[7.7/10] Given the dearth of LGBTQ characters in major mainstream works, I feel like there’s a tendency for fans to ship any two people of the same sex who shows the slightest bit of friendship or affection for one another. That makes me hesitant to suggest what I’m about to suggest for fear of falling into that trap, but here goes anyway -- Danny has better chemistry with Davos than he’s ever had with Colleen.
In fact, I think there’s a fair read of the final scene of this episode, where Davos sees Danny embracing Colleen in the rain like in so many romcoms, as Davos walking away upset that his crush is with someone else. But whether you consider it a bug or a feature (and I consider it the latter), what’s interesting is that the episode works equally well with and without that subtext.
If you choose to read it without that element, Davos still has one of the better motivated (and better-acted) presences in this show in just a couple of quick episodes. He is pulled in two directions, because he is clearly fiercely loyal to Danny (his “I won’t leave you” while Danny’s getting stitched up by Claire evidences that), but he’s also jealous and resentful of him. That makes his reactions to Danny and to the new life he’s scratched out for himself in New York layered in a way that really only Ward Meachum’s have been on the show so far.
On the one hand, Davos admits that he feels a little usurped by Danny, that he believed becoming the iron fist was his birthright and the fact that the monks chose Danny instead of him still eats at him. And, to add insult to injury, Danny abandoned his post, and set his duties aside. Danny has the thing Davos wanted most in the world, a thing that was denied him, and seems to be walking away from it, shirking his responsibilities. It’s the sort of thing that would bother anyone, and Sacha Dhawan conveys the restrained frustrations of his character well.
But on the other hand, Davos feels betrayed at a more personal level. When he tells Claire that he treated Danny like a brother and that he nevertheless just left without saying a word, you can see it emanating from a more personal sort of hurt, the type that believed they had a friendship that could not be disregarded so easily. That friendship is given texture by all of Danny’s previous fond recollections of the hijinx the pair would go together, and that adds depth to the conflict between the two friends when Davos questions Danny leaving Kunlun and asks what appeal this world holds for him.
And yet, it can also be taken a step further, that Davos is not simply hurt as a friend and brother in arms, but as someone who has romantic feelings for Danny that may not have been reciprocated or ever even acknowledged. I’ll admit this may be a stretch on my part, and perhaps I’m taking the completely dead romance the show has tried to sell between Danny and Colleen, in this episode especially, seeing Finn Jones have a modicum of chemistry with someone on this otherwise anodyne show, and concluding that by comparison, his concordance with Davos must be love. But either way, there’s clear affection, whether filial or something more, between the two of them, that creates interesting and conflicting motivations for the pair.
I’m as shocked to say it as anyone, but this also gives a really interesting answer to the question of why Danny left Kunlun. For a while, the assumed answer was a pragmatic one -- to find out what happened to his parents, but we also get an emotional one here. Danny, understandably, felt “empty” after what happened to him and his parents, and he thought that becoming the iron fist, reaching the pinnacle of the cultural collective he was brought into, would fill that in his life.
Only he finds that when he achieves what he set out to do that it isn’t as fulfilling as he’d hoped. He sits around at the gates of Kunlun stacking rocks and seeming like his duty is a tedious and hollow one. Seeing the bird flying free as a sign is kind of cheesy, but it still speaks to a relatable notion of having done what you set out to do, and yet it not fixing the deeper-seeded problems within. It adds a human dimension to Danny’s struggle that’s been lost in the usual orphan backstory and generic kung fu material.
We also get more hints that the Monks of Kunlun are not exactly sterling examples. It’s appropriate that Danny is expected to go into a cave to face trials to reach the next level of his training, because there’s a real Jedi vibe to all of his. Danny and Davos have been trained to suppress their anger and other strong emotions – such sentiment is not appropriate for a weapon – and yet it’s still there, haunting Danny and blocking his chi.
There is a sense, brought forward in an occasionally dull but generally good conversation with Claire, that Danny never really processed what happened with him and his parents, and those difficult emotions are still affecting him, even if he doesn’t acknowledge it. There are connections he has to this world that he just can’t shake using his Kunlun discipline.
Unfortunately, one of those connections is Colleen. The whole tortured “how could you lie to me?” angst between them is pretty awful, especially because we know they’ll inevitably overcome it and team up to help one another. Without good performances or writing in the overwrought scenes between the two of them, it just feels like a perfunctory bit of squabbling without any emotional punch.
And to add insult to injury, we get more Bakuto here, who plays the angry cult leader with all the charisma of worn hockey puck. There’s a common theme to this episode, with both Danny and Colleen realizing that the organizations that trained them may be less than noble, but since we just got introduced to this sect of The Hand and Colleen’s connection to it, her half of the proceedings have no weight.
