Natasha Lyonne (Orange is the New Black, American Pie) is trapped in a Psychoalphadiscobetabioaquadooloop until she learns to swim, and catches the rhythm of the strokes..... COMPLETELY clichéd, but oddly watchable, if only for the creative ways she keeps managing to off herself, in spite of desperately trying not to.
I know most people don't respond well if you say something negative about their favorite show but I can't help it. If you like it I'm glad for you (really) but please allow me my opinion.
I am one of those who doesn't think that this is THE best show ever. It's not even the best sitcom in my opinion. It had its moments but not many. Maybe it isn't fair to judge it 25 years after the fact because that is a long time in TV land and things change. But most of the stuff I dislike has nothing to do with timeframe.
First, why this is called Friends is beyond me. Those are the most dishonest, selfish, egoistic and sometimes even mean group of people I've seen on TV. They constantly try to withhold stuff and most of the comedic situations spawn from that. I don't see where it is funny to go behind your friends backs. There are those moments where there behave like friends should, but those come usually after they screwed up.
Than there is the characters. I've written in some episode's comment that Ross is the most obnoxious character I've ever seen on TV. And I've seen my share. And there is WAY too much of him and Rachel who I also disliked deeply. They pull down every episode they're in which is pretty much every episode. That constant back and forth, the bickering and their pretensious behaviour is so annoying. Joey was funny at first but that wears out fast once you get past 50 episodes. Very one-dimensional. I don't even know what to say about Chandler because he is that bland. Monica went from "I don't care" through "I kinda like her" but ultimately annoying. Phoebe I liked until she, too, got the I-need-to-marry virus. Until that she was honest in that she didn't care what others thought about her and just made her thing. Alltogether there was little character developement in any of them. I couldn't connect with them and was more interested in what guest stars might turn up next.
And what it is anyway with all the girls need to find guys to marry and get babies and the guys needing to score? It is a good thing there wasn't any social media available because with all those gay and trans jokes there would have probably been a lot of heat.
That laughing track is way over the top. It accompanied literally every sentence. It even ruined jokes by starting to early. And what is wrong with building up an emotional moment and going through with it instead of ruining it with a bad joke ?
So, why did I watch, and even complete, it ? It's simple. And I mean that in the true sense of the word. You don't have to pay close attention to the plot, f.e. you don't have to stop it if the phone rings, you can even skip an episode completely. It's like having a radio playing in the background. Sometimes reading the synopsis was as interesting as the actual episode. Let's be honest: continuity, logic and depth of story were not the trademarks of Friends. It is full of holes and errors. But it fitted my daily schedule. I could drop in a couple of episodes here and there. And I punished myself a little bit because I went out and bought the whole series at once. Had I watched the first season first I would stopped there and then.
This is the longest review I've written in a while which shows I thought about this show a lot. I like versitality, it would be boring if every show was the same. That doesn't stop me though from speaking my mind. This is a love or hate kind of show. I don't hate it as such. But there were only just one or two episodes a season I think were more than average. It became better towards the end (either that or I caved) but it was an effort to get through and I am glad I'm done with.
On the surface this film is about a group of people who have been labelled “villains”, working together to save the world. But really, this film is about one man and one man alone, he isn’t strong, but yet he defies all odds and sacrifices his life to save his friends. His only power is his bravery, he is the driver of the van and the main character of this film, Milton.
It is really frightening for me to see how many of the people here see this as a happy ending.
I guess technology and the hedonistic neoliberalism have found its way already into our minds.
Weren't you atleast concerned about the talk they had about people "doing everything to atleast feel something" in this sadomaso / groupsex facility? About 80-85% being already dead? About a huge technology company owning us even after our deaths? Just for the sake of hedonistic, fake emotions disguised as only what it is: binary codes?
This was, for me atleast, one of the darkest endings of any Black Mirror episode ever. It shows you exactly what the neoliberalistic idea has already done to us and will eventually still do in the future (and I thank the director and makers of Black Mirror so much for it! One of the best episodes of this show so far)
I wish they would follow the book, rather than buy the rights to the book, then throw it all away and just make up new stuff which is apparently what they have done.
