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10

This is the Unforgiven of superhero movies, a brutal yet tender portrayal of former heroes growing old. Logan is tired and world weary, waiting for death to take away his pain. Charles is 90, riddled with drugs to mute his mind, his "super weapon." Despite their friendship their relationship is fractured. Into their lives comes a new mutant and a road trip begins.

I don't want to say much more, having given away a little of the premise already explored in the films trailers. This is a tough, violent and sad film with few moments of humour. There is action but not of the blockbuster kind, one key car chase is like something from a 70's thriller.

This is the swan song of Logan and Charles, both actors giving it their all in their final performances as these characters. To bring them back after this film would undermine their work and the story here.

The film is brilliant and I can't recommend it enough - don't expect a traditional X-Men movie and you will be blown away. If the film itself were a mutant I would say its genes had been spliced with Mad Max and Shane, with a little bit of Children of the Corn (and I mean that in a good way). Excelsior!

Three words: I. LOVED. IT.

Listen, I'm a simple bitch, okay? Let's establish that right out of the gate. I can make fun of tropes all day long (especially the romantic ones) but in the end, I will eat that shit right up and walk out of the theater with the biggest grin on my face. Arthur and Mera accidentally hold hands and suddenly I turn into your 80-year-old grandma Gladys clutching her pearls and going "oh my". Jason Momoa and Amber Heard are DCEU's new dynamite duo (as much as I love Gal Gadot and Chris Pine, they've been knocked off the top spot for me). Their chemistry makes my skin tingle. Was the romance cliche? Hell yeah it was! And I adored every second of it!

Of course some stuff besides the romance also happens (but who cares about that? Not Gladys, that's for sure). The main plotline of finding the Trident does feel kinda like a treasure hunt with Arthur and Mera hopping from place to place, but because their chemistry and dynamic is just THAT good, it's all very fun and watchable. The villain is... well, he certainly is, eh? Actually there's two of them, but neither really made me feel anything. Still better than Steppenwolf, I guess? Although that's not saying much. The jokes hit more often than they miss and the movie did get a few good laughs out of me. But the more serious moments hit home for me as well, whether it's Arthur's reunion with his mother or his admission that he knows he doesn't deserve the Trident but it's his only hope of saving the people he loves. The tone feels pretty consistent and the transitions between the dramatic and comedic moments don't seem as jarring as in some other DCEU installments. The fight scenes are awesome. Especially the one in Sicily really made me feel pumped.

My favorite scene was by far Mera really experiencing the life on land for the first time. Her wide-eyed wonder (no pun intended, I guess) not only reminded me of Diana arriving in London, but it also had something wonderfully Little Mermaid-like (and not just because of the hair) about it. It was soft. It was pure. It made me feel warm inside. Mera eating the roses and Arthur immediately doing the same? Nobody's ever gonna ride for me this hard. Those are the kind of scenes that ground these huge superhero movies, that make them feel relatable to me and allow me to take a breath and really connect with the characters. And when 20 minutes later Mera goes full Bad Bitch In Charge on those soldiers and kills them with deadly wine spikes? Oh, I just about lost my mind. I want her to murder me. But aside from that entire sequence, there were plenty of other moments that really got my attention: little Arthur at the aquarium, Arthur and Mera's escape from Atlantis (such a fun chase!), our favorite power couple emerging from the ocean looking like they're on Baywatch (it was great, don't @ me), every time Mera used her powers (the glowing eyes!), the list goes on.

The visuals are absolutely stunning. Gone are the dreary grays of some lesser DCEU movies. Instead we get beautiful colors (Atlantis is beyond gorgeous), some great shots (Arthur and Mera swimming with the flare while surrounded by thousands of Trench people is breathtaking) and of course incredible CGI. It's a very aesthetically pleasing movie. And the music! I loved the music. This is one of the soundtracks I'm definitely gonna need to listen to at some point. And it takes some big balls to put a cover of Toto's Africa in your movie. I appreciate that. Some people are definitely gonna cringe when they hear it, but I had the biggest grin on my face.

Overall, this was a very enjoyable ride. It's quite long, but it didn't drag. I was invested in Arthur's journey. I thought the casting was perfect (and gosh darn do Jason Momoa and Amber Heard look good together! That has to be one of the most visually stunning pairings to have ever graced the big screen). And I just... felt super happy afterwards. I still can't stop smiling. It's a good movie not just by DCEU standards, but in general. I'd love to see it again and I'll definitely try to do so over the holidays. I honestly didn't expect to like it as much as I did. What a great surprise.

[9.5/10] They got me. They really did. I believed that Saul would do it, that he would find a way to lie, cheat, and steal out of suffering any real consequences for all the pain and losses he is responsible for. I believed that he would trade in Kim's freedom and chance to make a clean break after baring her soul in exchange for a damn pint of ice cream. I have long clocked Better Call Saul as a tragedy, about a man who could have been good, and yet, through both circumstance and choice, lists inexorably toward becoming a terrible, arguably evil person. I thought this would be the final thud of his descent, selling out the one person on this Earth who loved him to feather his own nest.

Maybe Walt was right when he said that Jimmy was "always like this." Maybe Chuck was right that there something inherently corrupt and untrustworthy in the heart of his little brother. This post-Breaking Bad epilogue has been an object lesson in the depths to which Gene Takovic will stoop in order to feed his addiction and get what he wants. There would be no greater affirmation of the completeness of his craven selfishness and cruelty than throwing Kim under the bus to save himself.

Only, in the end, that's the feint, that's the trick, that's the con, on the feds and the audience. When Saul hears that Kim took his words to heart and turned herself in, facing the punishments that come with it, he can't sit idly by and profit from his own lies and bullshit. He doesn't want to sell her out; he wants to fall on the sword in front of her, make sure she knows that he knows what he did wrong.Despite his earlier protestations that his only regret was not making more money or avoiding knee damage, he wants to confess in a court of law that he regrets the choices that led him here and the pain he caused, and most of all he regrets that they led to losing her.

In that final act of showmanship and grace, he lives up to the advice Chuck gives him in the flashback scene here, that if he doesn't like the road that his bad choices have led him, there's no shame in taking a different path. Much as Walt did, at the end of the line, Saul admits his genuine motives, he accepts responsibility for his choices after years of blame and evasion. Most of all, he takes his name back, a conscious return to being the person that Kim once knew, in form and substance. It is late, very late, when it happens, but after so much, Jimmy uses his incredible skills to accept his consequences, rather than sidestep them, and he finds the better path that Kim always believed he could walk, one that she motivates him to tread.

It is a wonderful finale to this all-time great show. I had long believed that this series was a tragedy. It had to be, given where Jimmy started and where the audience knew Saul ended. But as it was always so good at doing, Better Call Saul surprised me, with a measured bit of earned redemption for its protagonist, and moving suggestion that with someone we care for and who cares of us, even the worst of us can become someone and something better. In its final episode, the series offered one more transformation -- from a tale of tragedy, to a story of hope.

(On a personal note, I just want to say thank you to everyone who read and commented on my reviews here over the years. There is truly no show that's been as rewarding for me to write about than Better Call Saul, and so much of that owes to the community of people who offered me the time and consideration to share my thoughts, offered their kind words, and helped me look at the series in new ways with their thoughtful comments. I don't know what the future holds, but I am so grateful to have been so fortunate as to share this time and these words with you.)

EDIT: One last time, here is my usual, extended review of the finale in case anyone's interested -- https://thespool.net/reviews/better-call-saul-series-finale-recap-saul-gone/

I'm literally shaking right now. These Framework episodes are really freaking stressful.

Aida/Fitz is such a disturbing relationship. It's so creepy that Aida manipulated the Framework to make Fitz love her. She brainwashed him not only into having feelings for her, but probably into having sex with her too, which basically means that she rapes him. She's doing to him exactly what she resents Radcliffe for doing to her: turning him into a thing to be used however she pleases. That makes me nauseous and I can't imagine what Fitz will feel when he wakes up.

Jemma "I'm tiny but I have more than enough rage to go around" Anne Simmons is so going to fight Aida when she gets the chance. At least I hope so. It would be amazing to see her cut the bitch.

Elizabeth has no fucking chill, does she? She just goes and gives us these incredible, deep, powerful performances every week, never failing to bring tears to my eyes and turning me into a distracted, weepy mess for days. Jemma pouring out her heart talking about Fitz was too emotional for me to deal with this early in the morning. And that moment when she screamed his name and their eyes locked? I'm still in shock. The raw intensity of that entire scene killed me.

I never thought I'd be scared of Iain, but I am now. That smile at the end made me want to crawl under my bed and stay there for the rest of the season. How are FitzSimmons going to recover from this?

Stop hurting my baby Daisy! She's already in emotional and psychological pain 99% of the time and now she's going to be tortured? Just fucking rip my heart out while you're at it. I hate that they keep making her suffer. Daisy Johnson deserves the world. And yes, I will fight anyone who thinks otherwise. I love my emo daughter.

Mack joined SHIELD! Also, Hope is adorable and now I feel bad that Mack will have to live without her in the real world. The hits just keep coming, I guess.

The Framework is an absolute nightmare for a lot of reasons. And now it looks like regular people don't have access to the Internet. No smartphones, a woman getting arrested for having a laptop... We've officially crossed into the hell territory in my book.

A part of me wishes I hadn't discovered this show until season 4 ended. That way, I could just binge watch the remaining episodes instead of having to wait a week or longer for each new chapter and spending my days doing the mental equivalent of pacing nervously around a room. I just want to know what will happen next and it's killing me.

Well its done... it turned out the best way it could with the time we had.... It was not a train wreck, but it was certainly rushed. The writing never waivered and that made it much more palatable. The characters were strong till the end as well. It was emotional and charming as always. Overall it didn't ruin the series, and I'm overall happy with it.

