Probably the worst comedy ever made.
I am so proudly going to tell my kids that I lived in the time when Community aired on Television.
-Smart boy: We should try again with small objects, and then bacteria, plants..
-Hot girl: Nah, let's try it ourselves!
-Smart boy: Ok!
The power of boner is stronger than reason.
This has been the funniest episode of the season by far. I laughed out loud so many different times. Krieger's outfit, the insults, every time Ray wanted to double the bet... good stuff.
I wanted to love this because of Kristen but I just can't. It just feels all over the place and nowhere at all at the same time.
I was sequestered on an Bronx robbery trial for five days during one Baseball World Series and saw all of these social / class dramas played out on my jury in miniature. It's true. All of it. Great episode.
I'm not going to lie - I had a few tears in my eyes. Two grandmas who fall in love with each other just before they die - It was impossible for me to not get a bit emotional (´；ω；`)
This episode is better then pilot (01x01), but still it lacks something.
Great first episode! Really establishes the mood and setting for this installment of the Marvel shows on Netflix. Also, I love the idea of people selling copies of camera footage of "The Incident" on the streets. One of my favorite things about these Marvel shows is how they expand the Marvel universe on a more street level and we can see how civilians are living in a world of superheroes.
Can't wait to see how the rest of the season goes!
"I'm not for hire. But you have my word, ma'am... I've got you."
Denis Villenueve. A solid lineup. A different take on first contact. I loved Sicario but went in expecting a cerebral epic sci-fi.
That was a mistake.
Good things:
- Some really nice visual scenes
- Interesting aliens Calligraphy aliens!
- Clear theme of communication is omnipresent
- A neat score that might be awesome in a different movie
Bad things:
- The acting
- The lack of emotional reaction to ALIENS! The students asking to turn on the TV, all of the main characters
- Lack of useful characters Only the aliens and Louise actually did anything the entire movie.
- Supporting characters are very stupid in an attempt to foil the main character slightly
- Very clumsy exposition. Genre-typical news reports, voice-overs, dumb characters asking stupid questions.
- Very slow pacing. This worked in parts of Sicario, but didn't work in this movie because there was no tension. The main characters never seemed remotely threatened.
- Lousie showing up at school thinking everyone will be there after aliens arrive and there's a state of emergency
- Why can't you translate alien language like you can translate Farsi. This is a paraphrase but in the spirit of what Colonel Weber was saying.
- Useless love interest when the costars have no chemistry.
- Ultrasecure military base lets someone steal a ton of explosives and put it in an ALIEN SPACECRAFT without anyone noticing.
- Many unbelievable plot points
- Poor dialogue Let's make a baby - real quote
- Poor handling of the major plot points Looking through time seems to undermine the fact that the aliens need help. Why did one have to die if they could see the future? Why did only one die when they were right next to each other?
- Very heavy handed moral messaging that didn't align with the rest of the movie.
- Why couldn't Ian also see into the future as he studied the language, or any of the others?
Overall extremely disappointing. I'm honestly surprised critics or general moviegoers like this. The premise was very good. It's a real shame the execution failed so miserably.
Apart from the first act, what a stupid episode, almost like the second one. Let's hope they improve.
Please don't suck, please don't suck, please don't suck...
A MASSIVE improvement over a so-so first season, Daredevil never reaches the heights of Jessica Jones, but now stands as one of the strongest current shows. There are quite a few parallels to the later seasons of Arrow in plot and style, but Daredevil deals with the same issues much, much more skillfully. The new characters are welcome additions and incredibly well defined, with layered personalities and backstories. More of this, please!
Pretty sure this isn't coming out in a couple weeks...
[8.6/10] The opening of “Slip” is a little more direct than episodes of Better Call Saul tend to be, as it fills in some gaps Jimmy’s backstory and perspective. When pressed by Marco about Jimmy’s parents’ shop, about how they worked hard and everyone liked them, Jimmy admits it’s true, but questions the value of it. He declares that it got them nowhere, and characterizes his own dad as a sucker.