Justin Long using the rape dungeon as an opportunity to boost his listing square footage is the most realistic portrayal of an AirBnB host I’ve ever seen.
dina and noaf i love u girlies <3
The first Pixar movie that I ever cried for, maybe it was the beautiful art, the compelling story or the fact that I was being represented on tv, no I'm not a sea monster, but if you replace all of the times that "sea monster" was said in this film and instead use "gay" you'll get what I mean. Hat's off to the writers, I could go on and on about how perfect the parallels are but I'll just have to silenzio bruno!!
One word can describe this movie, "mundane". But if I was to give more, I'd have to say this is where Sandler really started to go downhill with his movies. It's not really original, and not funny anymore. It is really a product of the 90s. Contained comedy within its own decade, it failed to get a slight chuckle out of me.
The only thing I liked about this movie is that it had a few good ideas, the brothers were the better part of the movie with their hijinks on Earth and the design of Hell itself. But the special effects and CGI were just awful and too distracting to be woven into the story. For what story this movie had, as it's just another flat "fish out of water/love story".
I got my friend to watch it with me as I thought it would soften the blow from Adam's poor jokes, but sadly it was in vain. We both sat in silence for a majority of the movie until we started to just get out our phones. It is not a movie for everyone, but I can see it being appealing to those who enjoy Adam Sandler's comedy and who want a movie to tune out on if you don't mind the random plot and bad dialogue and poor product placement.
Bloodsport: “Nobody likes a showoff.”
Peacemaker: “Unless what they showing off is dope as fuck.”
James Gunn recently said in an interview that he finds superhero movies “mostly boring” right now. Anything ranging from safe and boring or technically well-made but disposable, at best. Gunn received at bit of heat from fans for those remarks, but in some sense, he’s not wrong. Because sometimes following the same formula will eventually wear fin and more risk taking needs to happen.
And here we have ‘The Suicide Squad’, the soft reboot to the 2016 film, but this time directed by Gunn himself, where he delivers a highly entertaining movie that is bursting with creativity and ultra-violence. James Gunn once again shakes up the superhero formula with a slick style. I’m just glad DC is finally letting directors have a voice and a vision, and I hope it stays like that.
The first 10-15 minutes tells you exactly what the movie is going to be.
I just can't believe we got something like this. It's 2 hours and 12 minutes long, but it's always on the move. It’s bonkers from start till finish, and I enjoyed every minute of it. This is probably one of the best shot movies in the DCU. The soundtrack is great as well and used effectively. The action scenes were insane and made the overall experience one of the most fun I had at the cinema in a long time.
A massive improvement over the 2016 film, AKA ‘the studio cut’, is that the movie doesn’t look ugly and isn’t chopped together by trailer editors. The movie is vibrant in colours that made it look pleasing to the eye. The structure at times is messy, and yet strangely well-paced, as there’s a lot going on.
Did I mention the movie is very gory? It’s cartoonish violence, or what people call "adult superhero movie", so it's not for kiddies or for the faint of heart. You would probably guess that not everybody on the team is going to make it to the end credits, so deaths are to be expected, but how certain characters “bite the dust” are so unexpectedly gruesome and brutal, it took me by surprise each time. The marketing for the movie was right, don’t get too attached. As I said before, James Gunn had complete creative control over the movie, and he doesn’t hold back on what he wrote and show on screen. But then again, it's a movie, it's not real, the actors who die on screen are fine in real life...I think.
All the cast members have equal amount of time to shine, and you like these super villains this time around, as each character had wonderful chemistry with each other. John Cena plays Peacemaker, who can be best described as a “douchebag version of Captain America”. An extreme patriot who will do the most horrific things for liberty. John Cena excels in the deadpan line delivery for comedic effect, but surprisingly enough, worked well in the serious moments. Looking forward to the spin-off show ‘Peacemaker’.
