What is a woman? You are either Male, Female or Hermaphrodite the rest is made up. You either have a penis or a vagina... If you cut of your penis and take hormones you are still a male with a cut off penis that's taking female hormones. Two of the chromosomes (the X and the Y chromosome) determine your sex as male or female when you are born. They are called sex chromosomes: Females have 2 X chromosomes. Males have 1 X and 1 Y chromosome. If there are extra chromosomes its very rare and a defect. What is this clown world? You can't argue with facts...
I have nothing against transgenders but let's keep it real! It's the same when I would identify myself as a male cat while you clearly see a human female. And I can't expect anyone to change reality and enter my imaginary delusional bubble and call me a male cat. Just because you feel like something doesn't make it reality. Just like Martina Big isn't a black woman, Dennis Avner isn't a tiger and Rodrigo Alves isn't a Ken Doll. But again if you are a male and you really want to live your life as a female go do what makes you happy! Live your life as a transgender! But don't claim to be something you are not just because you feel like it.
I really wanted to quote this:
Matt: "I want to understand reality and get to the truth."
Professor Dr. Patrick Grzanka: Yea, I'm really uncomfortable with that language "getting to the truth" because that sounds deeply transphobic to me and if you keep going we are going to stop the interview. The word truth is condescending and rude"
OK, this is a pilot and they already judged sororities and men in general.
The lesbian one checks all the preconceptions there are about lesbians (for example: they hate men). Well, at least thats my take on her character.
Who goes around telling everyone what consent is and that it can be revoked at any time.
And then using the phrase while advertising for pilates?
using one or the other would have been kind of cool.
Using both in the same scene is just desperate.
Besides the SJW-Stuff: The speech about winning prices for deciphering magic scientifically was way too much.
Also: "Baking-Powder works too"? It exists for quite some time now, if witches are powerful and intelligent women you should think someone would have thought of it already or at least it would have happened by accident...
Also: Way too extreme special effects.
The Original Charmed worked as a mirror for boys/men who watched it (Can't speak to what it did for girls...), while still being fun.
This Pilot felt more like being judged for things you haven't even done.
edit:
To make it clear: Consent can be revoked at any time. I just have a problem with people, who feel the need to tell it to everyone every chance they get and kill the mood for people who are clearly both consenting.
And I also hate it, when people assume that a man won't respect a no. The ones that don't are an absolute minority.
Scenes like this strengthen that preconception...
Ms. Marvel episode 1 impressions: First of all, why is Disney shooting these Marvel shows with a 2.35:1 aspect ratio? Shows meant to be shown exclusively on 16:9 displays. It's rather annoying. Especially after they made their huge marketing push of having 16:9 open matted versions of the Marvel movies on Disney+ with the "IMAX Enhanced" label. Seems really backwards to have the Marvel movies in 16:9 and the shows at a wider aspect ratio.
Second biggest problem: WTF did they do to her powers? This isn't faithful to the comics at all. Why is her ability this weird energy crystal power instead of polymorphing? And instead of getting her powers from having Inhuman genes, they made her get her powers from magic bracelets? It's like if they made Spider-Man shoot lasers instead of webs. She might as well be a totally different character.
In fact, making the source of her powers come from magic instead of from a genetic modification is a hilarious blunder as magic is considered haram in Islam. They might as well have made her a super fundamentalist Christian superhero who gets her powers from witchcraft.
I could excuse the strange casting choices that made Kamala and Bruno look too young compared to their comic counterparts if it weren't for the fact they ruined her powers. The constant shapeshifting body horror of the comics was central to Kamala's character.
For me this is another hatewatch just like the Halo series. Like Halo, while it has some things that appeal to fans of the original lore, it has many other aspects that drag it down and make it difficult to fully enjoy the show.
MODERATOR EDIT: Be more respectful.
