cleverness in this script, but despite it’s rehashes, it’s the aesthetics of this one that really rule the day.
Still, the episode also works because of the guest performers and the tone. What’s separates this episode from the prior visits to other civilizations out of time is that “Spectre” mostly plays the Western angle straight. While the gangster planet was explicitly comedic, the Roman planet was over the top, and the Nazi planet was cartoonish and weird, “Spectre” treats things as though the crew of the Enterprise have stumbled their way into a Sergio Leone film.
At times that gets a little corny. The Earps and Doc Holiday announcing themselves rings a bit too much with “here’s a name you might remember” syndrome. But what I like is that the guest actors who play the black hats in this one carry themselves with purpose and, more to the point, menace. There’s an understatedness to them most of the time, something that makes them feel like genuine bad guys from a Western movies, which creates a contrast when they’re juxtaposed with our colorful space-farers. “Spectre” creates antagonists (and allies for that matter) who feel like a real part of their world, not just adjuncts to that of Kirk and company, that makes their bits of intimidation land and create a genuine sense of impending, unavoidable doom.
It’s the way our heroes manage to avoid that doom that really bumps “Spectre” up a notch. What’s great about the episode is that it shows Kirk, Spock, Bones, Scotty, and Chekov using their familiar tricks to try to avoid getting into a shootout at the OK corral, and finding that nothing works. As much as “Spectre” returns to a certain amount of formula, it also has the wherewithal to play out that formula and show Kirk being stymied and ineffectual nonetheless.
Kirk tries diplomacy, and is warned that he’ll be shot on sight if he tries it again. They try running away, but find that leaving Tombstone is impossible, thanks to a Malkotian forcefield. They try improvising a tranquilizer, the sort of MacGyver-esque solution to these problems the show often employs, but it ends up having no effect. They even try just staying put, in the hopes of avoiding the confrontation altogether, but get whisked to the site of the gunfight regardless.
There’s a futile fatalism to this one, a sense in which Kirk can’t just fight or trick his way out of it. There’s no third option, no clever workaround, just a looming confrontation and a literal ticking clock that promises danger and death.
That’s when Spock comes up with a Matrix-esque solution, realizing that the trick to surviving this little pocket world is to understand that it doesn’t truly exist. His clue is that the laws of science don’t work, and thus decides that if they simply focus themselves on the fact that this Tombstone is a fantasy, a construction, they will not be subject to its dangers. It’s a clever way out of the problem. Sure, the necessity of a mind meld feels a little forced, but helps build tension leading up to those final moments.
There’s issues at the margins of this one. The color in the episode is a mixed bag, with Chekov’s dalliance with a local coming off alternatively cute and weird, Scotty’s appreciation for bourbon being entertaining but stereotypical, and the rest of the Western cast going a bit over the top. In addition, “Spectre” drags in places and, as usual, Shatner has a tendency to overact his moral dilemma in not killing these imaginary cowboys that oppose him.
Still, “Spectre” works because even if some of the beats are familiar, and the destination is something of a repeat, to the solution to the problem isn’t, and the atmosphere and mood of the episode is superb. This late in the show’s run, it’s nice that it can still surprise the audience with a tense, unnerving, even nightmarish scenario for our heroes that runs on different logic and a different aesthetic, that allows the show to feel like something different this week.
Is it just me or this episode very structurally similar to the Corbanite Maneuver?
"You were warned to stay away! We Kill you!" "The Situation is impossible! We solved it! Let's not kill!" "Okay let's be friends now."
Going into this movie, I had a faint idea as to what it would be like. I was so wrong. After watching the trailer and reading the synopsis I personally thought of it as a revamped 'The Day After Tomorrow'. If you don't know what that movie is about, it is basically about a father who's trying to get to his son who's stuck in another city while a natural disaster hits. It is still one of my favorites. After watching 'How It Ends' though, I can say that it is firstly nothing like it and secondly far from being as good as I initially thought it would be.