Margot Robbie once again nails the role of the chaotic but gleeful Harley Quinn. While the character isn’t front and centre this time around, more of a side character, but whenever the character is on screen, it’s instantly memorable.
Idris Elba plays Bloodsport, a contract killer who’s doing time in prison after failing to kill Superman with a kryptonite bullet, while also dealing with family issues, especially with his daughter. While the character may sound like Will Smith’s Deadshot from the 2016 film, but trust me, the execution here is much stronger. This is by far Elba’s best work in a while. Charismatic and a strong leading presence.
Polka Dot Man, played by character actor David Dastmalchian, a socially awkward, weird, and lame sounding character that has some serious mummy issues, which has a funny running visual gag throughout. However, because of Gunn’s writing and Dastmalchian's performance, the character is more than a joke, but a unique character to watch.
Ratcatcher 2, played wonderfully by Daniela Melchior, who brought so much warmth and heart to the film. I loved how they tied in her tragic backstory into the finale, as it honestly made me cry. And let’s not forget the king himself, King Shark, voiced by Sylvester Stallone. He stole every scene he’s in, because he’s so adorable and has such kind eyes, but when he’s hungry, he can be a killing machine.
The rest of the supporting cast, even in the smaller roles, still manage to stand out amidst all the chaos. I liked Joel Kinnaman as Rick Flag a lot more this time around, because the actor was given more to work with in terms of good material. Viola Davis is brilliant as the cold and ruthless Amanda Waller. And Peter Capaldi is always a pleasure to see. Also, I like the character of Weasel, who I can describe as a unholy offspring of Shin Godzilla and Rocket Racoon. He may not be beautiful to look at, but he's beautiful to me.
Like ‘Guardians of the Galaxy’, the movie has a lot of heart and I like how they took certain characters, who on page sound stupid and ridiculous but are handled with such love and depth, while also being self-aware of its own characterization.
You can literally watch this as a standalone movie and you won’t be lost or confused, as you don’t need to watch 22 other movies to understand it. This is by far the strongest entry in this jumbled mess of a cinematic universe.
Overall rating: Nom-nom!
Barbara and Bruce? Why? Makes no goddamn sense and completly changes Batmans motivations.
Unfairly compared to the wonderful 'Freaks and Geeks,' and criticised because of it, this series deserves to stands on its own. Funny, heartfelt, sweet and moving, this portrays real feelings amongst a group of high school kids in a mostly unsentimental way. Looking forward to the next season.
Less is more, it’s also for true for TV Series. Nothing ”outstanding” must happen for everything to fall in place with extraordinary grace and perfection.
Short but intense comedy. Not to be missed.
Oh hello there Mr. Shakycam - I hate you.
Do yourself a favour and watch this movie as blind as you possibly can. A lot of the enjoyment of this movie is derived from not knowing what you're getting yourself in for and having the movie unfold the way the creators intended.
Like many modern horrors, Fresh wears its subtext on its sleeve. What begins as subtlety makes way for literal "bashing-over-the-head" message delivery and I can't help but feel the movie suffers for it after all the goodwill it builds in the front half. The core idea here is very original (dare I say, Fresh? heh) and the performances handed in by Stan and Edgar-Jones are sublime. While ultimately I really enjoyed my time with Fresh, a lot of the shine was lost due to contemporary story telling tropes and its overt messaging losing all subtlety following the "reveal". Definitely a good time for those that roll with what Fresh is putting down, but any looking for something extra to ponder on will probably be dumbfounded by how clear and lacking-complexity the underlying message here is. That's not to say I didn't enjoy it though, this is exactly the kind of oddball, original horrors that I love and wish were made more often; I just need that one extra layer that was missing here to push it to a higher score. I'll give it an 8/10 on here because I can't give it a 7.5. But it's definitely closer to an 8 than a 7. Also special shoutout to the soundtrack, it was just jam after jam. Will be on my Spotify for the coming week.
Spoiler filled ramblings of thoughts about the plot below!