--BUT--
My main issue is the narrative feels SEVERELY incomplete, and I'm beginning to wonder if that was done on purpose.
I might just be an optimist as much as Holden here, but it truly does not feel like its done. ESPICALLY with the protomolecule ship coming thru the ring at the VERY END. IDK they'd include that if there was not something up their sleeve. I really hope and pray there is more story to be told from the roci and this amazing universe.

The one thing I am disappointed in is Marco. His end was just so unsatisfying and overall he was severely underwritten and ended up being one of the most underwhelming villains ever. He had no characterization and they never really fleshed him out, nor really did anything with his and Phillips relationship. Their whole arc was just a nothingburger and that is really a shame

If this is truly the end though, I thank everyone in this show involved for the joy its brought me. It was truly something special we had here and I am so happy I got to experience it.

Till next time folks.

Watching order

Because there are some issues with watching this, here is the order.

Copying from the site in case it ever goes down, but this info came from here: http://thunderpeel2001.blogspot.com/2010/02/battlestar-galactica-viewing-order.html

It's probably more confusing here on trakt, so go to the above linked site for a better layout.

The Miniseries
Night 1
Night 2

Season 1
1.01 33
1.02 Water
1.03 Bastille Day
1.04 Act of Contrition
1.05 You Can't Go Home Again
1.06 Litmus
1.07 Six Degrees of Separation
1.08 Flesh and Bone
1.09 Tigh Me Up, Tigh Me Down
1.10 The Hand of God
1.11 Colonial Day
1.12 Kobol's Last Gleaming, Part I
1.13 Kobol's Last Gleaming, Part II

Season 2
2.01 Scattered
2.02 Valley of Darkness
2.03 Fragged
2.04 Resistance
2.05 The Farm
2.06 Home, Part I
2.07 Home, Part II
2.08 Final Cut
2.09 Flight of the Phoenix
2.10 Pegasus (56 minute extended version)
2.11 Resurrection Ship, Part I
2.12 Resurrection Ship, Part II
2.13 Epiphanies
2.14 Black Market
2.15 Scar
2.16 Sacrifice
2.17 The Captain's Hand

Razor (101 minute extended version - not the 81 minute broadcast version)

Important note: This was originally broadcast just before Season 4, but chronologically it fits here, telling more of the Pegasus's story. Some people argue it's better to watch after Season 3, as originally broadcast, but it makes most sense to watch it here.

The reason that the placement of Razor is a hotly contested issue among BSG fans is because of a bit of dialogue at the very end (in the last 10 minutes) which sets the tone for Season 4 (barely even a spoiler). Everything else in this TV movie is not a spoiler.

So why place it here, and not where it was originally broadcast, if there's any sort of issue? Because, chronologically, the story is set here, and by the time you reach the end of Season 3, the story of Pegasus will feel like ancient history. Indeed, that was the complaint echoed around the internet from fans after Razor originally aired -- it had nothing to do with what was going on in the story at that time.

As a result of this, most fans agree it's better to watch Razor here. In doing so, you'll appreciate the story more and it will have greater emotionally resonance. In short: I highly recommend that you follow my advice and watch it here.

There is one small caveat, however: In order to deal with the above dialogue issue, and so not to unintentionally alter the tone of Season 3, I have two, very specific instructions that I recommend that you follow for your absolute optimum enjoyment.

I will try not to spoil anything with these instructions, so pay attention. You need to press MUTE on your TV (and/or turn off any subtitles) in the following two moments. Both of these moments occur in the last 10 minutes of the story, so you can relax and enjoy the first 90 mins before you need to worry.

Press MUTE when:

1. The hybrid touches Shaw. (You can unmute as soon as the hybrid lets go.)

and shortly afterwards:

1. When Red One contacts Pegasus. (You will literally hear the dialogue, "This is Red One come in" and see Pegasus respond -- mute before Red One can give their message to Pegasus.) You can unmute when you see Red One on your screen -- actually before that, but there's no other visual clue I can give you.

That's it! That's all you have to worry about. Two very small moments, and even if you don't unmute it, it's not a huge spoiler, it just unintentionally alters the tone of Season 3 if you don't, so do try your best to follow my instructions.

2.18 Downloaded
2.19 Lay Down Your Burdens, Part I
2.20 Lay Down Your Burdens, Part II

The Resistance
A 10 episode web-based series bridging seasons 2 and 3. (25 mins.)

Season 3
3.01 Occupation
3.02 Precipice
3.03 Exodus, Part I
3.04 Exodus, Part II
3.05 Collaborators
3.06 Torn
3.07 A Measure of Salvation
3.08 Hero
3.09 Unfinished Business (70 minute extended version - Note: Not included on Region 2 DVDs, but is included on ALL Bluray releases.)
3.10 The Passage
3.11 The Eye of Jupiter
3.12 Rapture
3.13 Taking a Break From All Your Worries
3.14 The Woman King
3.15 A Day in the Life
3.16 Dirty Hands
3.17 Maelstrom
3.18 The Son Also Rises
3.19 Crossroads, Part I
3.20 Crossroads, Part II

Razor: Yes, this again. (Well this is where Razor was originally broadcast, after all.) Remember the last 10 minutes where I told you to MUTE two small moments? Well, guess what, now is when you get to go back and hear what was said. Watch the last 10 minutes of Razor here.

Season 4
4.01 He That Believeth In Me
4.02 Six of One
4.03 The Ties That Bind
4.04 Escape Velocity
4.05 The Road Less Traveled
4.06 Faith
4.07 Guess What's Coming to Dinner?
4.08 Sine Qua Non
4.09 The Hub
4.10 Revelations

Season 4 Continued (aka "Season 4.5" or "The Final Season")
4.11 Sometimes a Great Notion

The Face of the Enemy
A 10 episode web-based series (although it plays together like an intense mini-episode). (36 mins.)

4.12 A Disquiet Follows My Soul (53 minute extended version - only on Bluray releases)
4.13 The Oath
4.14 Blood on the Scales
4.15 No Exit

The Plan (DVD/Bluray movie)
A stand-alone movie that shows (approximately) the first two seasons from the Cylons' perspective. (You finally get to see "The Plan", mentioned all those times in the opening sequence!) Although The Plan was originally released after the show had finished, it is generally agreed that it should be watched here, so that everything is all tied up when you do reach the end.

4.16 Deadlock
4.17 Someone to Watch Over Me
4.18 Islanded In a Stream of Stars (62 minute extended version - only on BluRay releases and Region 1 DVDs)
4.19 Daybreak (150 minute extended version - only on BluRay releases and Region 1 DVDs)

The Plan : This is where this DVD/Bluray movie was originally released (after the show had finished). It seems universally agreed that it's preferable to watch this after No Exit, instead of after you've finished the entire series, but there's no harm in waiting until now.

Then Caprica the series: http://trakt.tv/show/caprica

Barbenheimer: Part 1 of 2

This is the kind of film I really don’t want to criticize, because we don’t get nearly enough other stuff like it. However, mr. Nolan has been in need of an intervention for a while now, and unfortunately all of the issues that have been plaguing his films since The Dark Knight Rises show up to some degree here. Visually it might just be his best film, and there’s some tremendous acting in here, particularly by Murphy and RDJ. However, it makes the common biopic mistake of treating its subject matter like a Wikipedia entry, thereby not focussing enough on character and perspective. As a whole, the film feels more like a long extended montage, I don’t think there are many scenes that go on for longer than 60 seconds. There’s a strong ‘and then this happened, and then this happened’ feel to it, which definitely keeps up the pace, but it refuses to stop and let an emotion or idea simmer for a while. There are moments where you get a look into Oppenheimer’s mind, but because the film wants to cover too much ground, it’s (like everything else) reduced to quick snippets. It’s the kind of approach that’d work for a 6 hour long miniseries where you can spend more time with the characters, not for a 3 hour film. I can already tell that I won’t retain much from this, in fact a lot of it is starting to blur together in my mind. There are also issues with some of the dialogue and exposition, such as moments where characters who are experts in their field talk in a way that feels dumbed down for the audience, or just straight up inauthentic. Einstein is given a couple of cheesy lines, college professors and students interact in a way that would never happen, Oppenheimer gives a lecture in what’s (according to the movie) supposed to be Dutch when it’s really German; you have to be way more careful with that when you’re making a serious drama. Finally, there are once again major issues with the sound mixing. I actually really loved the score, but occasionally it’s blaring at such a volume where it drowns out important dialogue in the mix. I’m lucky enough to have subtitles, but Nolan desperately needs to get his ears checked, or maybe he should’ve asked some advice from Benny Safdie since he’s pretty great with experimental sound mixing. My overall feelings are almost identical to the ones I had regarding Tenet; Nolan needs to rethink his approach to writing, editing and mixing. This film as a whole doesn’t work, but there are still more than a few admirable qualities to it.

Edit: I rewatched this at home to see whether my feeling would change. I still stand by what I wrote in July, though the sound mix seems to have been improved for the home media release. It sounds more balanced and I didn’t miss one line of dialogue this time around. I’m slightly raising my score because of that, but besides that I still think it’s unfocused, overedited, awkwardly staged and scripted etc.

5.5/10

Welp, like Tryion said, We're fucked. Living vs. The Dead. Season 8 A fight that only comes once.

The dragon pit scene was awesome. Getting so many characters all in one place at the same time was great to see. So many quick “oh, hey you’re still alive” moments. One of the best was Brienne and the Hound. Speaking of the Hound, we did not get the Cleganebowl we have been wanting for so long but at least he was able to tell his brother off. Maybe next season…

Cersei, as the hound would say, is a real cunt. She truly is the biggest villain this show has seen. She is lying to everyone about sending her armies north and bringing in more mercenaries to help fight while Dany is a little occupied. She not only threatened to kill not one of her brothers but both of them is the same episode. Jamie is finally getting smart and getting away from her, even if he is leaving to go fight an army of undead. I honestly think she might stick around to the end and keep the iron throne. She has no problem doing whatever it takes. She has a kid on the way and that is all she is worried about now (I still don’t think she will have the child because of the prophecy said she would only have three). Oh and the shot of snow falling on King's Landing was a beautiful reminder that winter is here.