Jimmy’s philosophy becomes a little clearer, snapping into place with the flashback to his youth. His dad was someone who refused to bend the rules, who wouldn’t take even so much as a valuable coin for himself, who wouldn’t sell cigarettes to the kids from the local religious school to make ends meet, and in Jimmy’s eyes, that got him nothing. It’s a little too tidy and pat, but Jimmy sums it up nicely -- Papa McGill wasn’t willing to “do what he had to do,” and Jimmy definitely is.
That’s the thrust of “Slip,” which is as much an ensemble piece as any episode of Better Call Saul so far. Jimmy, Mike, Chuck, Kim, and Nacho are willing to go the extra mile, to do the difficult thing, not because they want to, but because they believe it needs to be done. It’s what unites those disparate individuals and their different challenges here. Each of them strains a little more, goes a little farther, in the name of biting the bullet and doing what needs doing.
For Jimmy, that means going back to his old ways. What’s interesting is that Jimmy tries to be good here. He tries to build on the success of his first ad with the owners of the music shop, and all they do is try to squeeze him. Granted, it’s Jimmy, so he’s probably inflating costs a bit, but still, the episode sets them up as jerks, and Jimmy as at the end of the rope. So hey lays out a drumstick, asks them one more time if they’re committed to not paying him what they originally agreed to, and then he intentionally takes a painful looking spill in their store to get leverage. Look out, Slippin’ Jimmy is back.
He also returns to his huckstering to get back at this community service supervisor and make a little scratch in the process. His big show of a potential lawsuit and deal with a fellow worker grow a little farfetched in terms of persuading the grumpy supervisor who eventually gives in, but the purpose of these scenes is clear. Jimmy tried doing things his parents’ way, the good way, and the only thing it got him was an empty bank account. Now, he’s back to taking the (literally) painful, less-than-savory steps that ensure he has enough money to hold up his end of the bargain with Kim.
But Kim’s willing to go the extra mile too. When Jimmy offers her the money, she obliquely hints at the idea that he might need time to regroup, that she’s willing to carry the load for the two of them for a little while. It’s not entirely clear whether she’s worried he’ll return to conning people full time and wants to alleviate the financial incentives to do so, or she’s simply concerned that whatever his assurances, unreliable Jimmy may not be able to come up with his end on a monthly basis without his legal practice. Either way, she takes on a new client, one where she already seems pretty slammed, to make sure that they’ll be able to make ends meet, with or without Jimmy’s contributions.
The Mesa Verde head honcho refers that client to her at a lunch meeting, where she just so happens to run into Howard. Howard, ever the politician, is plastically cordial, but Kim, unlike her beau, still has pangs of guilt and offers him a refund on the law school tuition he put up for her. Howard, letting the scales fall for the first time in a while, reveals that he too is working overtime, having to reassure scores of clients after the incident with Chuck gets out. Kim’s willing to take the (figuratively) painful step of handing over $14,000 dollars to assuage her conscience, and Howard is out there hustling to preserve his firm’s good name after his partner’s public breakdown.
But some good seems to have come out of it. Chuck is back with his doctor and (self-)reportedly making great progress. He may be overestimating himself a little bit, but he’s pushing through his exposure therapy and accepting that his illness is a mental not physical one. When Dr. Cruz warns him about taking it easy and not setting his expectations too high, he remains optimistic, anxious to get better.
In a tremendous sequence, without a word of exposition, “Slip” suggests that Chuck might overexert himself in this effort. He’s using the coping techniques the doctor suggested for him when standing in front of the blaring fluorescent lights of the grocery story. He lists the colors and objects he sees, taking his focus away from the pain. Director Adam Bernstein uses the tools in his toolbox to underscore the severity of what walking through the freezer case does to Chuck, the zooms, the noise, the vertigo of it all. It seems like Chuck has pushed himself too far, that he’s about to suffer another attack
But when we see Chuck later, he has the groceries and is no worse for wear. These things are difficult for him, painful for him, but he is ready and willing to push, to take that damn step, in the same of what he wants to achieve.