I really enjoyed how the movie was framing the literal commodification of the female body. Past the usual sexualisation and profiteering from the female form via photos and videos, Fresh captures this in the form of these body parts being removed and sold to the highest bidder. Legs, breasts and ass are all the prominently removed parts from the women we were shown. Additionally, the objectification of women is disgustingly framed to great effect with them shown as literal meat being consumed by wealthy, powerful men. Fresh clearly has a lot to say about all this, and while the message begins well veiled and woven into the idea of the film, by the end we're literally clubbing a woman who stays silent in this system and having the dialogue refer to her as the problem. By that point, you've removed all metaphor and you're just blasting the message directly to the viewer. Please leave at least some room for interpretation, not everything has to be clearly telegraphed at all times!
Calvin is a genuinely bad person. I give the narrative credit for letting Ruby be an actual person and not just a MPDG before Calvin began tinkering with her, but they undercut that by giving him hope in the end.
Surreal, psychedelic nonsense that somehow takes an interesting idea, game cast, and state of the art effects to make a tedious, dull bowel movement of a film. Now that's talent. If you thought Dark Tower was bad, you ain't seen nothing yet. 2/10
Slow and completely ridiculous. How did Russell Crowe, Jennifer Connelly & Emma Watson get themselves involved in the crap.
i love me a strip club
[9.6/10] Now that’s more like it! Episodes like these reaffirm my position that, while totally unfeasible on a network show in the distant, far off year of 2004, that Amy Sherman-Palladino should have written (and maybe directed) every episode of Gilmore Girls. I complained a good bit about the Season 4 finale and how it felt overstuffed and jumbled with too many moving parts that never felt like they had the chance to breathe. Well maybe that’s not a problem if the script is good enough, because “Say Goodbye to Daisy Miller” has nearly as many moving parts, different characters, and emotional states to juggle, and yet it’s everything that the prior episode wasn’t.
That begins with giving us Linday’s perspective on the situation with Dean. While the prior season made her into a one-dimensional witch, this one shows her earnestly trying to please her husband, dealing with his misplaced anger, and all-in-all doing her best despite the creeping knowledge that something isn’t right. I’m not quite there yet, but I’m inclined to give Gilmore Girls credit for making her such a straw man last season in an effort to get the audience to sympathize with Rory, if that was done with the intent of pulling the rug out from under us and showing the viewer that Lindsay is a real person with her own sort of love and feeling for Dean, which makes the waters much murkier.
For that matter, I love how the Rory/Dean situation is handled here. Despite that knot in your stomach when watching Rory and Dean have any affair, there is something so damn cute and endearing about the two of them in their post-coital bliss. That’s part of what the show wants to sell you on, the sweetness and relatability of that moment which is built on something awful, that horrid contradiction that something so joyful can be borne of something so hurtful. The two of them needling each other about what “their song” should be, jamming out to “Candy Man”, and just generally being enmeshed in the comfort and affection of one another is as heartening as it is disquieting.
It’s arguably the peak of the Rory-Dean relationship. No longer is Dean just a blandly nice beau, or the other guy in a love triangle, or an accessory to Rory. Instead, he feels like as much of a real person, one who has deep feelings for Rory, but also guilt and shame that he reprehensibly turns into anger at his wife rather than face.
And the episode makes good on the big moments in Rory and Dean’s past. The episode opens with their exchanging “I love you”s, the thing that broke them up in the first place. They rekindle their romance in Miss Patty’s dance studio, the place where their past “indiscretion” caused a town commotion. Hell, even Lindsay working her behind off to make Dean a roast for dinner has a certain “Donna Reed” quality to it. All of these moments play into the Heaven and Hell of what Rory and Dean are doing, and what they’re doing to Lindsay.
What’s even more commendable is how the bulk of Rory’s plot in this episode is trying to deal with that realization, of seeing that real person on the other corner of the love triangle and feeling bad about what she’s done. And what makes it interesting is how on the outs it leaves her and Lorelai.
We’ve seen the Gilmore Girls fight before, but something about this feels different. Even when they’ve been upset with one another, there hasn’t been the same sense of bad blood, the same anger or lack of camaraderie. It feels deeper and more meaningful, to where Rory is seeking advice from the well-meaning but inexperienced Lane (in a funny but meaningful scene) rather than talking things out with her mom.