The winterfell storyline finally did something amazing. Sansa’s “trial” of Littlefinger was a long time coming and with Bran there was no denying. I’m so glad Arya got to kill him with his own dagger. The sisters finally started acting like family.

Nice to see Theon having another chance at redemption. He had a nice moment with Jon about their dad, well technically Ned was neither of their father. I hope he gets to save Yara next season. I wonder where she is if Euron is going to Essos or could she already be dead?

The show finally says what all the fans have know for years, Jon is a true Targaryen and the rightful heir to the Iron Throne. And they say it just as the two have sex for the first time, nothing new for this show. I’m sure this won’t be a problem. Dany will be cool with it, right? I mean the old Targaryens were into incest too. Maybe not we'll just have to wait and find out.

That last scene really was a little frightening, to see something that has been keeping the white walkers out for 8000 years to just go down like that. Now that the Night King has a dragon they are really going to cause some havoc. RIP Tormund and Beric? I don't think there were able to get off the wall in time but were they on the part still standing?

Great season, moved a little too fast and missed some of the slower character moments from old season. They definitely had some of the largest battle scenes TV has ever seen and I’m sure we are not done yet. Let the wait for season 8 begin…

Danys back! That last scene was amazing. It was a long time coming and it was worth it, now lets see what she does next.

The scene between Cersei and Jamie with Euron was great. I wonder what the gift could be? Maybe he is bringing Robert's last bastard, Gendry? Jamie's look on his face when Euron said you should try killing you brother made me laugh. It’s like it just crossed his mind that she is actually capable of doing that.

Arya is not content with just killing Walder Frey, she had to kill them all. I realized about halfway through that scene and it was awesome to see her be a badass. The North Remembers! Oh and there is Ed Sheeran I wonder if we will see him again?

I loved that The Hound basically made fun of Thoros for having a man bun. Its crazy to see the way he has changed as a person and burying the people he left for dead a few seasons ago.

Sansa questioning Jon in front of everyone makes me think she wants to be in charge. I wonder if Littlefinger is rubbing off on her? Jon is concerned with the North but I think Sansa has more knowledge of everyone else and she is going to be important going forward.

I can’t get enough of Tormund hitting on Brienne. "You're a lucky man."

Sam's poop/soup montage was disgusting. He might be the most important part of this epsiode though. Finding the Dragon glass "mountain" might give the living folk an actual chance. Jon will probably be going to Dragonstone next week and we will finally get Jon and Daenerys face to face. And we get a glimpse at poor Jorah which seems the grey scale has gone into full effect.

Great episode to kick off the new season. We don't have a full 10 episodes so hopefully some big things happen next week.

Kevin Spacey is so great in this show, and his wife Claire (Robin Wright) too. They play their roles so realistic, I believe them every word!

Barack Obama wrote a book as he's got into "higher" politics. I see some parallels from the book and this tv show. Everything is very realistic. The show reminds me a little bit of "Damages" with Glenn Close, where intrigue play a big role too, but in House of Cards it is much more sophisticated. You can't really miss one episode, because you gonna miss so much. And I also do not want to miss an episode , because you never get bored here. That is how a tv show concept should be!

The big thing about the show is also the first season's ending. I don't want to put a spoiler here, but I couldn't imagine that all those different story lines got put together to a big picture in the ending.
That was amazing. Really great written.

I give the first season 9 out of 10 points because it is so amazing well written, the acting is simply awesome and the only annoying thing which comes to my mind is the long intro.

So if you want to see a realistic politics & life tv show: Give it a try.

so sherlock is over, and these are my thoughts on the finale in order of appearance:

since when the show is a horror movie and why was there a fucking clown.

the motion sensor was activated after the drone had landed and mycroft obviously knew enough about those explosives to realise that’s how they work, so why the hell did they wait for that to happen instead of immediately running away? oh wait. the drama.

they actually put that horrible cgi explosion from the trailer into the episode… why. later, in the very end, i will be reminded of it while watching sherlock and john run in slow mo.

why couldn’t mycroft, an important government figure and a relative of eurus, officially check up on her instead of the whole dress up game? and then he obviously shows us that he can fire or order around anyone in that prison which makes their shenanigans even less relevant. it’s really sad to see non-existent problems beings “solved” just to use screen time and mindlessly entertain the viewers. detective stories are supposed to be reasonable.

okay, i’m sorry but i’m not buying that “enslaving” bullshit. i want to know how she does it, because all we were given is some pieces of weird bullshit that wouldn’t faze anyone in their right mind. it reminds me of the cabbie from the pilot episode that supposedly talked his victims into killing themselves. but in the end we learned that he just threatened them with a fake gun. ah those good old times when the show had its wits and integrity still intact…

they sure like to deliberately make sherlock obtuse. i just don’t buy him missing that there’s no glass when he’s close to it and there’s still no reflexion. and shouldn’t the music sound muffled too or did the fiddle had its own voice modulator installed? interesting.

i know moriarty being alive would make no sense, but the show is guilty of occasionally doing that already, and he’s such a believably smart and psychotic character that’s interesting to watch that i would have gladly used my suspension of disbelief card.

i thought the girl on the plane was an idiot because she kept giving useless answers to important questions, but the reveal in the end explained it. 1-0, touche. then again, surely eurus would be imagining herself as the young version of herself and the sole reason they used another child actor is to keep the mystery up, which is a pretty cheap trick. 1-1.

now the real idiot (or more like a dumb plot device) here is undoubtedly molly. she fucking knows what sherlock does and in what kind of situations he sometime ends up being, and he obviously sounded nervous and agitated from the get go and eventually resorted to fucking begging, so why the hell couldn’t she trust him and just say what he asked her to? oh i know why. the drama. again. also her making sherlock “confess” his love for her she knows he doesn’t have literally came out of nowhere and had fanservice written all over it. and that conversation was so unrealistic and forced for the sake of plot progression it honestly made me cringe. god i wish they were more subtle with molly and her sad love for sherlock and all the irene adler mentions before it instead of jamming them into the storyline and reinforcing their awkward attempts to bring to life sherlock’s absent libido. they even made him destroy that coffin in a melodramatic fit, which was ridiculous because compared to the other experiments the molly incident surely warranted that kind of emotional outburst the least, no one had died after all. but wait, some fans are gonna love using that as proof for sherlock’s romantic feelings for molly, so that’s why it happened.

mycroft goading sherlock into killing him was painfully obvious, considering he’s the one who has been quite vocal about his brother not being a pragmatic automaton but a quite emotionally driven creature, and that he would never kill john, regardless of his intellectual capabilities.

so the lesson here is that you should pay more attention to your little sisters?..

you can’t just switch psychopathy on and off. but of course eurus was able to. in once instance she’s a cold blooded murderer that doesn’t understand the difference between killing someone innocent and someone guilty, in general she has a spontaneous child murder on her record, but oh no, the episode is almost over and we can’t possibly kill john watson (like we couldn't blow up molly or shoot mycroft, but had no problem axing mary, a character that no one gave two shits about, dead or alive, or moriarty, who had basically been the best character; good job on fucking up twice), the fans would rage, so let’s make our villain a crying scared little girl that longs for brotherly love and make her suddenly change her evil ways, so we could wrap this shit up and move on.

and why did they put her back in the place she can easily break out from? what even has changed? can’t she make the staff into her bitches again just by talking to them (eternal eyeroll) like she did before? yeah she’s not mad at sherlock anymore (because he gives her attention now! how cute), but she’s still a mentally disturbed person and the cage must get boring when you have a fiddle as your only source of entertainment.

so yeah, i basically wrote a fucking essay or more like a hateful ode to the show, but i don’t actually hate it, i still adore first two seasons, tolerate the third and i have been relatively entertained by the last one, this episode included, even if i undoubtedly think the show hasn't been clever for a long time and it's finale was less a detective and more a weird left-field saw tribute without everything that actually makes saw enjoyable. i'm writing this as a former fan that for the last few years has been mostly disappointed by the show they once loved, that’s all. i’m also bored and writing this kept my mind busy. that makes this otherwise useless “review” worth it, i guess.

That scene with the mages all bound and then Tissaia freeing them was utterly awful. One of the worst fight/battle sequences this show has done. Episode 5 had built up some great momentum leading into this episode, but the opening sequences utterly botched the landing and killed the momentum episode 5 had built.

The fight between the mages and the Scoia'tael was pretty bad too.

Geralt killed Rience? What the actual fuck. This ruins what is arguably Ciri's most badass moment in the entire series from the final book. Great job, Netflix! The setup of the moment where Geralt killed him was awful too. The action is honestly so bad, and the writing is so chaotic and weak. Total botched landing of any setup from the first 5 episodes of the season.

Ciri telling Yen to go to Tissaia is an awful writing choice. This is not a conversation Ciri would be having with Yennefer. They are literally like weird sisters in this show, yet they are still trying to push Yen as a mother figure. "I love you, my daughter." Like what? There is no way that anyone watching this show can actually see this version of Yennefer as a mother to Ciri. Their dynamic is all wrong.

The way they set up Ciri vs Cahir was bad too. It felt way too forced. Geralt would literally never let Ciri put herself in danger fighting Cahir alone like that. And what the hell? He just runs off to go fight the Scoia'tael after everything that happened in this episode up until that point? The writing here is next-level dumb. I'm 30 minutes in as I write this, and this honestly might be the worst episode the show has done so far.

Dear Netflix, I will never forgive you for giving us such a lacklustre Geralt vs Vilgefortz fight. It wasn't bad like the rest of the action in this episode, but it could have been so much more.

This episode aggravated me to no end. Easily one of the worst the show has put out.

-- DISCLAIMER: THIS BELOW IS ENTIRELY MY PERSONAL OPINION, YOU MIGHT NOT AGREE WITH IT --

• This comes from a Marvel die-hard fan that read comics since he was able to read at all. I follow most current comics Marvel is releasing, I obviously have read and reread all the most famous one and I am watching the entire MCU in the exact timeline events ordered. All these opinions you will read weren't taken lightly and without thought. -

• REVIEW

So "The Defenders" is out, or how I like to call them "Heroes for Hire" (Whatever happened to that anyways?)