The only bit of real intrigue is that we learn Bakuto’s sect is doing the same blood draining stuff that The Hand was doing in Daredevil Season 2. Otherwise, it’s more nonsensical, shoehorned in antagonist stuff that detracts from the better-than-usual things “Lead” pulls off here (including giving Claire more to do and showing off her sarcastic edge).
Much of that comes down to Danny and Davos, and whether you’d like to think of them as symbolizing an unrealized crush or simply brothers in arms, their connection has a force that’s been missing on the Danny side of this show (the Meachum side continues apace with some good if brief and kind of creepy, Joy-Harold material), and instantly adds a new dimension to Danny’s return to New York City.
As a movie it's the most well crafted of the series. But as an adaptation of the book, it was by far the worst.
why wouldnt debbie just call the police ???? taking her baby is literally kidnapping what the fuck
p.s. kevin is da man
Just 25 minutes in and I think Westworld could be the next Battlestar Galactica. It's more dark than the movie from the 70's. Just not sure why the engineers don't see all the crazy shit Ed Harris has been up to though. If they are always watching the robots.
Still, as a fan of the original movie, this show is pretty kick ass and I can't wait for more. The movie is pretty outdated and this show makes a great insanely awesome update. Even if all of it doesn't make complete sense so far.
I was kinda hoping Maggie's baby is dead (and a walker) and began to eat her from the inside. Then I realize that 1) That's biologically impossible, 2 month-fetuses (or 3 o 4 months, IDK) doesn't have a mouth, less alike teeth and 2) I was craving a really dark, cruel violent stuff.
But well, maybe they're killing the baby so Negan can kill Maggie without shark-gory-jumping.
Also, what a weak "we need to force a cliffhanger" ending. That blood-splatter thing look like something right outta syfy channel.
Probably more mindblowing for an American audience that barely gets any exposure to this kind of material from its own industry. For my taste, Guadagnino plays it way too safe. I was waiting for it to push beyond the melodrama into something more wild or messed up, and I never really got that. He's constantly flexing with impressive camerawork, great editing and a fantastic score, but what is it all in service of? There's not a lot more to this than very basic melodrama. Tennis is used a metaphor for innuendo and relationships, which becomes a bit eye-rolling as the film goes along. On top of that it's not nearly as sexy as some people are suggesting, it feels like a lot of foreplay and innuendo without a real pay-off at any point. His camera doesn't shy away from nudity or sweat, and Trent Reznor's score puts in a lot of work in turning up the heat, but you want it to push beyond that at some point. For me it doesn't really develop into anything surprising and the conclusion it ultimately goes with feels kinda lame because of it. Still, it does a good job at intriguing you with the personal struggles of the three main characters, all of which are well portrayed by the actors. Zendaya is a bit hard to read at times, though it could be intentional with the character she's playing. There's enough merit to the complexity of the characters and technical aspects that kept me from being bored, but the entire time I kept thinking about how much more interesting this could be with someone like Paul Verhoeven at the helm.
6/10
how good of an actor is Aaron Paul?
He can play Josh Hartnett, playing Aaron Paul.
omg !! the Mexicans Narcos Had a "4k Curved Led TV " in 1985 !! :p
I really hope Nate & Bonnie pay somehow for this
Damn. So much sexual tension between Dinah and Oliver. STOP FIGHTING AND MAKE OUT. Uhm, what. Anyway, I really, really like her character. She is so badass but with a heart of gold. Her scenes are the highlight of the episode, as per usual.
If you're looking for an action and "turn brain off now" film, just don't watch it and spare us the 6-7 hearts review.
I for one, am very tired from 500$m crap like Indi Day and Marvel's poop. So I was very excited to watch this one.
This one is more like Spielberg's Encounters from the Third Kind. It's more about the characters in the film and the amazing journey they go through. It's mostly about the human behavior that will make you think.
While it's not an End of the World aliens movie like Battle: Los Angeles, it still offers great amount of military presence and plenty of stuff that's going on.
So if you actually want to care about an intelligent movie and use your head - go. Otherwise, go watch an X men.
Highly recommended for some audience 10/10.
2-feb-2017 edit: Just came out on Bluray and I saw it again. Definitely keeping my rating.
Watching again at July-2023, excited towards Dune II : Excellent. Excellent film. So called plot-holes listed here are negligible when the overall product is really thoughtful and masterfully crafted.