3 Thoughts After Watching ‘Halloween Kills’:
If I had to hear “evil dies tonight” or one of the many other melodramatic one-liners again, I was going to scream. This film tried wayyy too hard — and it failed, miserably. Awful writing. I believe this is the worst contribution to the franchise and, considering a few of them, that’s saying a lot.
Intro and score aside, this didn’t feel like a Halloween film by any means. The theater was constantly laughing — and not in a good way. Michael Myers took on characteristics and acted in ways that were very unlike him. For example, our classic Michael was always super stealth. Barely ever seen. That was what was creepy about him. Frankly, we saw way too much of him here.
I hated how “deep” they tried to take this incredibly-jumbled plot. Insinuating that Michael was ultimately out to turn the town against each other, bringing out their evil. No. That’s not Michael. It’s quite a stretch. And the side plot of the escaped patient was random and ridiculous.
Bonus Thought: I’m honestly not at all a fan of this timeline. I think their biggest mistake was taking the connection away that Michael and Laurie were siblings. It provided motive and stakes and the family element that was always a part of the mythology.
Three episodes in and I'm already seriously annoyed by the characters' irrational choices and unrealistic behavior. Keeping secrets or lying for no good reason, promising one thing and doing another, etc. And they keep doing it over and over. And I'm not even mentioning their almost casual reaction to discovering a magic mirror that serves as a gateway to another realm. After such an experience any real person would start to seriously question their f****ng sanity or at least have a panic fit and leave that house to never come back again. I know I would. But no, these kids are like: "Wow, magic door. I guess that's nothing to be seriously alarmed about." Even after losing their father in a horrific and traumatic event it doesn't seem to bother these kids at all that they just almost lost their mother too inside this magic mirror maze. And these are just a few examples on the top my head. There's much more where that came from.
It's like watching an '80 horror movie where someone in an already dire situation hears a scary noise and decides to go towards it instead of running to safety. And sure, that was okay then. Maybe fun even. But today, these 30-40 old "proven devices" have become just that: old. Really old, both literally and figuratively. But apparently 30-40 years was not enough time for these writers to come up with something different or original.
It's a shame really, because I think the story overall is quite interesting. But it is starting to become almost unbearable to watch when the only reason the characters behave the way they do is because it's the easiest way to move the plot into a certain direction. It's lazy writing like this that makes characters unbelievable and unrelateble.
While this film is currently classified as horror, that's actually not the case anymore. Back in 1973, this movie would no doubt be classified in that genre. It presented things never before seen in film. Words and actions coming out of a young girl that would shock and offend you. Imagery that would linger in your mind long after you went to bed...these were the reasons why this was absolutely horror. Those qualities that were unheard of 43 years ago are all over the place in today's world, which lessens the impact of such "terrifying" scenes. People forget that those aforementioned qualities only present themselves in the last half hour of this two-hour-long film. The first hour and a half dealt with a lot of really interesting things.
In the first 90 minutes, we are introduced to all of the characters and their own backstories. Each individual had a reason to be there, and it wasn't just because they were a priest and that's their job - no...they had deep, emotionally driven past that led them to that point. Regan's mother, being a famous actress, had connections and money to get her child the help she would need if she really was just mentally ill - but she knew it was more than that. Also, Regan's transformation was a slow build-up that would be incredibly boring if you exclusively look at this like it's a horror film. Don't. It is a character-driven drama with a paranormal kick that comes to a head in the end.
The only, I repeat, only issues I had with this film came down to translation and the basic plot that has been butchered in other projects since. No, I have never seen this movie, but I've seen countless films that also dealt with exorcism, and it's always the same basic routine, changed up a little. The Exorcist had that same routine without the extra condiments. It's relatively basic because it kept things simple. That's great if it is 1973, but it's been 43 years since it has been out. We are quickly approaching its 50th anniversary. There's no way anyone can watch this with a fresh and unaltered mind anymore, and that's really too bad.