The Defenders, is the endpoint of each and every single one of the stories we've seen so far in the Netflix MCU.
It puts closure on all of the characters, not indefinite, but closure of what we've seen of them so far.

Because of this, I was not going in with high expectations, and thankfully in doing so, I didn't leave entirely disappointed.

Here's the catch tho,

I believe we can all agree that - this - is Marvel trying a more "serious", a more "adult" way for their MCU.
We can all agree that we cannot expect a Netflix series on Daredevil, JJ or even the others to be action-packed, mindless punching, d!ck hard-straightfoward-nofucksgiven-whatdoesthepoliceevendoanyways as much as we're accustomed to see on the big screen with The Avengers or Guardians of the Galaxy.

But let me tell you this:

There is a point - in time - where a man (or a woman) has this "we're the police let us do our job" - "you gonna end up in jail" - "You shouldn't do this, that" kind of bullshit talk so far up his butt, that it is impossible not to hate it.

The extent of milking out minutes and minutes, adding absolutely nothing valuable to the story is REALLY starting to annoy me very much. It was very light in Daredevil, it started showing in Jessica Jones and from Luke Cage it really went downhill. There's a whole new way of talking around, and around, and around pointlessly in these last shows that is really tiresome.

I'm talking about the side characters pointing out the same things, over and over and over and over, one time after one time after one time after one time.

"We are the police we can help you"
"Let us help you, you can't do it alone"
"You're gonna get in trouble"
"You're gonna go to jail"

Listen, screenwriters: shut the fuck up! They gonna do whatever the fuck they want anyways. We know it, you know it. And it showed.

I believe we can all agree (or at least try to) that Marvel won't ever (hopefully not) come up with something so profound, so intense, so serious (Maybe like we've partially witnessed with Logan) because they are too focussed on cliches, too focussed on this bullshit way of having to show how rebelious their characters are, and never focussed on the actual emotions and portraying them or conveying them to the people. I don't necessarily believe they should, that they are trying to do this, but at least... cut the bullshit a little, huh?

And I'm not adding more to that statement.

Alright, since that's out of my system, let's talk everything else.

The baseline of the show and the story aren't that bad. I like that finally we get to see the Hand entirely, for what they are and who they are without the mist of bullshit that we ingested the past shows. The action "side" of "things" isn't quite as horrible as we witnessed in Iron Fist, so that's a huge pro.

The fighting coreographies weren't really that stale, let's be honest: who doesn't enjoy watching JJ or Luke simply lifting goons, or watching Daredevil jump around and that fucking metal batoon hit sound, ohhh so good...

But then... here comes THE LIVING WEAPON. HURRAAAY!

No. Definitely no hurrays for him.

Let me tell you this, chaps, and I won't put spoiler marks on this part because there's nothing new to this:

Danny Rand - did not - evolve from his standalone show, his character depth and importance is just words in the wind, his appeal is just as strong as watching a golden retriever with his face out the car window and his dribble splattered all over.
He's A FUCKING NOOB, and yes, I did scream that out loud, a few times. (Same goes for his girlfriend).

Someone needs to explain to me why Danny got a scar on his chest tattoo in the first episode and then it disappears for the rest of the season.

Plus, someone needs to explain to me if elektra can punch JJ and Luke so hard that it makes them shake a little bit, why doesn't she destroy Daredevil or Iron Fist with the same punch? How can they sustain a damage that can make Luke Cage feel pain?

And that's really most of what's wrong with this show.
Believe me tho, once you see it, you'll understand why I can get so upset.

What more could be said?
Music was good, I enojyed the few pieces, they were well placed.
The colors are always fucking cold and stale, the light almost always dark.
Sigourney Weaver is a great actress portraying a terrible, empty character, but ehhh, whatever.

It is definitely worth watching if you liked Daredevil and Jessica Jones. I could bare Luke Cage more here, he was kind of different, in a good way.

You know what's missing from this show?

A FUCKING GOOD ASS VILLAIN. BRING ME FUCKING KINGPIN.

Jesus christ I fucking hate Danny Rand and his stupid fisting duracell fetish.

[7.0/10] Eight years. Five seasons. Four captains. One ship. One infamous mutineer turned galactic hero. And I still don’t quite know what Star Trek: Discovery means.

That's alright! The show has had multiple showrunners and multiple creative voices at play. The series reset its premise at least once, with the jump to the far future, and arguably multiple times. Characters have come and gone. Ships have been retrofitted and become sentient. Species new and old have phased in and receded.

It’s okay if, after all that, even the overthinking viewer can't boil the robust (if not quite infinite) diversity of Discovery into a single idea or meaning. At the beginning of the show’s final season, Michael Burnham herself wondered what it all means, and I’ll admit, I’m not more equipped to answer that after the end of the show’s five year mission than she was when it started.

What it means, in immediate terms, is that the Progenitor mystery is finished. Michael and Moll’s twin journeys into the portal (alongside some disposable Breen mooks) leads them to a liminal space, fit for slow-motion special effects, gravity-defying fisticuffs, and cheap puzzle-solving.

Much of that feels a little gratuitous. You can practically feel the episode showing off instead of advancing the story. Why Burnham and Moll need to have a Matrix-esque anti-gravity brawl before the mandated alliance and sudden but inevitable betrayal is beyond me. But I like the setting and the slower pace the show adopts at times within it. Despite the questionable “movie every week” promise of the series, this is the rare instance where Discovery genuinely feels cinematic, and the pace and cinematography have a lot to do with that.

One of the big problems with Discovery’s aesthetic overall is that the sterile sheen on everything often gives the show’s backdrops a semi-unreal quality that detracts from the convincingness of the presentation. Thankfully, that totally works in a quasi-magical portal realm created by billion-year-old aliens!

The endless stretch of a fantastical environment, the way it’s punctuated by extravagant quasi-baroque architecture, the hidden path to central setting, the puzzle that leads you to some mystical parental figure spouting purple prose -- they all give “Life, Itself” an unexpected Kingdom Hearts vibe of all things. But for something meant to be elevated above even the everyday wonders the average Starfleet captain experiences, that approach works.

Granted, some of the path toward the Progenitor tech feels rote. All of the cryptic clues and vital totems come down to...arranging a bunch of glass triangles? You can derive some thematic meaning from that (“The in-between times matter as much!”) but it’s an oddly mechanical answer to the latest riddle. Moll giving Michael the ol’ el kabong and getting punished by the alien alarm is a bit too predictable. And the all-knowing ethereal being from beyond, come to dispense the great wisdom, is a big cliche.

But I like where they land. The rap on Michael Burnham in the fandom is that Discovery is too hidebound in its need to make her the greatest and special-est captain to ever captain anything. (Nevermind that the franchise has done the same with Kirk, Archer, and if I’m honest with myself, sometimes even Picard.) Here, though, when the Progenitor representative tells Burnham that she is the only one worthy to wield such incredible technology, Michael demurs.

She acknowledges her own flaws. She points out her own limitations. True to Federation principles, she disclaims the idea that any one person should have this power. And given the freedom to create life, or annihilate it, or use this amazing tool however she might wish, Burnham chooses to destroy it.

There is poetry in that. It’s a strange obverse of Groucho Marx’s famous quip, 'I wouldn't want to belong to a club that would have me as a member.” The trails of clues left by the consortium of scientists was meant to test the mettle and the heart of the person chasing them, ensuring that they had the right disposition and perspective before they were granted access to this awesome power.

I can appreciate the poetic irony that the only soul worthy of wielding that technology is the one who would see its potential for death and destruction and choose to destroy it instead. It’s a conclusion to this story that, if a bit anticlimactic, feels lyrical, philosophical, and most importantly, Trek-y enough for a finale.

Unfortunately, it squeezes out just about everything else. Dr. Culber’s peculiar spiritual connection? Well, he magically knows the frequency for the portal box, and is just content with the unknown now. The end. Stamets’ desire to leave a great scientific legacy? All it takes is a twenty-second speech from Burnham and a quick (albeit admittedly sweet) bit of solace from Adira, and he’s good. As for Adira themself? They get another attaboy and a few hugs, but I guess they mostly completed their arc in the last episode.

What about Rayner? Well, he offers a bold solution to the stand-off with the Breen and remains steady in the face of danger, but doesn’t get to confront his onetime tormentor really, and again, pretty much wrapped up his character journey earlier. Tilly? She comes up with a cool science-y thing, which is on-brand I guess. But her soul-searching over the Academy leads to...a mentorship program? Really? That bog standard thing is her big epiphany? Sure. Why not? Even Moll goes from murderous and duplicitous to being amenable to Michael and cool with Book without much compunction, another major character arc that feels terribly compressed.

Look, it’s admirable that Discovery wants to give all the members of its crew something to do in the finale. But unfortunately it means that almost nobody besides Burnham gets a chance to really put a capstone on their journeys across the course of the series. That may be fine for well-liked but sporadic recurring characters like Admiral Vance, President Rilak, and Commander Nhan,and President T’Rina. (We even get to learn that Kovich is freakin’ Agent Daniels from Star Trek: Enterprise, among others.) But ironically, in an episode about how Burnham has the humility to step aside on the brink of extra-dimensional anointing, her story crowds out everyone else’s.

Thankfully, the exception to the rule is Saru. One of the iconic moments in the lead-up to Discovery’s premiere was his trailer-worthy line that his people were “biologically determined for one purpose and one purpose alone: to sense the coming of death. I sense it coming now.” When the series started, there was a timidity, even a rigidity to Saru. Despite absconding to the stars, he had that fear-based social conditioning within him.

And yet, over the course of the series, he’s arguably changed more than anyone else. He lost his ganglia and lived to tell the tale. He shared the truth of his homeland and rekindled his people’s culture. He’s been through an array of harrowing, potentially lethal events and come out on the other side. He’s even found courage in matters of the heart.

