big balloon blood monkey just want fist bump :pensive:
Its such a sad and weird show and I almost feel like its purpose is to make people living average lives to feel like they are failures. I'm not mad at the show but it seems like the writer wants to make the mundane things in our life feel like mistakes and I mean, no I don't think they are. I'm not sure I want to do 10 episodes of this.
Still my favorite pilot of the Star Trek rebirth. I liked them all and find each show has it's own strengths and weaknesses. This was the best serialized work of Trek. While there are some stand alone episodes (they get fewer as the seasons progress) they're still enjoyable. There's just something about Sisko that sets him apart. Maybe it's that half crazy look in his eye that lets you know he could do anything.
wtf, if I had a dollar for every time rtd has sent tennant's doctor to live a domestic life as a happy ending I would only have 2 dollars but it's incredibly fucking weird that I would have 2 dollars
On the other hand I think the character development makes sense- we have the emotionally open and vulnerable 14 who's clearly been dealing with a lot of unprocessed trauma getting to process it and live out their life meanwhile 15 lives life with a renewed sense of wonder and vigor and it /does/ explain why this old face came back but also I don't know, and it wraps up the lingering thread of ten/rose but also it feels... Cheap somehow. Unearned? Like it's a handwavy way to deal with continuing the extremely well laid out "you've been running through all these devastating things and have never stopped" threads, and intellectually I understand but emotionally doesn't sit well for me. on a meta level I can accept (and actually enjoy) the emotional plot thread of tennants doctor (I don't want to go vs allonsy) and donna getting the Happy Ending, but the actual happenings of how we got there are a bit puzzling
Other plot bits: the doctors offer to the toymaster to be celestial was very s3 the master, the dance was also very master & the scissors sisters, and the visualisation was very eeaio. What is the whole cosmic horror of the toymaker, really?
fffu-ffuc--ffuuckkkk i'm cryingggg i didn't want this to END
3 Thoughts After Watching ‘Disenchanted’:
I absolutely loved revisiting these characters — and Amy Adams nailed it once again — but this film failed them. The wicked stepmother premise was a fantastic idea, but the execution was ultimately disappointing and the plot got a little sloppy. Many things didn’t connect. (Why exactly was Giselle dying at the end???) And Dempsey’s character had a ridiculous, unnecessary arc.
That production value. Wow. The difference from the original film is a bit jarring. I know this was a straight-to-streaming project, but many films that go this route still feel like a cinematic experience. This felt like a mediocre episode of Once Upon a Time. It deserved better.
None of the music stuck. Again, in complete contrast to the original, zero songs were catchy. There was more than enough time to create a solid soundtrack.
Bonus Thought: Enchanted was a film with so much heart and humor. There were glimpses of it here, but SO much of that was missing. Super bummed fan here.
I went for the laughs and left the movie theater with an existential crisis. I loved it <3
Not for epileptics my god
HAROLD, THEY'RE LESBIANS!
This episode created gay rights in 1995! We'll stan forever!
If you plan to watch this because everyone keeps saying how this film is "different" from MCU films, stop right here.
That's a false advertisement. It's not a "black and white monster film from the '40s". Werewolf by Night is an MCU film through and through. There's nothing "different". Let me list:
And those are just from the top off my head. Sure you can find more if you're observant.
Well, sure Werewolf by Night is dressed in black and white but that's about it. It's a gimmick. It's not even trying to capture the essence of classic black and white films The Artist (2011) did it or build the atmosphere like Sin City (2005) did it. People saying this film is "different" from MCU needs to get their eyes checked and watch more films.
If you just wanted to watch an MCU, sure you get what you asked. But if you expected more, then whatever you heard about this film is a big fat hoax.
[5.0/10] I scored this as a five out of ten, but the real answer here is that Plan 9 from Outer Space is unratable. It’s like trying to judge a bowl of tomato soup as a contestant in the Westminster Dog Show. The movie is so far out of form that using the same tools and standards we normally use to rank and rate things is all but meaningless.