The language with which both men talked about their families as possessions really stuck out to me. It's what led to one being unable to grieve his dead family and the other being unable to connect to his living family. The ending showed how viewing women as mere set dressing for men's lives ultimately leads to tragedy for not just the disposable women but for the men living in misery and loneliness.
I don't like Spencer, he doesn't have any guts.
First season was amazing and I loved it !
This second season was slow from the start and had to force myself to go on watching it.
I was hoping that it would get better...well, made it to the end and it was boring !
Nothing happens, it's way too complicated to stay focused and to understand the too twisted plot.
What a huge disappointment !
Imagine being a writer for a moment, one people love and praise, but being trapped in a box that the people who love your work create. Imagine in the beginning you thriving in that box, people loving you more and more, but eventually you've explored everything in the box. Now suddenly people drag you down, "why is he telling stories outside the box?" This is why season 6 took 4 years, because none of these episodes were bad, but because 3 of the 5 weren't inside the box all this hate gets written. Time to move on people, something is indeed better than nothing, and the more you complain about the theme, the closer you get to black mirror straight out ending and red mirror taking it's place, because all good writers eventually learn how to silence the haters and write with their heart, not with a gun to their head.
What in the actual f*ck.
I'm a reasonable man, I realize I've been crapping on D&D even more than usual this season but I really do have to give them props for doing exactly what they set out to do. They hoped to subvert our expectations and they did just wonderfully in that regards.
We expected all of that buildup over the years to actually amount to something that at the very least passes for a presentable series finale but instead, we got an incoherent, steaming pile of shit. Expectations subverted!
We expected all of that character development to actually result in a beautiful pay-off that respects the journey of self-discovery each and every one of our beloved characters went through to get to where they are now but instead, we got a painful, disrespectful cycle of character regression. Expectations subverted!
We expected the final season of this show to keep us at the edge of our seats with thrilling writing that didn't subvert our expectations for the sake of subverting our expectations via low-quality shock value-seeking writing, but to introduce plot twists that make sense within the overall narrative of the story but instead, we got CW-level predictable, cringe material. Expectations subverted!
I get it. I really do. GRRM let them down by not getting the books ready in time and so they had to improvise away from his influence, but this? This? For a long while, Game of Thrones lived up to the slogan of its parent network, it wasn't just TV, it was something different, something unique and now to have to see it come to this... it's nothing short of disappointing.
On the bright side though, at least this episode didn't suck completely. The acting, score and cinematography were all on point, so I guess it's nice that I didn't walk out of it having appreciated absolutely nothing about it.
So why do I even bother anymore? I honestly could not tell you, though it's probably a mixture of masochism and a faint sliver of hope that they won't flush our collective investment into this series down the drain by the end of it, just one more episode dammit.
The funny thing is that after the episode ended, I came here to give it some stars.
9.5/10. There are times when I feel jaded as a viewer. When it seems like despite the breadth of films out there, that I know most of the tricks, to where while I can appreciate a film's achievements in sort of a detached way, when I can even be engaged and invested in something, it doesn't necessarily reach me in the way that movies did when I first started watching them. The scope of appreciation has widened, but the emotional resonance feels muted, because I can't help but see the strings.
And then a film like Room comes along.
And Jack sees the expanse of sky for the first time. And Joy hugs her parents after not seeing them for seven years. And Robert can't even look at his grandson. And Nancy tells her daughter that she's not the only one whose life was destroyed. And Joy tells her mother that if she hadn't been taught to be nice, she might never have gone with Nick. And there's a supreme, heartbreaking look of guilt on her face when a reporter asks if she should have given her son up while in captivity. And Jack walks in on his mother's suicide attempt. And Nancy hears her grandson say "I love you." And Jack sees a real live dog, and makes a real live friend, and cuts his hair to give his mother his strength.
And I wince and I laugh and I cry and I gasp at this beautiful, devastating, intimate, life-affirming film. This is why we make movies. I love popcorn films, with the fights and flashes and epic feel, and I love the big dramas, with their scope and their sense of grandness and the talent on display, and I love those classic film comedies that mix the absurd and the irreverent and the memorable into a single hilarious package. But the films like Room simultaneously so small and so personal, yet so powerful and affecting, have a special place. These are, as Robert Ebert once put it, the empathy machine that is film working at peak efficiency, taking us into the lives of people who have suffered and been unfathomably wronged, and carries us with them as they carve out a way forward.
I didn't know I wanted a film that feels like a cross between Oldboy, Life Is Beautiful, and Boyhood, and yet the elements Room shares with each--the sense of isolation, the loving way in which a parent tries to distract their child from a continuing tragedy, the slice-of-life, impressionistic depiction of a young boy's innocence--come together to form something absolutely tremendous.