So it is rousing, then, when he stands off with a cruel Breen warlord and doesn’t blink once. Where there was fear, there is now force. Where there was reticence, there is now courage. Where there was timidity, there is now daring. Doug Jones kills it, as usual, and if there’s one thing this finale deserves credit for, it’s showing how far Saru has come: from the anxious officer preaching caution to the confident ambassador making bold bluffs to save his friends on the strength of his mettle alone. He’ll go down as the show’s best character in my book, and I’m glad “Life, Itself” gave him his moment in the spotlight.

The episode at least has a solid structure to keep things manageable. We have Burnham and Moll going through the Door to Darkness on the one hand. We have Rayner and most of the usual Discovery crew working to hold off Moll’s goons from the Progenitor device on the other. We have Saru and Nhan holding off another Breen faction with trademark Federation diplomacy. And we have Book and Dr. Culber sneaking through battle lines in a shuttle to keep the “portal in a can” from drifting into a pair of twin black holes. The balance among and derring-do within each thread is satisfactory at worst.

That last part is a big part of the episode’s mission, not because of the practical mechanics of destruction avoidance that have become old aht for Discovery, but because it’s a sign of Book’s love for Michael. And sure. I buy it. But I don’t feel it.

I don’t mind Book and Burnham together. It’s not a detriment to the show in any sense. But from the second Book popped up in season 3 as an obvious love interest, everything about them has felt pat and inevitable. So while I think they’re perfectly fine and perfectly plausible together, it never felt like the epic, essential love story that the show seemed to want it to be, especially in this finale.

I won’t deny the aesthetic power of the two of them reuniting at Saru’s wedding (which looks incredible, by the way), all gussied up. I’m not made of stone. You put two attractive people gazing deeply into one another’s eyes on a luminous beach with the music swelling, and you can get something in the moment. But they mostly spout the usual romantic cliches, made all the more stilted with oddly artless dialogue, before the romantic rekindling that was never really in doubt takes place.

Which means our epilogue, showing their shared future in the world’s coziest cabin, is pleasant but not quite moving. It’s nice that Burnham gets a little peace, that she and Book have a son on the cusp of his first Starfleet command, that she gets one last dance with Discovery. But that's about where it tops out. “Nice.” Not the touching goodbye to a long run the episode seems all but desperate to convey. We even get an impressionistic sequence on the bridge that feels more like the cast bidding farewell to one another in costume than the characters saying their goodbyes.

You can appreciate the attempts here. From another explosion-filled conclusion to a Tree of Life-esque sequence of creation to an artsy, golden-hued effort to gin up the emotion from putting a capstone on five seasons’ worth of adventures. There are some big swings here, which I admire, and you cannot fault the show for a lack of effort in this finale.

But in the final tally, it still leaves me a bit cold, and I’m still not quite sure what it all means. In the Progenitor’s big sermon, she suggests a positively existentialist reading on that question on a cosmic scale. We supply our own meaning, whether it be through exploration or scientific advancement or familial bonds. Discovery makes a few vague suggestions as to the possible takeaways, but affirms that the franchise’s values of infinite diversity in infinite combinations applies just as well to one of the essential questions of life. There are a multitude of meanings and possibilities out there, in the wide scope of people out in the world (or the galaxy), and in what drives us within our hearts and souls. I can appreciate that answer.

But the closest thing the show offers to an explicit answer comes from Bunrham herself, naturally, and the episode’s title. The meaning of life is “Life, Itself”, with the idea that our experiences can't be reduced beyond that, necessarily. The purpose is simply to be, to form bonds, to have those experiences, and share them with others. It’s a bit of a tautology, and more than a little trite, but there’s something to the idea that the meaning of life is to live.

That meaning extends to Discovery itself. I can't tell you what the show means, or how it coalesces into a greater whole, because quite frankly, I’m not sure that it does.. Instead, it simply is. These adventures happened: some good, some bad, some rousing, some dull, some memorable, some easily forgotten.

It’s a fool’s errand to predict a show’s legacy. From aspiring franchise flagship, to fandom punching bag, to something that was simply there, Discovery’s risen and fallen in esteem over the course of its run. It could earn a critical reevaluation down the line or sink down into the dregs like some of its predecessors. But through it all Star Trek: Discovery was there. It delivered five seasons’ worth of adventures, expanded the canon, and took the franchise further into the future than it had ever been before. Its whole may not amount to more than the sum of its parts, but those parts, those individual adventures and stories, will remain. I’m not sure that Discovery has a deeper meaning than that, or if it needs one.

Weird season finale. After all the build up, everything feels anticlimactic. Right down from A-Train--the reason all this mess started--to Homelander.

Before we get to that, let's talk a bit about how weird the whole prison sequences play out. The joke, the attempted rescue, the shootout, all feel really weak especially compared to well-directed sequences in prior episodes. First of all there is really no need for some jocular banter that went for about two minutes or more. Not to mention the pauses. It feels dragging. This includes the attempted rescue which continues the joke.

Second, the shootout looks really weird. We've seen Frenchie did his weird stuff when it comes to the Female/Kimiko, but this doesn't seem logical. He is a professional killer, why the hell he keeps on showing up his head to look at Kimiko when getting shot at? Is he looking to die? Not to mention he got shot prior, on the stomach, how the hell he can walk and help Kimiko walk that easily? Hughie getting to shoot randomly while saying "I'm sorry! I'm sorry" and miraculously hit trained soldiers is even worse. Even the Starlight rescue looks like a cheap deus ex machina for the plot to goes forward.

The Boys had been attempting to mock the quip-ridden superhero genre--that is, the Marvel Cinematic Universe--but the whole prison sequences makes The Boys looks exactly like an MCU episode.

Now we get to the supes.

The Deep. His subplot has been standing on its for quite a while now. There seems to be no direct connection with the bigger plot that has been going on. And this episode his subplot stays that way, while still giving him enough screen time to focus on his emotion. I'm not sure if that is something we wanted to see for a finale. It feels like something to be saved for future seasons. Even if that doesn't mean it's bad, they could have cut it way shorter than what they did.

Then the thing with A-Train feels very anticlimactic. He just popped up there out of nowhere. We were previously shown his desire, his post-power syndrome, his attempt to be relevant. Then in the supposedly final showdown, we finally see Hughie vs A-Train head on. But we don't see A-Train. We see an injured A-Train, a traumatic supe in his mental and physical breakdown. Now this still could be an interesting, emotional confrontation between our protagonist with the one who murdered his sweetheart. Not to mention, the presence of Starlight could make this dynamic interesting--is Hughie done for, how would he cope between his past and present emotion? What we get instead, however, is a slow motion capture with very minuscule combat and almost none of emotional engagement. Then A-Train just went, just like that.

I feel like they are saving him for future episodes, but this being the finale--the culmination of all emotion that has been built up so far--makes this confrontation very lacking. It feels like we are still on Eps 5 or 6, but with worse pacing.

Now Homelander. He is our another main driver of the plot. Everything that has happened so far always leads us back to him. His dynamics with Madelyn the CEO has been a bizarre Oedipus complex-like situation, What happened between them in this episode is actually very unexpected, though one may sense that it would eventually came to this point through the clues scattered so far. This result should have provided a surprising reveal. However, as it turns out, there seems to be something hollow in the encounter. Given the interesting portrayal of their faux-mother-son-sexual-relationship in the first half of the episode, the second half seems to speed up the climax. As if they were being chased by some deadline, that they have to cut it short, while at the same time giving enough spaces for Homelander to give his, in Maeve's words in previous episodes, "boring speeches."

It feels climactic and inconclusive at the same time. And I guess the same can be said with many encounters in this episode. Starlight with Meave. Billy with the CIA. Hughie with Starlight at the church. It feels like they have to speed it up--to shove in the dialogues--for the sake of putting the plot forward. It's shaky and unreliable.

Now, the end of the episode leads us to a quite intriguing reveal. It's not the direction we--or at least, I--expected to take in the season. However, with such really weak build up throughout the episode, the ending feels like forced. As if they have prepared them to be this way, but still unsure how they would bring it up to this moment. As such, while the scene itself is (should be?) surprising, there is not much surprise when I watch the event unfolds. It's less of a "wow, so this is it?" than a "oh okay, so this happens, and then?"

Credits where it's due: Anthony Starr as Homelander and Karl Urban as Billy Butcher display terrific performances in this episode. Especially Homelander with his extremely erratic, unpredictable behavior. But that alone is not enough to pardon the sloppiness of this episode.

Perhaps because they, like MCU and other superhero movies, seem to busy themselves to prepare for the upcoming season instead of trying to give audience a closure of the plot. And that exact reason is what makes superhero movies went boring for these past years. They are focusing to build an universe, instead of writing a good narrative. Unfortunately, this episode robs the fresh air that The Boys has breathe for quite some time. While I hope for the continuation of the series, I am less excited.

When you have a political system and society built on the absolute control of information, and the projection of being all powerful and always infallible, then, when something disastrous happens, the first inclination is denial, then a cover-up, and finally finger pointing, deflection and blame storming with the various people having any sort of authority or power trying to save their own asses. The fact that the party bosses and ministers were "Apparatchik's", the Soviet equivalent of bureaucratic hacks, who had been gifted their appointments with minimal or even no knowledge of the actual workings of the bureaucracies they oversaw, poured gasoline and threw a match on an already untenable situation. It's easy to strut around in a cheap suit and impress the peasantry, especially when you can have anyone who calls you out on your BS sent to the Gulag's or even worse. It gets a bit trickier when peoples hands and faces start melting off, and they're detecting abnormally high radiation 1000 miles away.

I feel worse for the civvies, whose naive faith and trust caused them to believe the lies and half truth's they were being fed, and kept them from not only questioning the official story, but, willingly living and working in such close proximity to a disaster waiting to happen, and, thinking it was a privilege to do so. They had no idea of the dangers lurking near them, and, like Lyudmilla, who even when warned not to get too close or stay too long, hugs, caresses, and even places her irradiated husbands hand on her growing womb, thinking he just has some severe burns, because no one has the courage to speak the truth, even at the cost of thousands of lives.