The movie’s flaws have been well-documented. The acting is variable at best. The plot is a nonsensical hodgepodge. The writing is stilted and silly. The special effects are laughable. And the efforts to cover-up or compensate for all of these shortcomings are woefully inadequate. But no one signs up for Plan 9 these days expecting Kubrickian perfection. The movie effectively delivers what it promises to modern day viewers.
Here’s the dirty little secret though. Much of Plan 9 is undeniably bad, but much of it is also just downright boring. There’s humor in elliptical conversations that go nowhere and communicate nothing. But by the time Random Alien #3 is repeating the same point he made ten minutes ago in slightly different terms, it can be downright exhausting. There’s a strange art to bad movies. Being questionable in quality but rife with entertainment is a rare and special thing. In plenty of stretches, Plan 9 achieves that somewhat ignominious but still noteworthy standard, but in many others, it’s simply the dull kind of “not very good.”
More to the point, many of the things that mark it as a famous terrible film are hard to grok in the same way sixty years later. I like older movies. Plenty of them are as fascinating or profound as anything deliberately crafted to speak to us today. But they also require a certain allowance from the modern viewer for things like pacing, the style of acting, and the quality of the special effects that may differ substantially from what we’re used to.
Some of Plan 9’s performances or dialogue or chintzy effects are self-evidently crummy in any era. But honestly, a lot of it falls within acceptable tolerances for stories and presentations from so long ago. I’m a big fan of Star Trek, and plenty of the cheesier elements in the 1960s series -- whether in terms of acting or storytelling or visuals -- aren’t that far removed from what Plan 9 does here, and The Original Series remains a classic. Speaking only for myself, I’ve seen enough of the cinema from this era to be able to accept the stylistic differences without complaint, but not enough to be able to expertly discern embarrassing stumbles from conventions of the time.
All that said, wide swaths of Plan 9 are close to incoherent. The wants of any given character at any given time are opaque at best. There’s barely any sort of protagonist or central story to latch onto. There’s little in the way of build or progression. Scenes simply crash into one another, held together by the epoxy of voiceover narration that randomly goes away halfway through the movie. True to the film’s monster movie roots, this cinematic outing plays like it was stitched together from other random spare parts and jolted with just enough juice to be technically ambulatory.
And yet, there are themes here, bluntly delivered and didactic though they may be. Buried within all that flotsam is a legitimate point about man’s trajectory in the nuclear age. The movie is riddled with a certain fear, a common one in science fiction of the time, that our technology was outstripping our maturity as a species. The concept of using sunlight as an explosive sounds silly to the modern ear, but it’s not a far stretch from artists who watched scientists turn unseen atoms into weapons of mass destruction. The alien’s overextended, repetitive speech isn’t necessarily the grandest delivery mechanism for this idea. But it’s striking, to say the least, to see this germ of insight and maybe even profundity in a film that fails at so much else.
The problem is that Plan 9 isn’t really about that, outside of that scene. The best you can say is that it posits man as full of hubris and violence, that we are too impulsive and barbarous to become citizens of the universe. The efforts to cover-up the existence of aliens, the militaristic response to their visits, all suggest a version of humanity unready and even dangerous for the responsibilities falling into our laps as advanced technology propels us to the stars and to self-destructive capabilities.
But good lord, why does that mean the aliens need to revive corpses, or control them with ray guns, or give pontificating speeches about all of this? And why does it mean the same three zombies wander around...very slowly menacing people who should be able to get away at a light jog? And why would their extraterrestrial masters have them disintegrate down to their skeletons via the “decomposition ray” for no apparent reason? And why does one of the aliens repeat her compatriot’s name, Eros, fifty times like it’s going to revive him a la clapping for Tinker Bell? Trying to reconstruct this movie’s plot is like trying to build a bookshelf out of jello.
There is, however, one other element of note, which stumbles into potential thematic resonance, albeit accidentally. Paula, the wife of the pilot who first sees the UFO, is one of the only competent and half-intelligent people in the movie. The cops scratch and point with their revolvers. Others just sort of saunter into danger without thought, or act in baffling ways. But Paula seems to readily assess the situation and offer good advice that no one listens to.