The first few minutes were quite impressive. It had a good setup — not too slow and not too rushed — and what a good movie needs: likeable characters. Personally, I liked the cast a lot, but thought that their performance was only average. It was hard for me to feel the character's chemistry throughout.
After that 'promising' beginning, I wanted answers more than anything. Instead, I got a long, long, long journey through the U.S. with some minor obstacles and a lot of side-stories of characters I barely even knew. Those stories were touched but never really told and after a few minutes the main plot scared them away, never to be seen or heard from again. That resulted in characters appearing and vanishing in an instant without a huge impact on the main story.
So, the whole mid-section felt like a filler. A large portion of the movie was a filler. I wasn't bored, but also far from being satisfied. The few effects and action sequences that the movie had were fine but nothing special. Dialogues felt weak but not unnecessary or forced which is a good thing.
About 85 minutes into it, I was still waiting for something big to happen. I thought the movie (with the way it presented things, creating mystery as to what's going on and such) would soon hit its high with a big finale and a mind-blowing conclusion. But guess what ... that's when it ended. That's when I knew I wasted almost two hours of my time. The movie is titled 'How It Ends' and yet it doesn't even have a real ending. Why? How? What? No answers, no nothing. The whole time you're wondering what's going on, but you'll never get the answer. You'll never get a real conclusion to what's really going on. I'm disappointed and so will many others.
Score: 46 / 100
Written and directed by Zak Hilditch. From an atmosphere charged with tragedy and pain, 1922 is a typical nightmare draw from the mind of Stephen king. Highly recommend.
sometimes it feels like the capt. Kirk dating show.. the man falls in love in hours.
Since the plot is remarkably the same, I’m just going to copy-paste my original plot analysis from the original film:
“Halloween is about Michael Myers, a man that many years ago, murdered his own sister as a child. Locked away for years, he finally escapes and wreaks havoc on a random set of teenage friends, but not before stalking them first.” – Review of Halloween (1978)
Oh sorry, that’s not exactly accurate – this time, his victims aren’t as random as the original movie. This time, you more or less discover as the film moves along what you discover in the 1981 sequel – that (spoiler alert), Laurie is Michael’s younger sister. So his murderous rage is all about killing his family – that much you know about in the original series, but it’s more than that now, because you now understand on a deeper level how truly horrible his childhood was before he became the monster. In the original film, Loomis briefly explains how he intimately knows the extent of Michael’s evil ways – in this film, we see it. We see his abusive and repulsive family, his budding interest in death beginning with animals, his fascination with masks and self-loathing, and his untamable hatred towards the mental hospital but surprising respect towards Dr. Loomis. We see all of this because it takes its sweet time introducing us to his history that we needed the first time around!
More than that, it introduces us to more than just an idea that this man is evil, but also a physical representation of one heck of an intimidating beast of a man. Seriously, this guy is huge. He’s a hulk. The original film had a typical guy in a mask. Why was he wearing a mask? Because it’s Halloween, I guess…this movie explains everything. It took away all of my complaints about the first movie and then some. The best way I could describe this film is as if they took the script for the original movie, got a better director, got a better writer to rewrite certain scenes and introduce integral elements, got better actors, invested in better equipment and technology, and hired a different director of photography – because it actually shows us what we needed to see that the first film left out. In my honest opinion, this movie improved on just about every level.
However, where it didn’t improve – was partially in casting. I do believe this is the best guy to ever play Michael. It made the most sense, but the rest of the cast was either just fine, or a bad choice. Now, I like Malcom McDowell as much as the next guy, I think he’s a wonderful actor, but Dr. Loomis wasn’t the right choice for him. Loomis needs to be Michael’s opposite, someone caring and understanding but ultimately hurt when he can’t get through to Michael’s inner child. Donald Pleasence did a pretty good job in the first film, but McDowell looks and sounds too evil to play this type of role. It almost went to John Hurt, which would have been perfectly fine. I would have also accepted someone like Liam Neeson in that type of role. Not McDowell. The rest of the cast did a fine job at acting, but not so much at creating something memorable…and the original did when it came to Jamie Lee Curtis.