And it’s a hell of an episode for Lorelai as well, one that embraces the same sense of Heaven and Hell. Here is this grand moment in her life -- her and Luke kissing and, potentially, starting a relationship, and yet she can’t revel in that, live in the joy of that development, because she’s not only worried about her daughter, but upset with and, however briefly, seemingly estranged from her. The beginnings of one (hopefully powerful) relationship are tarnished, or at least compartmentalized, and hard to enjoy, because of the weakening of the show’s foundational one. If there is one thing Sherman-Palladino excels at, it’s balancing characters’ complicated emotional states, and nowhere is that clearer than in the cavalcade of feelings Lorelai experiences throughout this episode.
The fights with Rory feel well-founded and real, the sort of “bitter but trying to be polite” vibe from both of them that makes the aftermath of their argument seem like it had an impact on both of them. But the sweetness of Lorelai/Luke unfolidng works as a nice salve.
For one thing, I love the choice to filter it through Sookie. Her giddiness at the two of them finally getting together is palpable, and it helps to add some of the levity and excitement that Lorelai, understandably, can’t bring to the table right now. At the same time, Luke is absolutely adorable. The way he’s sheepish and doesn’t want to tell people about what happened in case Lorelai doesn’t want to go through with it, his usual Luke-like reserve but clear happiness when things are working out, and his seven voicemails are all just the peak of sweetness from the normally curmudgeonly if affectionate in his own way dude.
And their phone conversation (both of them, really) is perfect. Luke does his best to keep it cool and not put pressure on Lorelai. Lorelai admits her affections in a roundabout way. And then a quiet, slow-spun felicity breaks across the scene. Lorelai is still down from her interactions with Rory. Luke is still nervous about where things might go from here. But in that moment, they realize that they have each other, that this thing might just work, and it gives them a light in the darkness. It’s beautifully, beautifully done.
But Emily is searching for her own light in the darkness, and as underserved as the fight between her and Richard was in the last episode, it’s given plenty of space here and the episode is all the better for it. The sequence where Richard and Emily return home, squabble, and then make a scene involving escapes from the basement and the neighborhood watch is a brilliant balance of comedy, anger, and drama.
In another subtle way, you see the hints of where Lorelai’s personality came from in Emily, in her ultimatum to Richard about going out the window, and in the back and forth the couple have while still smarting over their differences. There’s something very Lorelai-esque about this moment, and it’s sharp writing to bring that out in Emily at a time where she feels unconstrained, liberated in some ways from how things have always been.
The episode also gives her one hell of a line, when Richard looks upon this lack of decorum and declares that Emily is no longer the person he married, and she retorts that he’s right, because the woman Richard married was someone he treated as a partner and confidante, something Emily isn’t to him anymore. It’s a brutal barb, and injects real feeling into a semi-ridiculous, if no less effective scene.
The greatest achievement, however, is the way that Sherman-Palladino manages to weave all three stories of the Gilmore Girls together. Rory is enraptured with Dean once more, but feels the gnawing guilt of how it could affect Lindsay. Lorelai is minorly thrilled to embark on something with Luke, but feels the reluctance and inability to fully enjoy because of her concerns and fights with her daughter. And Emily is fed up with Richard, but excited to run to Europe and spread her wings. The way all three of these storylines and emotions and motivations collide in a single lunch is nigh-perfect.
It provides an excuse for Emily to do what she’d always meant to do, for Rory to run away from her guilt, and for Lorelai to steer her daughter away from temptation. It’s not all sunshine and roses, with the core of the negative still rooted in this small but potent solution, but it makes sense, and allows the episode to juxtapose these three women, each in some state of having their worlds changed by someone they care about, and each other, finding time to figure it all out.