It’s notable because there’s an odd, if era-appropriate streak of misogyny here. Characters talk about women being hysterical, and even the quasi-enlightened alien overlords utter jaw-dropping lines about what a woman’s place is. For someone who would sometimes dress as a woman, Ed Wood certainly doesn’t have the most progressive view of them.
The truth, though, is this sexist streak is a minor part of the film. But the same goes for pretty much everything. The struggles behind the scenes of the film’s production are legendary, and the fractured results bear them out. The grab bag of characters and story fragments and ideas bear little relation to one another. Some of them are funny. Some of them are boring, Some of them are even a touch profound.
But Plan 9 from Outer Space is a patchwork quilt made by amateurs by the side of the road, rather than a movie. It doesn’t make sense to judge it as a movie. Instead, the only proper response is to do what others have done: spelunk through the wreckage to find the humanity within and behind it, to understand the love of cinema and its leading lights that spurred it, and to marvel at why and how it was made at all. Therein lies all the intrigue and the glory of this messy little miracle. The film itself, for all its ridiculousness and infamy, is merely the bait.
Why was Doctor Who serialized from 1963 to 1989? Partially because that's how most scifi shows were aired at the time, but also because the stories they wanted to tell couldn't be told within one or two episodes.
Flux is a story that didn't need six episodes. Most of the content doesn't even need to be here. Instead of inserting things that are mentioned every episode only to pay off one tiny, insignificant detail, maybe find a way to get to the payoff without cluttering up the rest of the narrative. They should have had that first Sontaran episode and the Weeping Angel one be standalone, then have the Sontarans come back for their original plan for a three part finale. No 19th century miner digging tunnels, no weird crystal people, just a nice tight story.
You know, for a universe-ending event, there sure doesn't seem like there's a rush. They just make it more confusing by making the Flux affect the past, but not really? They introduce too many new things, people, and worldbuilding to keep track of. Plus, the editing is a bit wonky.
This had some potential. If only they'd trimmed the fat and kept a focused vision, we might have had something halfway decent.
I don't get it, why are people being so damn critical about the movie ? Ya gotta understand that it was just a catalyst so that the MCU franchise could grow on it; the movie was purely made to introduce Captain America, the cosmic cube and Agent Carter, nothing more nothing less, and it did a good job at that.
All I'm seeing is hate about this episode and I dont know why it was hilariously Amazing.. plus it's been known for literally months that there is a musical episode so why not skip the episode if you know you wont like it?? it even says in the episode name Karaoke :joy::joy:
Extremely predictable. Even to the point where any "twists" were obvious. But, this is my type of movie so... Loved it!
i liked this film more than the 1st one. & i didnt have to type out a short novel about it
I'm very torn over the original Star Trek series. I'm too young for it; I grew up in the 1980s with the original cast films - which I loved and still do - but my real adoration for Trek began with The Next Generation and then especially Deep Space Nine. The original Star Trek is a very different show from any of that, and I have to look at it with a different mindset to try and appreciate it. I don't have any nostalgia colouring my view.
To put it bluntly, it's horribly dated and oftentimes difficult to watch or enjoy. It's campy and looks very cheap. BUT, it's saving grace is how good the actors, writing and characters are. They brought the show to life, and at points made it a complete joy. For the time it was made it did incredible things with progressive storytelling and strong special effects.
I'm never going to love the original series, or even really get it. It's not my Star Trek, but it has its place in history and that can't be denied. I feel it got it chance to shine when it moved into the film format (conversely, TNG and the rest of the franchise worked far better on TV than as films).
I'll never look at those three guys the same way again... and that's a GOOD thing.
I've seen Batman Begins yesterday for the first time and I didn't like it that much. i rated it 5/10. thought this one might be better but it didn't. i've watched the first hour then jumped right into the last 20 minutes or so. I just couldn't watch more. clearly, it wasn't made for me.