The same is true of Mike, who is clearly still haunted by Anita’s story from the prior episode of her husband dying in the woods without anyone ever finding the body. He digs and digs in the New Mexico desert, metal-detector in hand, until he finds where the unfortunate Good Samaritan was buried by the cartel. He calls it in anonymously, presumably in the hopes of ensuring that another family won’t have to go through the uncertainty that Anita did.
But he’s worried about leaving his own family in a state of uncertainty too. He still has his cash from his various extra-curricular activities, but he’s worried about how he could get it to his family should something happen to him. So he goes to Gus Fring, in the hopes Gus can help him launder it. It’s a scene that shows the two men’s growing mutual respect. The meaningful handshake that closes the episode (along with Gus turning down Mike’s offer of 20% to launder it) signifies the ways that their values are the same. They are both smart, decent men who get mixed up in indecent things, and they’re willing to do what it takes to make that work.
That just leaves Nacho, who has what is possibly the most difficult task of all. What I love about this series of scenes is the way they show how meticulous, how careful, how deliberate Nacho is about all of his. There is nobility in Nacho wanting to protect his father from Hector, but he is not in any way reckless about it.
Instead, he does the legwork, he takes the extra steps that will make his operation successful. He is delicate and careful as he grinds the poison into dust and fills the lookalike pills under a magnifying glass. He practices, over and over again, the act of palming the pill bottle and depositing it into a coat pocket, so that when the moment comes, it will be second nature. And he even goes so far as to climb onto the top of the restaurant that serves as Hector’s headquarters the night before, messing up the air conditioner so that Hector will have a reason to take off his jacket.
The subsequent scene where he actually makes the switch is masterful. “Slip” holds the tension of each step in the process: from the would-be fake bill, to the probing of the wrong pocket, to the pill switcheroo, to that grand moment of truth where Nacho has to make the move he rehearsed so many times and land the pill bottle into Hector’s jacket without him realizing. It’s a great outing for Michael Mando, who conveys the way that Nacho is trying to exhibit a practiced, casual calm, but inside is anxious beyond words. His deep exhale and clenched fingers in the back after it’s all done says everything.
Each of the tasks taken up by the main characters in this episode -- planting poison pills, finding a dead body, braving the height of your illness, taking on extra work, and even breaking your own back -- require something extra, more sacrifice, more pain, more difficulty. But when something important is at stake -- your livelihood, your well-being, or your family -- the major figures of Better Call Saul are the type of people who face that head on and take whatever measures the situation requires, even if that means drastically different things for each of them. Those steps are painful, tense, and even dangerous, but for better or ill, Jimmy McGill and the people in his orbit, are the people who do what they need to do.
Was that a happy ending??! I can't believe it! THAT WAS A HAPPY ENDING!!! Very nostalgic and entertaining...
They'll just build a new one... and make the White Walkers pay for it.
This fucking episode, man might be the best ever. I'm literally speechless.
So layered, so many call backs to real life politics. Rick/Morty analogues for racerelations. Equal Pay, Globalisation of companies. That whole wafer storyline. Fuck. I need to watch this again. No wonder they gave us two weeks to wait for this. So fucking worth it.
Your own enjoyment of this new show might depend on your own love for 1990s Star Trek, and whether or not you find Seth MacFarlane funny. Fortunately for me, I'm a big fan of both and the first episode of The Orville was delightful fun. It's an homage to The Next Generation's style and storytelling, with an added comedy element (which isn't as overpowering as the trailers made it seem). The jokes were all pretty funny, too, but I'd probably have laughed more if the trailer hadn't spoiled all of them beforehand.
I like pretty much all of the characters, and it seems well cast - at this point we don't really know much about anyone beyond the captain, his ex-wife and his helmsman friend (I'm still learning names!), but I can see a lot of potential.
It looks great - if oddly empty - with some lovely special effects and an attention to visual details (views through windows, engine damage) that was never seen in Star Trek, most likely because the technical capabilities and budget wouldn't really have allowed for it back then.