If you've never seen The Exorcist, get out there and give it a try. You'll be surprised at the fully-developed plot it has, and all the care it took to tell a story without just making a "scary movie". Check it out!
Can somebody go and check on Jared Leto?
His performance in this is so fucking funny to me, I’d be surprised if this isn’t a shoe-in for a Razzie nomination.
Every artistic choice this guy makes has to be the most overblown and ridiculous thing ever, whether that’s in his acting or his music.
I wonder if he’s still capable of delivering a good performance when he doesn’t get to hide behind make-up and eccentricities.
Not to say that the other actors are faring much better, pretty much everybody sounds like they’re doing a parody of an Italian accent, it sounds ridiculous.
Some sound like they’re trying to imitate Mario, it’s that classic “ah, mamma mia, pizzeria” shtick that everyone does when they make fun of Italians.
The only problem is: this isn’t a parody film, and the only actor that seems to get that to some extent is Adam Driver.
You’d assume that most of these conversations were in Italian in real life, so nobody would care if you’d ditch these accents in an English language film, because it isn’t going to be completely realistic anyway.
I just don’t get creative choices like this, especially from a legend like Ridley Scott, who seemed to understand this idea in his last film, which came out only 2 months ago.
As for the film itself, I’d advise anyone to simply pretend that this is meant to be a campy comedy, because it’s not that good as an Oscar drama.
Just watch Succession if this seems intriguing to you.
It's terribly sad to see comments that are taking the "story" for what it is worth at face value and outright dismissing the movie entirely
As loathe as I am to watch "arthouse" movies, this one certainly struck quite a few chords. The journey of the young, unsure, foolhardy knight and his misplaced sense of honor and the turn he takes into fully accepting his destiny was one I enjoyed very much. The visuals and the sounds did play a large part in it, completely selling the atmosphere of a magical kingdom with swathes of unknown and unexplored mystery. The performances, too, were excellent and Dev Patel was very convincing as Sir Gawain
I'm sorry to say but the story is very, very obvious. As with these "artsy fartsy" movies, the way it is told is what elevates it and here, I feel it was justified and used to great effect. Instead of giving us the straightforward story of Sir Gawain in the ballad, something that has been told for centuries (and something I looked up afterwards because I'm not British or European at all), this movie instead attempts to recontextualise and shroud the entire thing in an air of magic and I found myself enraptured by it
It's the classic tale of a straightforward story told in a convoluted way. As King Arthur says at the very beginning, it was always just a game. What mattered was the journey Gawain took that changed him into someone who would accept what was coming because of his honor. The fox and the mansion were distractions and tried to keep him from achieving his destiny. The sash, given by his mother and returned by the witch in the mansion, was to prevent him harm but it prevented it by making him a coward. What happens after the Knight swings his axe is just the future that awaits for him for his broken oath. He removes the sash, thus letting go of all fears and the Green Knight, satisfied with the man he sees before him, lets him go. The Green Knight was never truly harmed and there was never a reason to harm Gawain either
I loved this movie. It blended the mystical and made for an enthralling journey through beautiful lands and forests and was something truly unique that I appreciate and left me wanting more
Cool concept but terrible, terrible writing.
None of the characters behaves in a believable way, it all feels staged (you know those lines that just happen in movies but just don't feel right in real life? Like "there's no time to explain, just follow me" or "we've got company"), even at the beginning at the resort, before the supernatural part kicks in, like a series of scenes almost unrelated one to the other and patched together, each with the precise purpose to stimulate a feeling in the audience or to get the plot ahead. Characters falling as flies like in predictable horror movies.