That last facet of the film, the fact that it filters the entire experience through young Jack's eyes, is a stroke of brilliance. There's a matter of factness, a certain directness or even blitheness to the way children experience the world. Using Jack as the lens through which Room tells its story renders those events not only realer, but plainer, imbuing them with the unvarnished perception of childhood. The way the film is able to get into Jack's head, to allow the audience to view these horrors and steps to recovery through his eyes, is its greatest strength and most impressive achievement.
By the same token, Brie Larson as Joy deserves all the accolades she's received for her performance here. While still a prisoner, she carries herself with such an air of both utter resignation and quiet resolve, someone who's been beaten into submission but carries on with whatever she has left. And once she returns home, the guilt that consumes her, the anger that she has for the world that kept turning without her, are palpable in every moment without fading into overwroughtness.
The film can essentially be divided into those two halves. The first is the story of Jack and Joy in Room, of the way that Joy makes unbearable circumstances livable for her son, the way that she copes and shields Jack from the horror around him, and how Jack strains and struggles to understand the idea of the world beyond those four walls, to where he can, eventually, help the two of them escape. The second half is far less intense, but still endlessly intriguing and affecting. It's a quiet domestic story about how people recover from that sort of trauma, both Joy who feels the opposite of survivor's guilt and second guesses herself, and Jack who is exposed to a big scary world, the depth and breadth of which is entirely alien to him.
But throughout both halves, there is such a pure emotional truth in each moment, from the simple joys that Jack enjoys within the home he doesn't realize is a prison, to his anger and resistance at having that fantasy shattered, to Joy's dispirited but resolute attempts to keep him happy and healthy, to the realistic, painful difficulties parents and children face when rebuilding a family seven years after a tragedy, to the wonder and fear a small boy has for what lies beyond the garden gate, and the unmitigated joy at every step taken toward some cobbled-together normalcy. Room is a beautiful, heart-wrenching, intensely personal film, that takes an unflinching yet uplifting look at how people cope and come back from the worst that our world has to offer.
Someone move this episode to special instead of season 1
A good finale. I guess I did wanted a bit more of black and white in this show. The portrayals are great, the satire is good, but I think it needed just a bit less, just a bit less, of gray areas. Like, don't give any triumphant tone to a finale where all the rich people get away with everything.
Just to clarify, I think it's a great way to end, in a sour note, just make that sour note a bit more obvious (focus, soundtrack, etc), and not end with the liberating tone of the white kid going for his dream.
Finally something actually happened after they dragged the season for absolutely nothing.
After four mediocre episodes in a row with three of them being filler, this episode is decent enough. Those previous episodes serve no actual purpose other than waiting for the plot to trigger itself by that call.
The dialogues in this episode could be better and so could the way the scenes are cut, especially for the first half. People seem too eager to join The Mando in his quest for the sake of moving the story. However the last 5-10 the minutes is quite watchable with enough tense. The brute killing in the last scene seems to suggest they're going with the "evil Empire" cliche, but I wish they could do better than that next episode.
It seems like the story just started to be set in motion and we will be left with more questions as Season 1 ends, which unfortunately seems to be Disney+ business model: just make cute Baby Yoda stuff for moms and Star Wars reference for dads, figure things out later in Season 2.
On positive notes, it's nice that they attempt to do more world-building like shocktroopers having signature tattoo, each Imperial province having their own insignia, and the Imperial warlord trying to convince people that the world is better with colonialism.
I'm beginning to think the writing team only had three good episodes in them. Getting predictable and drawn out.
Ends on cliff hanger. Starts new ep. 5 minutes in its good. next 40 minutes its quite disappointing. Ends on cliff hanger. Repeat.
You know what, fuck this show, and the writers, and the poorly written plot and overused plot twists! What the hell happened to this show, it had so much potential, how did they let it get this bad? Not sure if they got renewed for s4, but I doubt I'll be watching it. I'm done.
Alex' coming out was so pure/real and important fml. Yes straight ppl this is how you develop a gay character. That storyline is real as fuck IT HAPPENS IN THE FUCKING REAL LIFE so get over the "the writers just want to please the gays or can the writers stop writing stories that have nothing to do with their sexual preference?". We need/deserve this rep. And finally, i'm so glad the writers pulled this off i'm really looking forward to see maggie falling for alex ahhhhh fuck
USA USA. No thanks. Removing from sickbeard. Only wish I could delete the memory of this show from my head.
Over cheesy lines
Bad accents
Terrible stock footage
Cliche
Usa rammed down my throat
Religion rammed down my throat
Not for epileptics my god