In my honest opinion Halloween was better than the original – but only on a technical level. It didn’t change anything about the series that was already good to begin with. It just improved on the parts that the original lacked. If you watched the rest of the classic series, you’ll notice that they’re always struggling to explain plot holes in order to make another movie – this movie mostly got that out of the way from the beginning as to not run around aimlessly trying to find direction. As far as horror goes, it’s a solid slasher film. The series has never really been a favorite of mine, but I definitely respect the film went with this remake. Check it out!
[6.7/10] It’s not every day that the Enterprise runs into Abraham Lincoln. “The Savage Curtain” gets credit for its high concept premise -- what if the greatest heroes of history (plus Kirk) squared off against the greatest villains? The mystery that leads up to that match up (How exactly did we just beam aboard the 16th President of the United States?) is a compelling one, but once Kirk and Spock beam down to the planet and the rumble actually goes down, the episode stumbles considerably and ends in one big muddle.
It feels odd to say, but one of the best parts of this episode of Star Trek was its depiction of Lincoln. Lee Bergere gives the man a certain inherent grace and dignity in how he conducts himself, but also a certain playful quality that marks him as a human being and not just a figure on a pedestal. The makeup for Lincoln is a little dodgy in places, but for the most part, between rescue attempts and back and forths with the crew, Honest Abe feels about right for someone who died in the 1800s beaming aboard a starship.
There’s two things that make him work here. The first is that he’s as guileless and puzzled about this situation as anyone. Rather than being an evil alien himself or a willing part of some nefarious plot, he’s just a genial guy who doesn’t know why he’s here or how he knows certain things, just that he’s doing what he’s supposed to be doing. That gives him an interesting part to play, because his very presence suggests a threat, or at least something unusual going on, but he has no answers. The second is the idea that he is a product of Kirk’s conception of Lincoln as a personal hero, giving the two of them a rapport that makes Lincoln seem avuncular and warm to the starship captain.
The problem comes when Kirk, Spock, and Abe beam down to the planet below. The trio run into Surak, the erstwhile patron saint of all Vulcans, who preaches a Gandhi-esque philosophy of peace and nonviolence. It’s then that they all meet Yamek, the latest in a long line of Star Trek’s uber-powerful beings who wants to put the crew in a fight to prove some philosophical point. In this instance, it’s to decide whether good or evil is better.
Yamek introduces team evil, which includes a double-crossing war criminal Colonel, a woman who performed inhumane experiments, Genghis Khan, and notorious Klingon warrior Kahless. (Comic Book Guy alert -- Kahless looks super different than the character we see a glimpse of in The Next Generation, though perhaps it can be excused with the idea that all these figures are reflections of Kirk’s and Spock’s minds, and they’ve only seen ridgeless Klingons). The two groups are then put in a fight to the death, “Arena” style, where the Enterprise is at stake and the crew can watch the battle going down live on pay per view.
The problem is that once the fight gets going things turn pretty dull. Sure, the rock creature facilitating this whole thing is neat design work from the production side, and there’s the playground conversation-level thrill about who would win in a standoff between Abraham Lincoln and the good guys vs. Genghis Khan and the bad guys. But Star Trek has done this sort of shtick so many times that once the novelty of the historical angle wears off, it’s just more foraging for weapons and strategizing on a foam rock planet for vaguely philosophical reasons with little to show for it.
There’s some minor intrigue from Surak taking his peace-loving ways to their logical ends -- namely pleading for understanding, getting killed, and then being staged as part of a trap. And there’s some fun from seeing Lincoln cite his history as a wrestler and a woodsman and try to arrange a rescue. But on the whole, it’s just more generic gladiator material that the show’s done several times before.