Some unexplicable sloppy screenplay moments:
The ending was the best and more naturally progressing part of the movie
Another week, another unnecessary reboot of a fetishized show. A lot of time and effort is put into apologizing for "surrealist" works. When something seems bizarre or off-putting, it's really the symbol of [blank] that has kept the particular reviewer up for many sleepless nights and changes in meaning for them over years. It would be too simple, it is supposed, to only say the plot was weak and dialogue boring. To suggest camp as a lazy crutch to account for bad acting is to just miss the point! It's a flexible genre that not everyone tunes into for its ability to... make sense... or frame its alleged message in a way you particularly care to hear. ::huff:: Fine. There's some truth to the notion that one person's art is another's self-indulgent waste of time and resources. And in terms of "cultural impact," one must concede this is a "great" show that captured the momentum and fervor of its time and has carried such a special place that it's managed to reboot even if the notion of rebooting has smelled sour for longer than anyone cares to admit.
Whatever else I might figure out to say about this show as I carry on, I cannot get over how horrendously bored I am. One dimensional characters bouncing from one boring ass conversation to the next before schizophrenically altering their personality and plot line to be doing something that isn't better or worse than before and probably won't be given a resolution. The main arc and mystery could have ended it all mid-way in season 2, but they keep going...because. The forced introduction of painted-marionette characters to continuously drag the story along must exist in a collective blackout by the show's most ardent fans.
Check out my viewing habits. I watch nearly everything. Across cultures, eras, and languages I peek. I get that some people have very niche voices and that it can be nice just to find that someone does indeed have a voice. I get that some things are complex or difficult. I get that some things are goofy. I just don't get this. It feels bored with itself. Like someone with the resources to make a parody, or pay homage, or experiment in a bend or twist, just threw it all in a blender and poured it out on the table, dryly proclaiming, "eat." I liken it to the kind of "comedy" that comes from Comedy Bang Bang or Tim and Eric. "WE DID SOMETHING! ACCEPT US! NOT ALL COMEDY IS ABOUT LAUGHTER, DUH!" Okay, you complex, tortured souls you. So it goes not all drama has to feel particularly dramatic nor do all mysteries need to make you think, I guess.
It feels like when True Detective got undermined by its own popularity. Forcing more layers and conversations than were ever needed. It feels like if an X-Files subplot got particularly out of hand. It feels like the original college junior script for Fringe before it went through a 95% rewriting process. It feels like Wonderfalls in a universe where the word "charm" never existed. It's Carnivale without the mystery, style, or acting. It's an episode of Bate's Motel where it's 38 minutes of just Norman and Norma folding sheets and sweeping up the hotel before a slightly awkward conversation at dinner andthenohlookabloodstain cut to black. It's so goddamn boring I'm staring at a frozen frame of it because I had to capture the void and every time I look up it makes me feel even emptier. Now, go on, tell me that's Lynch's intent all along and now I'm finally starting to see the inherent brilliance and wisdom of his sad take on life. Or, let the conversation die like the show should have died in 1991, or whenever the middle of the second season aired.
So, you watch The Village, and you're like, "Wait a minute, this is definitely not that good of a movie. "Yeah, this is a very meehh movie." I mean, the whole thing is just so boring and stupid and pointless. It's just the worst thing to have to sit through. It's like nothing's happening. It's like I'm not watching anything. Nothing's happening. It's like I might as well just have my face against a wall for an hour and 49 minutes. It's weird that we find out that it was actually people dressing up as these creatures, but somehow, they were able to make these weird creature noises, and they were all very talented at it, too. I mean, even the mentally handicapped character made some sick noises. And what's up with their motive? Like, the oldest people in the village are just dressing up and pretending to be monsters, so that the young people don't go outside, because apparently the world is a cruel and heartless place. But what's their long-term plan? I mean, like, when they're dead, aren't there going to be a lot less monsters? Are they going to try and convince their children and say, like, "Oh, yeah. Actually, there's, like, technology and everything, but we sheltered you from it." "Oh, yeah. We also illegally live in a wildlife preserve." Overall rating: complete waste of time.