Granted, it really didn't matter after the fact, because the battle now was to keep from decimating the ENTIRE Soviet Union and most of eastern Europe, so, what's 10 or 20 thousand dead if it means saving the country? So, if the neighborhood cheap suit pulls your name from a hat at the point of an AK-47, you tend to cooperate and not ask too many questions. Unless you're a coal miner extra enough to work butt nekkid in a radioactive hole with no hope of survival, and no thanks or glory. I tip my hat to them. Hero's all, even if Moscow never acknowledged them.

Ridley Scot is back! After some less interesting movies he succeed to make an great one again! It isn't the greatest movie I have ever seen but I couldn't recall one fault or issues with this film. The acting was great especially with his carry Matt Damon! The rest of the cast did fairly good. Matt Damons character stranded on Mars and wants to find a way to survive until he is rescued. This is the main part of the film which was surprisingly funny. Mainly due to the optimistic attitude that Matt Damons character had. It was even funnier than some comedies I have seen this year. Besides that there are some really suspenseful scene with are handled very well by Ridley Scott. He build the suspense fairly slow but great. They also created a great setting of Mars, it really felt like a place which was gorgeously filmed.

Overall I would gave the film a 8,5 but unfortunately Trakt would allow me to give that many hearts so I rated it a 8. Simply because I liked my 9 rated films more than this one. Nevertheless I had a really good time with this entertaining, greatly directed and interesting film.

I feel like a miserable person because everyone seems to enjoy this episode but me. And when I think about how the Original Trilogy, The Mandalorian and The Clone are probably my top 3 of the Star Wars shows and movies I should normally love this, right?

Of course I was excited when all these iconic characters showed up but maybe it's because of how many of them were introduced in just a single episode, but it felt a little cheap. Not to mention, I think this show is extremely predictable; for example the Cad Bane scene went just as I thought it would, him shooting the other guy while only wounding Vanth. And it's not just the scenes that are predicable - the dialogue in this whole show feels cliche and uninspring.

I'm always here for more Luke and the cgi for him is very impressing, though I'm a bit disappointed that he is so harsh with the attachment rule, I don't think it fits his character very well considering his arc and own attachements in the OT. But this may as well be a test he puts Grogu through so we shall see.
And even though I adore Ahsoka, I'm also personally not the biggest fan of Rosario Dawson's potrayal of Ahsoka, not sure why. On a sidenote, I know they can't really make her lekkus longer in live action because of the stuntwork but I wish they could at least somehow make her "horns" (montrals, right?) bigger. It just doesn't look good the way it is now.

But hey I'm nitpicking now, my biggest problem with this show is the dialogue and overall writing; With the exception of the 5th episode (I loved that one) I just don't think it's very good. And of course the lack of Boba Fett in his own show is jarring but then again whenever the focus is on him it's not very interesting either. The story is lacking and it's a shame.

This is going to be as spoiler free as possible. This was written following Ep 3 - And the Horns of a Dilemma. And this will hopefully help you make up your minds about whether to watch the show or not.

Now, the general plot is this; There is a building called the Library which houses magical items which the Librarian - Flynn Carsen - retrieves and protects. After Flynn and Eve have a chance encounter in Berlin, the Library - which sends out magical invites to potential employees - invites her to work for it as a Guardian. Flynn's guardian, to be more precise. Together the two of them discover that someone is killing off all the potential replacement Librarians, and they find and rescue the only three that are still alive; Ezekiel Jones, Jake Stone, and Cassandra Cillian.

So, what can you expect from this show?
*Firstly, a reminder that it's a TV show, so every episode has a set budget - this means that the special effects aren't always fantastic. Just try to look past that.
*Sometimes the acting is a little clunky, and the writing is too. Writing-wise they need to find their groove, sometimes they use humor and it falls flat, sometimes they use humor and it's actually kinda funny. They just need to find what works. Acting-wise - some of these guys are somewhat new to the game, give them some time they'll get better. Everyone has to start somewhere, right?
*Action, fighting, mystery, and adventure. Saving the world every week. Or at least, every week the show is on. Almost like a short Indiana Jones, Lara Croft, and Nate Drake team up every week... except without Indy, Lara, or Nate actually being present.
*Sweet character interaction - developing future 'found family' dynamic - characters who care about each other, fight for each other, and would never bail on each other. Or at least, that's what I'm hoping for - it's looking that way.
*Possible romance subplots, and you'll probably get a few new ships out of it if you're into that sort of thing!
*The bad guy is played by Dr. Leekie from Orphan Black - Matt Frewer!
*Random appearances from Flynn Carsen - other than being in the first two episodes, I've heard he's in an episode later in the season.

I suggest you try watching it. If you don't like the first episode, and I know this is hard - give it a few more episodes, sometimes shows take a little while to get into the groove of things. Maybe it'll improve in your eyes during those few episodes, maybe not, but it's worth checking, that way you don't miss a show you will later love. Maybe check out the Librarian movies if you aren't sure, or if you like the show and want to get some back story on Flynn. (There are three movies.)

This show is far from perfect, but it has potential. Hopefully over the season it will continue to improve.

If you’re just interested in well choreographed and edited action sequences: see it. Also, kudos to convicingly pulling off the Will Smith clone (minus his final scene), something which must’ve been extremely hard to do given that he’s constantly moving around during the action sequences. However, the story of this film feels very paint-by-numbers and uses way too much exposition on top of that. The set-up takes a lot from The Bourne Identity, minus the memory loss. That’s not inherently a bad thing, but this has none of the interesting characterization, pace or grit from a Bourne film on top of that. Stylistically, there’s a glossiness and fakeness to it all. Everything is overlit, it ocassonially looks like characters are standing in front of green screen (which I’m pretty sure they aren’t), and there’s a fluidity to the movement during the action scenes which makes it look like animation. I don’t know how much of that is a result of the special cameras they used, and how much comes from bad CGI/cinematography/lighting, but I do know that not all of the innovation here is also an improvement.

4/10

Ps:
If you’re someone who loves motion smoothing and oversaturated colours on your tv system—> watch it in HFR
If you have taste —> don’t watch it in HFR.

HOLY. FUCKING. SHIT. I didn't need the chair to watch this episode, the edge was just enough. I've been going in circles like a crazy man for ten minutes over. MARK FUCKING PELLEGRINO is back!!! Fuck yeah! My parents only heard me shouting "Lucifer's back!" They probably think I'm a Satanist now. I audibly shouted "what the FUCK" about six times during the episode. This episode is probably the highest-quality shot I've seen since season 5.

Mere words can't explain what I'm feeling right now. There are no words to express how happy I am that Mark Pellegrino is back as Lucifer! Fuck yes! I heard his voice and my insides went off. I jumped of my chair. Mark Pellegrino was built for that role. My favourite part of the episode: Mark Pellegrino sitting in a cell, singing and saying in a casual voice "That's not my name".

Dinner scene. Non-linear storytelling. Slow motion walking opening credits. Obscure 60-70s music. Glowing case. Reservoir Dog slow walk scene. "Okay rambles, let's ramble". Reservoir Dogs!!! I knew it was going to be Tarantino-ish but oh my Chuck. Holy mother of God. This is one of the best episodes in a while. A really well-written and directed episode. I got Pulp Fiction vibes when Mary opened that box. In my head "what's in the box? What's in the fucking box?" And Mary texting the "Hobbits", lmao.

I knew that when they forced Lucifer out of the President he didn't return to the cage. If he escapes that doghouse I really want Mark Pellegrino to keep playing him. Chuckdammit, that's my life.

The Colt's back, we learnt more of Azazel, how Crowley became the King of Hell, Princes of Hell, Crowley saving Cas, Mary meeting Crowley, Mary referring to Cas as one of the boys, Cas talking about Sam, Dean and Mary as his family. Those damn ninjas cutting onions in my room again. When he said "I love you" that pause afterwards felt like they should have said it back to him.

4.5/10. If you want to sell the audience on a "sacrifice," you need to do two simple things that this episode of Agents of S.H.I.E.L.D. absolutely did not do.

The first is fairly straightforward -- convince me that the characters making that sacrifice and leaving the team aren't just going to be back within two or three episodes. Maybe it's a product of knowing how the sausage is made, but despite the fact that Bobbi and Hunter are slated for their own spinoff, I don't buy for a second that two major characters whom the show has been developing significantly since last season are going to legitimately disappear from AoS until September when they start their own adventures. Instead it seems like they're poised to return at some opportune moment to save the way, which means that this is a five-minute retirement making all the hand-wringing about their leaving ring false.

The second is a little more complicated, especially for a show that has offered so many supernatural and technological outs for its characters -- convince me that the sacrifice being made is actually necessary. Field agents are involved in some sort of international incident and thus they have to be disavowed and drummed out of Shield? That's not a crazy direction to go, except for the fact that the field agents on AoS are involved in these types of incidents around the world every single week!

Sure, they try to raise the stakes by invoking President Ellis and the Russian prime minister, but it feels like a cheap excuse. Coulson is standing right there, in front of the same people, saying that Shield doesn't exist, and yet no doubt he's going to go on missions alongside other Shield operatives and be at just as much risk of exposure and Hunter and Bobbi. In just the last episode, he was in front of a bunch of world representatives, called a Hydra agent by Mallick, and then blasted his way out of the compound after having been found out to be spying on everyone there. Why the hell can he go on as director, even with the canard that he's "advising the ATCU," while Bobbi and Hunter have to be gone forever? It makes zero sense.

To the point, the show ties itself in knots trying to come up with more and more strained reasons why Bobbi and Hunter have to leave Shield. There's some truth to the idea that they wouldn't be right behind a desk or in the lab for good, but you're telling me they couldn't hide out there for a while until things blow over? Or that they couldn't use some of that fancy mask technology when they need to go out into the field? Or how about that old fashioned "put a cloth over your head" mask technology?