It's even got the fade-to-black advert breaks at dramatic moments! It feels like years since I've seen that. I'm looking forward to seeing where this is going, and I think it's got a lot of heart. Unfortunately, this is a Fox sci-fi show and I'm completely expecting it to be cancelled.
Orville continues the surprising path of character development. Again I have to admit I did not expect this to be a focal point of the show. Judging from the trailer this is a slapstick show. Seems Seth McFarlane has something more ambitious in mind. For that alone I will stay on this ride.
Honestly, this show is more Trek than the current ("Discovery") and previous ("Enterprise") Treks. Yes, some unfunny jokes here and there, but all in all -- it's a Star Trek show (specifically - TNG). Last few episodes (4-5-6 could have been easily TNG episodes).
Star Trek viewers needs a ton of Suspension of Disbelief, with all the aliens and spaceships and transporters etc., but in The Orville - this SOD is harder to swallow, because of the... let's call it... casualness... of the show - which kinda makes it harder to actually implement this necessary suspension of disbelief.
Considering the current Trek show, I am just left wondering why they just don't give Seth McFarlane write a proper Star Trek show. He is clearly up to the task, and Trekkies (sorry, Trekkers) deserve a good Star Trek show.
That was unexpected. And holy shit, I think I'm actually starting to like this show.
It helps that they've dropped the lowbrow humor of the pilot and made a hard course correction toward serious character work. Now if we can go at least one episode without mentioning Mercer's divorce even once, we'll really be in business!
Contains major spoilers !!!!!
Huge and utterly dissapointing. After TFA I said this movie would make or break the story. For me it broke.
Where to begin? Let´s start with my biggest problem.
After that rebel cruisers bridge was hit and Leia was thrown into space we saw her drifting in the cold empty vacuum of space. This was a powerful scene and I had tears welling up in my eyes thinking that would be a great ending for the character dying how she always lived. Fighting. I did not realise, or care, that it would have been a huge coincidence had they written this scene at that point not knowing Carrie would pass away. But as I said powerful scene. And then she opens her eyes and floated back into the ship still beeing alive. At that point I was seriously considering leaving the cinema. It´s scifi but, please, without as much as a hint of an explanation that is just awful writing. It is Disney all over it. Anyway I stayed and watched the rest but in general I was done with the movie.
There are tons of other things I didn´t like.
way to much unnessesary and stupid humor. Most of the time it does not fit and just destroys scenes. Holding for General Hux - that might have been OK once but two or three times it just becomes goofy. And there is more of this througout the movie.
the writing was all over the place. So much things going on that do little to nothing for the general plot and just add playtime. Like that whole thing with the codebreaker, going to the casino. Just sugarcoating CGI.
and speaking of playtime - way too long. About five times towards the end I thought it was over. It could have ended when the reached the rebel base- no let´s add another battle. When they realised they where trapped. With Luke going out to face Kylo. At some point I would have been OK with the movie ending with the First Order defeating the rebels, everyone dying, and the franchise done with. But of course that is not happening and the movie ends.....no, just show us a kid with a broom looking at the stars and indicate he could be the hero of a future movie.
in many ways the continuation of storylines is not satisfiying. They introduce Snoke in the first movie without an explanation who he is, where he comes from and how he got there. Would have been OK, could have done later. So now he´s dead without so much as a fight and there are questions left to be answered.
what about Rey ? Are we really to believe her parents were some drunk and drifting scavengers that sold her for money like Ren said ? That would be very stupid because how in the universe could she master the Force in ways even the best Jedis or Sith couldn´t without as much as years of training. Another void in the storytelling.
too many, shall I call them, homage scenes ? A lot of times I felt I had already seen this movie. The scene in the throne room f.e. Snoke = Emperor, Rey = Luke, Ben = Vader, the destruction of the rebel fleet playing in the background and the Ben killing Snoke is like Vader killing the Emperor. I know that was said about TFA as well but I feel it´s much worse here. The Battle of Hoth reviseted would be another thing where they re-did some scenes to a T. All that was left was tow cables.