So, is it overly feministic? No, it isn't. I'd say Wonder Woman is more so than this film. It holds it's character strongly and does not diverge the audience's views when watching. The undertones are there sure, but it isn't in your face. Just thought I'd get that out of the way because some around me were wondering that themselves.
Carol Danvers is a great addition to the MCU. Not only has the studio thought long and hard about her placement, but also on how they can make her a defining character for our day and age. No doubt that in the future she will grow and see stronger days herself. But for now, we are left with a very fast paced story with Carol herself, not seeming quite right. There is something off about Brie Larson's performance, and I think it's because of the quick cutting of emotional stages she goes through. I know they are making an amnesia story (with a slim amount of tropes I might add!), but for some reason, she can't seem coherent enough in emotional performing to make this character fully likeable. Then again. it's an origin story. The way she is blunt with others is a plus though.
The villain is complicated here. While I'd say one of the better in the MCU. There are some drawbacks to how they interact with Carol. Not much I can say about them. But having a movie set in the past with a big threat like in the 3rd act was kind of stupid in my opinion. No stakes at all.
For the technical side of things, shots were nice. Too much cutting than I would have liked in fight scenes in hand to hand. The final fight was greatly done though. The music didn't stand out much and was unneeded in some scenes that would have benefitted from silence or a more subtle tone rather than an orchestral track. CGI was fairly good. But, Captain Marvel's powers make her look really fake when flying.
Young Nick Fury and Captain Marvel are, of course, the main highlight to take away. Like a buddy cop movie, but with more superpowers and cats. The chemistry between the two was funny and well put together. The final line said by Carol in the mid-credits scene is a nice callback earlier in the film to cement the two.
So yes duh, there is a mid-credits scene and an end-credits scene. But you could leave after the mid-credits. As the final scene is just a cutesy one. But if you want absolutely no spoilers at all and are the type to even avoid trailers for the new Avengers. It may not be the best play to watch the mid-credits.
Captain Marvel is a good introduction to the strong female lead Carol Danvers. A fun journey with a duo I'd love to see more of. As well as more of Carol's flaws in a visual medium, not vocal. It's no Iron Man, but I see a bit of that Tony Stark spark in this promising character.
Second Viewing Update
So after another look because of uncertainty. I can say now that I was frustrated with the lack of actual character build. Before I remarked the amnesia story being an excuse for the lacking of visual storytelling. But now it was getting to me. Carol Danvers deserves better. And I hope in Endgame she gets it. I have faith in the Russos to give her better development. If not, other instalments will hear our cries for giving this amazing promise, flaws. Downgrading my rating a bit as for a movie about this character, it focuses more on her abilities than her as a person.
7.2/10
6.8/10
Check here for my MCU rankings.
https://trakt.tv/users/corruptednoobie/lists/my-mcu-rankings?sort=rank,asc
OK, reality check: It hasn't been that long since Parker and Val won the contest, so there's simply no way the Mars bio-dome could have been suddenly moved to start "next week" in Bolivia. Given their ages, it's entirely possible (even likely) that neither of them has a passport yet. Obtaining a US Passport takes 6-8 weeks, generally. Even assuming Parker and Val both have passports, U.S. citizens require visa approval to enter Bolivia (5-10 business days after applying at any Consulate of Bolivia).
I've seen first-hand the hoops international travel can involve, especially when sponsored by an institution. I went to New Zealand on choir tour when I was about Parker's age, and my nephew went to Spain around the same age. The choir and travel agencies spent months making sure everyone's travel documents were in order, that passports were obtained well in advance (or were valid well past the planned return dates). Since the contest was run by a corporate sponsor, not a government agency, I doubt there's any possibility of diplomatically shortening the lead time necessary to get the kids' travel set up.
This episode is really good, but Parker's part could have been pulled off more believably by moving the dome to Utah's salt flats instead, if they were really set on salt flats. Still away from family (both in California and Wisconsin), similar type of terrain, but not outside the country—thus avoiding the passport & visa conundrum.