“Say Goodbye to Daisy Miller” is a nigh-perfect hour of television. It manages to recap the events of the finale without actually doing a recap. It throws in comic fun like Michel’s interactions with Taylor. And there’s nary a bad scene or bad character interaction to be had. More than anything, Sherman-Palladino bites off a hell of a lot in the opening salvo of Season 5, but manages to chew every piece of it in a satisfying, endearing, and emotionally complex manner. Viva Season 5!
Really very good. I was surprised. The only flaw is that I prefer an unhappy ending.
'Every straight girl's fantasy'... until it turns into literally everyone's worst nightmare. This movie is an experience. I watched it because I heard good things about it, saw it go viral on TikTok and needed to know what the fuss was about. I knew before watching what I was getting into but I kind of wish I didn't because the build-up to the opening titles was fantastic. It could pass as a romcom or drama at that point and then it turns into this horrific tale that left me with a very very very bad taste in my mouth.
They went for a less horror and more thriller approach. Leaving much up for interpretation like when Noa gets her ass chopped off. We are not shown the cutting but from what we do see it is all but to clear what is going on. Same with the food. It's food on a plate but the knowledge of it being human flesh is enough to make me gag. Steve is charming, handsome, much like Joe Goldberg from the show You. He draws you in and I can fully understand why Noa would fall for him. He doesn't even lose the charm as he preps dinners or performs 'surgery' on his victims.
The music, the filming, the acting... all great! The story is good too. It's believable which makes it sickening.
Let's go for a round of applause for Noa's bestie. She got the job done. She went all in her friend and got her back safely. Kudo's to Noa too. I'm glad we saw her take action. Play the game. Play it soo good that halfway through I started to wonder if she was into it. Until of course she bit his dick...
I actually recommend this movie to my surprise.
starring Sebastian Stan as Armie Hammer
Overlong, inconsistent and definitely style over substance but I still really enjoy this entertaining dark comedy/romance. It's cute, unconventional, suspenseful, darkly funny, and I didn't expect it to be this campy. The genres mash together in unexpected ways, and performances really drive this one. I can't believe I'm saying this but the highlight of this film was Sebastian Stan. I would recommend going into this film knowing as little as possible.
Juno is not only one of those movies about mistakes in adolescence or about an unwanted pregnancy, is above all a film about maturity that escapes to all the usual clichès of all films of the genre.
Juno is a 16 year old and she is a very confident and good with herself teenager. She always tries to accept everything in life with easiness and did not run away to her responsibilities when she discovered that was pregnant. Quickly managed a solution and being perfectly aware that she is not ready to be a mother she is looking for a couple to adopt her unborn child. But Juno soon discovers that everything that involves the pregnancy, both physically and psychologically, are not so easy to deal with.
The best thing this film has is perhaps the fact that we think he is taking us to a certain way and after all that happens is not quite what we were expecting. Escaping the usual clichès, ultimately becoming an honest movie and accepting the decisions of the characters without requiring them to be judged by the choices they make.
Ellen Page's performance is absolutely fantastic! Very natural and real, but did not only felt that about her but also from the rest of the cast.
Overall, Juno is a movie with a serious tone that manages to be entertaining addressing at the same time important key issues of life.
Rather unusual for an 80s film with gay characters in that nobody gets or dies of AIDS. It's not even depressing.
It’s a lot like the first one.
It’s kinda trashy and childish, and it’ll probably make you cringe at least a few times, but it can’t help to be fun occasionally.
Tom Hardy clearly enjoyed himself making it, Woody Harrelson is fine.
The action is alright, but the production value is awful, the whole visual look is dated and cheap.
Like, this was shot by Quentin Tarantino’s DP, but you’ll never be able to tell that because of the production choices made by Sony.
The plot itself is very thin, uninspired and mostly forgettable.
Everything about it is extremely disposable, and the whole thing just screams ‘streaming movie’ to me.
You really don’t need to waste your money on this by watching it on a premium format.
4/10
I've seen worse. But it's not good, and it doesn't remotely resemble the source material. It's a PG-13 comfortably dumb movie and it suffers from its shackles. Carnage is hammy and goofy rather than sadistic and maniacal. Not recommended.