At the end of the day, I just didn't buy that there was anything that happened in "Parting Shot" that actually necessitated Bobbi and Hunter leaving Shield. The show tried to play up the international incident flavor of the proceedings, but that feels like weak broth when Shield has been involved in more international incidents in the last 2.5 years than if Mel Gibson were ambassador to Israel. But somehow, this time is just different, for poorly explained reasons, despite all the time that Shield as a whole was on the run and consisted solely of wanted fugitives, and all the technological and espionage-based solutions at its disposal, and we're just supposed to accept that.

Some willing suspension of disbelief is necessary for any show, especially ones that take place in a world with superheroes and exotic spy tech. But this isn't something like accepting the strange logic behind the Russian General's shadow monster (which made it seems like Bobbi and Daisy were fighting a character from a Playstation 2 cutscene). This is an instance where basic logic and consistency with the show's history were sorely lacking.

You can maybe get away with that for a single-episode plot point that's not especially essentially to the past or future of a series, but this is not only supposed to be the impetus for two major characters leaving the show, it's supposed to provide the emotional crux of their departure. That means when Bobbi and Hunter are receiving all those unexpected shots and sad looks from people around the bar as a "spy's goodbye" (which is itself a fairly ridiculous concept given how blithely conspicuous the rest of the cast seemed to be about toasting them and giving them those mournful glares), the emotional weight of the moment is missing entirely because (1.) It's pretty obvious that Bobbi and Hunter are not gone for good and will show up to help Coulson fight HiveWard or Mallick when the time comes; and (2.) there's no good reason why they have to leave Shield in the first place!

Now maybe, just maybe, you can cut the show a little bit of slack with the idea that when it comes time to really bid farewell to Hunter and Mockingbird ahead of their spinoff, Agents of S.H.I.E.L.D. will be embroiled in whatever turmoil will no doubt arise from a combination of Mallick's plot and the events of Civil War, so they won't be time on the show for a proper goodbye. I can accept the idea that this is meant as a fill-in for a time when Bobbi and Hunter really will be leaving, because when they return, the show won't have a real chance to send them off in style. But that still doesn't account for the contrived reasons why this is suddenly an unfixable mess that Shield could not find a way out of.

It's a shame because there's a couple of very solid moments in the episode. Amid a convoluted scheme from Mallick that barely made any sense before the third double cross or new wrinkle, there's a legitimate emotional undercurrent to Bobbi and Hunter's concern for one another, to the sense that their job has been their life, and that Hunter in particular wants to take a step back so that they can actually slow down and enjoy each other's company for once. Sure, the structure of the episode makes it feel like they're trying to borrow tension from later in the story to prop up the episode on the front end, and that feels like a cheap trick, but "Parting Shot" at least has the good sense to keep the focus on the two characters at the center of the episode who are capable of conveying the impact of the story it's trying to tell.

Nick Blood does a good job at shifting between Hunter's smart mouth, that often makes him seem above it all and adds some of the best humor and comic timing to AoS, but also the side of him that's a hopeless romantic, who's loyal to both the woman he loves and his friends (May included). Adrianne Palicki holds up her end of the bargain as well in Bobbi's palpable concern for Hunter's well-being after the interpol interrogator threaten's his life, and in the moment where she and Hunter are reunited and worry that it might be the end.

It's just a shame that two of the show's best characters, who once again offered a pair of strong performances, are wasted on a storyline that attempts to write them off the show in an illogical, unsatisfying fashion, that will no doubt be undone by the end of the season anyway. It's nice that Agents of S.H.I.E.L.D. is attempting to focus on the emotional, character side of its narrative, but failing to establish a legitimate reason behind a major event like Bobbi and Hunter having to leave Shield just makes the faux-severity and lugubrious tone of that final scene feel like a cheat, an unearned attempt at pathos that the series is just going to walk back down the road anyway. And it renders the good work that Blood and Palicki did to try to get us there all for naught.

The concept of the show kind of perfectly represents the show itself. You go out with a bunch of old friends thinking it's going to be a great time, and in the end, things don't turn out the way you were expecting and everybody just kind of ends up disappointed.

I went into this expecting a laugh out loud comedy with a great cast, and there was some of that, but by the end it became more drama, and nothing really ended in a satisfying way either.

I do think the cast was good, and there are some good funny moments, and well done serious moments, but I think overall the show has a weird balance, and doesn't really pay off in a way that leaves any of the characters or audience satisfied. But then again, that's very similar to the night out with old friends from college the show describes, so maybe it achieved exactly what it wanted to achieve.

On one hand I do kind of hope there's another season, only because there's so much left unresolved in the end, but you're never going to get a resolution that satisfies everybody, so I'm not sure if the show should have one either. It's just a strange show. It definitely kept me interested enough to binge it though, so I'll give it that.

This show's schedule is a mess. First we get a 3-week break, then 2 episodes, and now the mid-season hiatus? Someone should get fired for this shit.

I don't really understand what Eli's plan was - I don't see how setting off an atomic bomb could be beneficial in any way. I guess we'll never know.

Robbie will return, won't he? I certainly hope so. Despite my initial reservations, I've kind of grown fond of him.

Daisy is back! Finally! I'm so glad that she's not doing the lone vigilante crap anymore. It was getting old.

Mack and Elena kissed! About damn time. And Daisy's little smirk was everything. You could tell that she was thinking of all the ways she could tease Mack about it later.

Fitz and Simmons are FitzSimmonsing again. I've missed it.

Something about this show has been bothering me for a long time, and I finally figured out what it is. It occurred to me when I saw May at Radcliffe's lab and realized that the one at SHIELD is a decoy: the writers never let the characters catch a breath. They create conflict after conflict like it's some kind of a race. The characters jump straight from one misery to another. There's no time for happiness. Every even remotely peaceful or blissful scene gets interrupted by a plot twist. Would it kill them to just let our heroes celebrate Daisy's return without something awful happening? I know that the writers have to create drama to get people to watch the show, but you need to find balance somewhere. I wish that once in a while I could watch a new episode of Agents of SHIELD and not feel like stabbing myself in the foot afterwards. I love this show. I really do. But it makes me fucking depressed sometimes. What keeps me watching is my faith that the showrunners respect and care about their characters enough to not kill them off for shock value. So far, they haven't disappointed me in that regard, but still, they should take notes from The Flash or Supergirl. Give these poor agents some hope and positivity from time to time.

[9.0/10] One of the thrills of doing a “what if” story like this is seeing what about the characters changes and what stays the same when their perspective and circumstances change. In a sense, it gives the audience a chance to see who these people truly are, or at least, what parts of them are malleable and what parts of them are fixed.

So when “Identity and Change” catches us up with characters who’ve been missing from the Framework so far -- Mack, Mace and effectively Aida -- and focuses on different sides of those we do -- Coulson, Fitz, and Ward, there is a great deal of intrigue in seeing how these people are different from the people we knew, deposited into this new environment.

The most striking of these changes is in Aida as Madame Hydra. She is not the robotic creature we know from the real world, nor does she present the more human side present in Agnes. Instead, she feels more raw and expressive, but also angrier, a Frankenstein’s monster rebelling at her creator and the world that would see her as a thing.

Notions of sentience are tricky in science fiction. In “Identity and Change” we see a being who wants to love and to be loved, who wants to preserve a place where Fitz would “cross the universe” for her in the way he once did for Simmons. She seeks physical affection and partnership. And most interestingly, she rails against the “other reality” as a place where she was enslaved, treated as property, and where the people who would do such a thing, Shield, must be the bad guys in any war they fought.

It makes Aida sympathetic and even understandable, despite the fact that she’s holding all our heroes hostage. If she is alive, and my TNG/BSG-influenced views of artificial life suggest she is -- then her griefs of not being given agency, seen as a tool rather than a person, not only explain her anger, but treat her doing the same to the agents of Shield as a learned behavior, a form of generational abuse passed down to someone just learning what it is to be alive and to be a human being.

Part of being a human being, as Aida learns and is desperately trying to replicate, is having a connection to someone that makes you willing to do whatever you can to save them. That’s what’s heartening about Mack’s story. His scenes with his daughter, Hope, are adorable and scary. The pair have a great rapport, as Hope scans endearingly precocious and Mack reads as a father who is incredibly proud and buoyed by the little girl he’s raising, but who is also desperately concerned about what the future holds for her.

There is more than a little social commentary baked in there. It’s not hard to look at a black parent telling his child to keep her head down, insisting to law enforcement that they’ve done nothing wrong, and get roughed up in his own home without seeing the intentional parallels to current social issues. Metaphors for real life issues is nothing new for Marvel, but Mack’s story works as both subtext and text. As much as the larger issues hinted at resonate, his role as a father willing to do anything for his child in harsh circumstances are just as resonant.

Those sorts of circumstances, and how subject to them you are, can direct the type of person you become. One of the most interesting things “Identity and Change” does is flip the roles of Coulson and Mace. Coulson is the office-dwelling (well, school-dwelling) guy who finds himself thrust into combat with aliens and superpowered threats, and Mace is the hardened agent who’s been in the game for years.

That the flip works so effectively speaks well of the performers. We only get a little bit of Mace, but he seems grizzled, mistrustful, hardened by the endless battle he’s fighting and by Hydra’s victory. He carries himself as a very different man than the green, teamspeak-spouting leader we met at the beginning of the season. Coulson’s presence is much more fulsome, and it’s an utter delight to see him as the neophyte who always harbored conspiracy theories and is in awe of all the cool stuff he gets to see and do.

That also flips him with Daisy, who is now the seasoned agent guiding him into this world rather than the other way around. His boyish excitement everything, as Daisy looks to him for support and a connection to the real world, adds a charm to all of the heady, metaphysical material in the episode. Coulson doesn’t understand much of what he’s seeing yet, and he is wholly untrained, but you can see the bravery and enthusiasm in him that would make him into a superlative agent.