Got distracted a bit during Karen's little speech to all the kids because her audio was off sync in the wide shot, whoops.
I also noticed that some of the static shots of the house in California look severely, egregiously enlarged. Like, blown up from a 640x360 (or smaller) thumbnail enlarged. There are obscene amounts of aliasing along all the straight lines, artifacts in the facade pattern… Not sure how long it's been doing that (maybe all of season four?), but it really hit me these last few episodes, maybe because I'm actually paying attention to the show now that there's real emotional content.
Yet another show by Netflix that's sub-par. Superhero nuns fighting demons and monsters shouldn't be this dull of a dud.
It starts with a massive bang with a squad of women wearing stealth suits, crashing into church shouting about being ambushed by mercenaries. They pull an angel's halo out of their wounded leader. A nun dies to protect this artifact from a demon possessed solider. The opening scene felt like a mix of John Wick with John Constantine stories.
But then the action & show grinds to a halt. Nothing really happens for the first 5 episodes. Things slowly pick up & we get to last 10 mins where bad ass action once again picks up only to end with a massive cliffhanger (you will literally say "what the fuck").
This show was a waste of 10 hours of my life. What great potential this show had, but as usual Netflix gives you dud.
The entire 10 episodes are designed for the show creators to get budget for season 2 (where hopefully something happens that moves the story forward).
I would say wait for season 2 or even season 3 to be released before wasting your time watching this show.
While the trailers and adverts might make this seem like it's a happy romp, it's not. Believe me it's not. This, in my opinion, is a very sad film. It took me by surprised me and made me remember aspects of my childhood I don't normally keep at the forefront of my mind. This is despite the comedy and the happy joy-joy attitude seen for about 50% of the film. I really related to Riley, so much so that I actually cried quite a bit at the theatre. I felt a bit embarrassed but I really couldn't help it. It wasn't the acts in the film that made me sad, it was the explanation afterwards. Riley's motivations. Hearing it in words after seeing everything broke me. A Disney film hasn't made me cry like that ever.
You absolutely have to see Inside Out. But, don't go into it looking for it to put a smile on your face after a bad day. It's a really emotional ride. However, the message in the end is really worth it. It's a message that we should really get across to the children of today. I wish the message being put forward by this movie was being aimed at children back when I was a kid. It would have really helped. It would have indeed.
As much as I wanted to like this movie, and ESPECIALLY not wanting to throw shade on Dave Bautista, I'm afraid the words of none other than Macbeth are the most fitting as far as a review of this enterprise goes:
A.O.D. is but a walking shadow, some poor players
That strut and fret their two and a half hours upon the stage
And then are heard no more: It is a tale
Told by idiots, full of sound and fury,
Signifying nothing.
That having been said, the REAL shame here is, that, with just a little bit of re jiggering, and a little less stupidity on the part of any one of the panopoly of characters, and, this could have not only been an epic movie, but, possibly a even a (2 or 3 movie) franchise!
Any movie that starts from the jump with nekkid zombie stripper ta ta's is a go for me, just on the "Hmmm, I ain't seen THAT before factor alone. Now, throw in Siegfried and Roy's zombified Manticore' , and, you're going to hold my interest. Add super quick and agile "rage zombies, and a mix of your usual suspect "shufflin' and bitin' " zombies, as well as a full auto Drax the Destroyer, and a crew of mangey former tier one operators, who served their country honorably, but per current SOP, were promptly shat upon by the country that they so dutifully served, then, give them a chance to for once not just even the score but come out ahead, and, you HAD the basis for a pretty decent horror adventure flick.