What’s odd is that the message of the episode is murky at best. After Lincoln is killed by Colonel Green and the others, Kirk and Spock say the hell with peace or strategy and just beat their opponents with braun and scrapping. That leads Yemak to say that all he’s learned is that good and evil are the same, because they use the same methods and so one prevailing says nothing. Maybe there’s some commentary there on moral equivalency, about how one person thinks them better than another, but when your back’s against the wall we all turn into animals. There’s a hint of that with Lincoln admitting that even though he’s a man of peace, he was the commander-in-chief of the bloodiest war in our nation’s history. But it’s not an idea delivered with much clarity.
Maybe that can be chalked up to complexity. Kirk claims that the difference between him and Colonel Green is that he was fighting to save his people, while Green & Co. were just fighting for power. On the other hand, he chastise Yemak for “doling out life and death,” but Yemak paints himself as a seeker of knowledge and new information just like Kirk is, and that his motivations for staging this fight were the same exploratory impulses that brought Kirk down to the planet in the first place. Again, there’s the potential for some nuance here, but it’s generally lost in rock-throwing tumult of it all.
“The Savage Curtain” isn’t a bad episode. Again, anytime you can put Abraham Lincoln on a spaceship and fighting alien overlords and make it work, you’ve done something noteworthy. But when the episode devolves into the usual “I’m a powerful alien and I’m making you all fight to prove a point” routine, the seams start to show quickly. Star Trek often tries to balance headiness and action, and these skirmishes with high-minded intentions serve that end. Unfortunately, it’s just another well The Original Series has gone to one too many times, to where even throwing in historical figures and an impressive-looking Power Rangers villain instigating can only sustain the same old combat for so long.
Seriously, are people watching a completely different movie than I am or is there something else to this movie that I am missing? It's not scary at all, it throws every (horror)movie cliche there is at the viewer making it extremely predictable and the story is just ridiculous as it stumbles towards a climax which simply isn't there. Just say the demon's name and that's it, it's gone. And the way they 'solve' the case is just too stupid. Put 2 tape recordings together and you get a coherent sentence... So let's just put 2 random sentences together and the case is solved!
How people can seriously give this movie a good rating and comment on how scary it was is beyond me.
While this was probably the weakest episode so far, it still had quite a few good moments in it and overall I enjoyed it. I thought it felt appropriately claustrophobic given that the characters were stuck on a space ship. And the monster had to be some of the best CGI Doctor Who has ever done! It looked so realistic and its movements were so smooth that I fully believed it was actually there. If you think that it was too cutesy, that's fine. Personally, it didn't bother me too much. I actually liked the expectation subversion and the fact that such a little thing could be so threatening.
Some of the dialogue felt clunky and I really wish Chibnall would let someone else actually write an episode (I know we've got a few stories by other screenwriters coming up, which I'm very excited about). And it pains me to say that as brilliant as Jodie is in the role, the writing in this one didn't do her any favors. Don't get me wrong, there were certainly some good lines in there (I liked Thirteen naming all the things she was a doctor of, I thought the goodbye speech to the pilot was beautiful, the Doctor's amazement at the antimatter drive made me fall even more in love with her, and the banter between the Doctor and Yaz while they were waiting for the monster cracked me up), but most of it just didn't flow well, I guess? I can't quite put my finger on it.
We saw Ryan and Graham's relationship develop a bit more, as well as Ryan helping the pregnant guy and encouraging him to keep the baby, telling him that fatherhood isn't about being perfect, but rather about being there for your kids. That's one thing that Chibnall does really well, I think, and it's why so many moments this season have reminded me of Broadchurch: those long, character-focused conversations, often accompanied by close-ups keeping the focus on the characters' faces, allowing the emotions to shine through. It's the kind of thing that you don't see much of in sci-fi and it's definitely one of the main reasons why this season feels so different from the previous ones. Not bad different, but there's been undeniably a big change in the overall tone of the show, which I imagine some fans might not appreciate. Personally, I like that they're doing something new and those quiet moments let me connect with the characters more, which is a big plus.