But the episode also contrasts the major couples in the framework. One of the consistent characteristics of Ward, both before and after he went rogue, was a devotion to Skye. That remains true for the seemingly nobler Ward here. There’s still much more to explore with this new Ward, but there is a sense that whether he’s good or evil, real or digital, there is a commitment within him that persists and can spur him to great things or awful ones.

And yet, Fitz does not have the same steadfastness of character that Simmons might hope. He demands answers from Aida, gets them from her and Radcliffe, and ultimately takes an innocent life (well ...sort of). The Fitz that Simmons knew could never do such a thing. That raises all sorts of questions. Does the real Fitz have this within him? Has he been brainwashed in a more serious way by Aida than the others in her quest to make him a romantic partner? Is there something lurking in his past, possibly his daddy issues, that turned him into this person? It’s unclear at the moment, but it’s a stark reminder that however much these people sound like our old familiar friends, however much they look like friendly faces, people like Fitz, people like Aida, people like May (who gets a nice, telling line about youth not guaranteeing), are dangerous in this reality.

There is a complexity to that, a way in which our perspective is repeatedly flipped on what we think we know about the show’s protagonists and what we’re slowly but surely learning about this new world. Some of what’s revealed is telling, and not all of it’s pretty.

Yen and Ciri's dynamic seemed a bit better in this episode.

I liked seeing Dijkstra and Philippa plotting.

Tissaia telling Yen she finally "became a mother" felt very forced. Yen hasn't earned that yet, though she should have.

Emhyr was a bit better this episode, but still way off what he should be. It's absolute insanity that Cahir is talking about "protecting" his secret. Emhyr literally revealed to an entire room of people/soldiers that Ciri was his daughter last season. Now they're actually acting as though it's a secret? There is literally a guard in the room with Cahir and Emhyr while they openly talk about it again in this episode. What the hell are these writers thinking?

Was very happy to see the 'basilisk' scene from the books appearing here, even if it wasn't executed super well. The scenes here definitely suffered from Ciri's actor being too old for the role, which is unfortunate. However, I did think Tissaia was perfect with Ciri! Sadly, it amplified just how off Yen and Ciri's relationship/dynamic has been. Ciri trying to lecture Yen is just so wrong to who these characters are supposed to be.

The end scene with the hunt chasing Ciri and Geralt coming to the rescue was pretty badly done. Didn't look pretty at all. Made no sense he just dispersed them with a couple of weak signs.

This episode had a lot of problems, but I think it was the best of the season so far.

I liked this one. Jessica's plan to get herself locked up in a supermax prison was dumb, but 1. everyone more or less told her it was dumb, and 2. that was kind of the point. After what happened with Luke, Jessica wasn't thinking things through, but just viewed herself as a cancer that needed to go away. It would, in some ways, be an escape for her, a sense that she's removing herself from these proceedings, even if there's little reason to think that her plan would work, even less to think that it would actually deter Kilgrave, and if she really wants to help the greater good, she should follow Simpson's advice and just kill Kilgrave.

Killing is always an interesting area to explore in comics. Batman's embargo on killing is motivated by an interesting concept that if he crosses that line once, even in extreme circumstances, he doesn't know if he'll be able to stop. In this series, the same embargo with respect to Kilgrave is represented by two different ideas: the first is Jessica's, which is that she needs Kilgrave alive to save Hope, and the second is Trish, who thinks it's not their place to deliver lethal justice.

But I find myself agreeing with Simpson. For Jessica's part, leaving Kilgrave alive led to the death of Reuben, not to mention the harm that's come to all the other people that Kilgrave has controlled since, and that's just what we've seen. Who knows what pain he's caused. I feel for Hope; I really do--frankly more than I feel for Jessica--but the greater good is to prevent Kilgrave from taking any more lives or hurting any more people, even if it means Hope has to bear the brunt of his deeds. For Trish's part, there's little to indicate that the justice system is equipped to handle someone like Kilgrave, that even if they managed to capture him and turn him over to the authorities, that he wouldn't be able to manipulate his way out of the situation and go wreak more havoc. That said, even I disagree with Jessica and Trish, I think their moral philosophies make for interesting character motivations and storytelling possibilities within the frame of the larger narrative.

That said, I didn't really care for Jessica's "last day of freedom" mini-plot. For one thing, we know this isn't actually her last day of freedom. There are six more episodes than this, and it'd be a bolder stroke than I imagine the series would countenance to keep her locked up for the back half of the season. So there's no real stakes to it.

But even just treating it as Jessica thinking it's her last day of freedom, it doesn't really work. Again, I didn't buy into the Jessica-Luke relationship as much as the show seemed to want me to, so her stop at his bar rings a bit hollow. I did enjoy her visit to Trish's mom, since it added an interesting new dimension to both Jessica's history, both recent and long past, and did the same for Trish. But all the other "last meal" elements, like the visit to the top of the bridge, just seemed overdone given that we have every reason to believe she won't end up in jail.

Surprisingly, my favorite character in this episode was Malcolm, who's transition from generic junkie to character who knows what it's like to be controlled by Kilgrave makes him someone who can believably push back on Jessica, and who showed both strength and vulnerability in how he tried to prevent her from taking the fall for Reuben. I'll admit, he seemed largely like a prop, even after the reveal of what had been done to him, but he really came into his own here, both in terms of story and performance.

And, of course, Kilgrave continues to be an incredibly interesting part of this series. The scene with him in the police station (with more Clarke Peters!), and his continuing, utter creepiness in pursuing Jessica is the live wire that runs through this show. It makes sense that she would become an obsession for him as the only thing that his powers couldn't ultimately compel, and the way in which he finds a new way to invade her privacy a little bit more each episode makes him the perfect, disturbing villain. Again, he's probably the best motivated, most unnerving villain that the MCU has put forward thus far.

The flashbacks to Jessica's memories of her childhood home lay it all on a little thick, but as is often the case in this show, despite the shortcomings in execution, it points the narrative in an interesting direction, and I'm curious to see where it's going.

OMFG THIS MOVIE IS AMAZING. Sorry but I adored this film! Be aware: It is a biopic, do not go into this expecting something different. So yes, it has pacing issues and is a little long but that can't really be helped. But those issues are nothing compared to how slamming this movie is.

I've seen it twice already, it's been out in Australia for 2 weeks. In saying that I recommend a second viewing lets you pick up lots of little elements you may have missed the first time, subtle foreshadowing and commentary.

Now onto the important stuff! Tom Hardy is genius, actually genius. He said in an interview recently that he preferred playing Ronnie (the twin with glasses) and I am so happy he did because Ronnie was played spectacularly. He was by far the most interesting and complex character . Reggie was brilliant too however Ron's depth of character and surprising humor was flat out amazing. Emily Browning surprised me, I didn't hate her as much as I thought I would. In saying that I didn't really enjoy her character either. I believe her acting was a little to subtle as her character has a little flat. This is probably just me but Taron Egerton was great, I love the kid and he is going onto to do amazing work but in this film Mad Teddy was to die for. Hilarious and well-rounded. On the topic of Teddy he story line with Ronnie was very well handled. I was scared they would brush over it as is quite common and just stick to alluding. Whilst nothing was show I felt it received the same treatment as other story lines. That's my slightly confusing way of avoiding spoilers.

Had a great soundtrack and a beautiful screenplay. Seriously, just the construction of sentences and dialogue was perfection. As always for my favorite films I'll leave you a quote of this film, hopefully to entice you to watch it.

"It took a lot of love for me to hate him the way I do"

Well that was a fun season finale. D'Arcy has the most standout moment in my opinion. When she finds out Harry is an Alien and this is the big lie that Asta has been keeping from her. She actually acknowledges that this is a big lie and it's very realistic for Asta to lie to her about it. It was extremely satisfying to see this for once even if her completely ignoring the "dinosaur", to assure her friend she gets it is hilariously unrealistic and I mean hilariously as a matter of literal not scale. It got a solid chuckle from me out loud.

There was a lot of revelations for this season finale. Which started from a pretty noteworthy premise of The Greys giving Harry a way off planet leading to Harry needing to decide what to do. The episode is arc'd perfectly ending in a lot of things that we've been hinting at coming to a head and a few things we weren't thinking about to surprise you. The only part of the episode I didn't like was the "Documentary" within the show. A bunch of people talking about being taken or seeing Aliens that connected by to Patience in the end but as a whole I don't think was worth the time.

Can't wait till next season.

Alexander Calvert is doing such a good job at being creepy. That smirk he gave to the sheriff was creepy as hell. I love it. The nature vs nurture debate will always be on the table but I'm pretty sure Jack is a blank state. Neither inherently good nor evil. It all depends on who's influencing you. Truth is he's Lucifer's kid and as such, has evil genes, but with a good role model, he'll be good.

"My father is Castiel". I certainly expected it but hot damn, the way he said it melted my heart. I'm absolutely in love with the fact that Jack's idea of a father is Cas. Kelly was such a nobel character and their bonding in the episode "The Future" was the key.

Is it just me or is Alexander Calvert like the perfect actor for Jack? He can actually be pretty creepy but at the same time tender, lovely and so awkward. Are we entirely sure he's not Cas' son? He had that exact same squinty and confused look Cas has.

"I like nougat", lol. Damn it Jack! I love you already. I love that Jack, a Nephilim, the son of Lucifer, one of the most powerful beings there could ever be uses his powers to steal candy. Btw, when he said "I'm hungry" I thought the writers were going to go full on Amara there. Luckily, they didn't.

That lady sheriff was absolutely awesome. Is she going to be the new Jody once she moves on to Wayward Sisters? I wouldn't mind that tbh. We keep on with the female sheriff supernatural tradition.

That drunk angel, though. She kinda confused me. I thought she got possessed after the boys left but her constant hatred on Becky made me doubt. The actress was on point and the character was so charismatic. It's a pity she's gone but she played her purpose and she was sassy as hell. Btw angels do seem to be badass again, in a demon way. She planted the seed on Dean's mind that Jack can do anything, including bring Cas back.