Those are just some examples of the things I disliked and maybe there could be satisfactory explanation later. There is a lot more but it would take too much time to write it down. But I doubt I will go to the cinema for the next one.
To be fair there where some positives in this movie.
I liked the scenes with Rey and Luke althought they did not really lead anywhere. But some nice insights into Lukes story after ROTJ.
The conversations between Kylo and Rey where very interesting and I thought there was really potential to steer the story to something new and exciting. Not happening.
So overall I was not satisfied. I really like TFA, it built some expectations that where all crushed with this. As far as I am concerned I am done with this new story. I am not not very eager to find out what else the canibalise and how they try to write themselves out of this. There is nothing left.
This is my view of the movie. If you liked it I´m happy for you.
May the Force be with us. Always.
So obviously, I had to see Lady Bird being the RT/MC snob that I am with a weakness for these independent films. Since it had a 100% RT fresh and 94% MC rating, I had to see what was all the fuss. I definitely enjoyed the film quite a bit and it definitely hit home with a lot of the emotional life situations the protagonist Lady Bird goes/stumbles through (even though I'm a guy). Saoirse Ronan has always been one of my favorite actresses and she kills it here. Her chemistry with Laurie Metcalf, who plays her tough loving and, at times, overly critical mother is fantastic and their relationship forms one of the major cruxes of the film.
The story is essentially about a girl learning (the hard way many times) what is truly important to her in this world (and, more specifically, in the town of Sacramento) and realizing to not take for granted what she has even though she is coming from an unideal situation. However, this theme is explored in a funny, witty and non-pretentious manner to the viewer that allows you to really relate and sympathize with the protagonist (while chuckling along as well). So many times, I was like "ohhhh man, that is just not a good decision, but I totally did the same stupid thing when I was younger..." moments that just really resonated with me throughout. It's a coming-of-age story that really progresses the protagonist but by using what seems like "common and mundane" life events that we've all undoubtedly experienced before at one point of our lives. They took a lot of cliche coming-of-age scenarios (gay boyfriend, going to a Catholic school, confronted by a nun, etc) but put a nice and realistic spin on them different from other movies. This relatability is what really sold the film for me.
In a short time, the viewer experiences a profound yet truly realistic and believable transformation of the protagonist, Lady Bird. I am reminded of another movie, The Edge of Seventeen, that I watched last year and didn't really enjoy or connect with, where the main female character undergoes a similar "journey", but I felt like I could connect (and, thus, sympathize) far more with Saoirse Ronan's complicated and stumbling character than Hailee Steinfeld's edgey for-the-sake-of-being-edgey interpretation of her protagonist.
Anyway, I really enjoyed this movie, and highly recommend giving it a shot. I think that it will really resonate with viewers who have experienced some financial and social difficulties at some point in life, and have gone through the embarrassing pains and those seemingly obvious and avoidable mistakes when trying to "grow up".
This has to go down as an expensive misfire. Sequels have already been announced, but unless they want to call the next film Dull, they need to lay down a better story. There wasn't a lot of room for imaginative world building here, and there were too many bullets over the magic. Clunky dialogue threatened to sink it, but a few bright moments lifted the film from the surprisingly mundane setting.
This film has garnered a lot of great reviews, but for me, it was only partly successful. It's certainly well made, but by its very nature, is more suited to stage or a dance recital than a movie. Impressive performances, and a good music score, but as a story it only works in fits and starts.
Initial reaction.
The good: Great opening, good concept, okay to superb acting.
The bad: Forgettable popcorn flick, bad delivery, overlooked plot holes, uncomfortable transitions between locations, terrible dialogue, crappy taping of a fantastic franchise to a mundane sci-fi horror, horrendous tension and character building, overall typical space movie that makes 'LIFE' look fantastic.
Holy shit that was a waste of time. And i even skipped a bit
For all the people that are saying this movie is horrible...You are WAY too serious. This movie is hilarious in numerous ways. I've watched enough "romantic comedies" to get all the jokes and see how stupid most of those movies actually are. The movie is not meant to be serious, so if you don't like spoofs, then don't watch the movie, Eggfarts.