So, was this a bit of a mess? Yes, yes it was. But as a rule, I always try to focus on the positives because life's just more fun that way. I certainly wouldn't call this a bad episode by any means, and I'm 100% certain that it's going to end up being a lot more memorable than most of season 10, for example (I love you, Peter, but I don't remember what happened in that season for shit). It's not the first so-so story in the show's history and it won't be the last, but since the previous 4 episodes were really good, this little bump in the road doesn't worry me. I'm sure there's plenty of quality writing and good fun ahead.
Oh, and one last thing: at this rate the TARDIS will have to handcuff the Doctor inside so she stops losing her. Seriously, it's getting embarrassing. Give us more scenes in the TARDIS!
Holds up pretty good for a twenty year old sci-fi.
By Paul WS Anderson's standards it's a masterpiece.
But the music is just awful, it's like the Starwars score made by a tone-deaf person.
Predictable story but nice enough entertainment for a rainy day.
Oddly enough this supposedly takes place in the same universe as Blade Runner but don't get your hopes up, apart from the odd reference and place names there are absolutely no similarities.
Good action flick..
Kurt Rusell probably in the best shape of his life!
Story has some predictability, if you can look passed that...great entertainment.
"Crazy Barbara" giving Nygma the clues of who is responsible for the death of Isabella, was great. Nygma verifying Cobblepott's involvement was also great storytelling. Bruce/ Selina/ Alfred vs. Talon was also very good and the introduction of Selina's mother was very shocking and welcomed. I'm honestly tired of the Gordon/ Tompkins/ Falcone love triangle. I somewhat even enjoyed a little bit of Jervis Tetch that was written in. "Crazy Barbara" and her crew teaming up to destroy the Penguin and become the Queen of Crime is intriguing. Solid episode minus the love triangle crap.
Give us Valerie Vale back ! :(
That ending tho.
Nothing happen and all of sudden she hates him and then loves him again really ????
Fantastic episode. I love Jerome so much, he brings a whole new level of crazy to the show and they should keep him on as a regular.
Also found it very nice to see Penguin end up in the water again, they went full circle there, he will rise again and hopefully regain his crazy.
This show is still one of my favorites, they pin villains against villains and I am conflicted because I actually want all of them to win.
Pretty sure Pizza Face Jerome is going to haunt me in my dreams.
finally a good episode again, not sure if it was because of jerome being in it or the fact they're done with the pathetic mad hatter story (i really hope they are)
Wow, brings back memories of the essence of a TRUE villian of Gotham.
Great episode. One of the best. I know the point of the show is to deal mainly with the grounds of the villains. But to talk about the villains in Gotham is to talk about Batman. You can't separate that. And I'm always struggling to calm down when I realise that after such a great episode like this one I will not see Batman. I will not see Penguin neither Nygma. It's a constant pursue of the end.
Maybe it's all about that and the answer of why there are so many weak episodes, because is so difficult to maintain the tension.
First: stop trying kill Bruce. Everybody knows that he will not die. Second: Bruce needs to leave Gotham to have his training. When it will happen?
Anyone else see those snowy mountains outside the cell window at the end, and think of the long training time spent far away from Gotham that made Bruce Wayne into the person ready to become The Batman? Hmm... Too soon?
Anubis sounds like Gollum. Worst copycat ever :D
Although I'm finding much of the storyline direction this season so far to be interesting... This is the third live-action Ra's al Ghul treatment I've seen -- including those from Batman Begins and Arrow and, IMO, clearly the oddest. The other two were rather different from each other, but both worked, made sense, etc. This one seems more like a sloppily thrown-together and somewhat unhinged Ra's, in comparison. Not sure if that's intentional, or just carelessness.
And... What the heck was with that dog-man-thing? I know Gotham can host some pretty comically weird characters, but...
At least the immediate story developments around Bruce (except: see above) and Oswald/Ed and Sofia are looking more interesting.
And... sigh. Alex...
Simply amazing episode where each and every scene had something incredible in it. There are so many moments in this episode that it's by far the best of the season. Can't wait to see what happens to any and every character.