But then SOMBODY had to go and try to grow a brain, perhaps thinking they could be "edgy", and, instead of delivering a fun, intelligent live action "Walking Dead" (first few seasons only), they decided to suck all the common sense from EVERY characters brain, and then have each one of them suddenly go mute at the most inopportune times, when a word, a note, or even a cryptic whisper, could keep someone from becoming zombie snackos'. Now add to that mix, a teenaged girl with one of the most full blown cases of narcissistic personality disorder ever witnessed on film, and have her played by an actor who every time she opens her mouth you just want to backhand her and send her to her room with no dinner. But, she's also a master of either guilting her father (team leader Scott Ward) for doing something she later admits "he had to do", or, forcing him to let her accompany the squad, (to "rescue the aforementioned STUPID friend) by threatening to run off and do it alone anyway, which is a certain one way trip. So, welcome to mercenary baby sitting, Z/A style.
All is not lost though as there are some nice bonding moments between Zen "man some of the shizz I've done" Vanderohe, and newbie merc / safecracker Ludwig Dieter, especially when it is discovered he doesn't even know Zombie 101 basics. Raul Castillos' "Mickey" who at first seems to be either a You Tube poser, or just a bit crazy, then actually turns out to be an honorable guy. Samantha Joe's "Chambers" is a formidable street fighter, but, sadly , her heroic last stand is wasted when in the end, she got a case of the mutes, when she could have saved the entire crew with a shouted warning.
Nora Arnezeder is believable as Lilly, The Coyote, even if she does let little miss prissy teen smack her around a bit, for helping another of Kates IDIOT friends do something stupid, that, in the end, does not bode well for the entire team. Tig Notaro I guess is OK, especially since she was a last minute "digital" substitute for Chris D'Elia, who was unceremoniously cancelled and erased from the movie due to misconduct of the sexual kind. It's not seamless, but, it's not distracting either. But, she too, got hit with the idiot stick at the last minute, and, her indecision literally was catastrophic. In BOTH their story arcs, Snyder chose to plagiarize, er, uh, be "inspired" by ENTIRE SCENES from "Aliens", then "edgily" flip the script, by declaring opposite day at their individual conclusions.
The longest walk of shame, IMO, goes to Bautista's character Scott Ward, for being either too blind of just plain dumb, to not see through the machinations of neither his Japanese Benefactor, nor his henchman sent along to fulfill the ACTUAL goal of the "heist". But, in his defense, a couple hundred million dollars tax free, can buy a mighty dark pair of rose colored glasses, and, even though he can't see the forest for the trees, nor, apparently when the passion fires of his former flame have burst into a bonfire. Her end was so telegraphed, that even as it occurred, you weren't really shocked, just saddened. Just as his end, and the way it came about, had one waiting for the sound track to cue up Alanis Morrissette, but, perhaps they couldn't get a music clearance..
ONE final chance at redemption comes in the form of the epilogue with Vanderohe, and, it could have played out the epic revenge scenario, but, alas it was not to be, and he, along with any chance at a sequel, was D.O.A.
So, in conclusion, I don't dislike this movie for it's short comings, but, because of it's unfulfilled potential. It didn't necessarily have to be all happily ever after, but, as you watch it, and the idiocy starts leaking out of the characters, see if you can glimpse the great movie that COULD have been.
EDIT: It has now been revealed the original film/script was radically different, longer, and explained many of my issues presented in this review. Studios, stop butchering your films to be more palatable to audiences.
This is what happens when the people who say, "Godzilla movies don't need to have good human stories," get their way. Easily one of the weakest Godzilla films ever made and the worst of this series. You're not a fan of this franchise if you say Godzilla movies don't need story. Every one so far has had an interesting enough script to justify it's monster bits, even the worst Showa or Heisei outings do more. It's not even really sure what it wants to be. Kong is propped up as the hero and clearly the protagonist of this story with Gojira making cameos as he hunts the organization Apex, but then Kong just loses anyways. What purpose is there for even setting up these monsters as sympathetic when all writing and soul is tossed out the minute they start brawling in Hong Kong. It actually forgets humans exist for a good four minutes as these two punching bags throttle around neon buildings. Craft is gone, it turns into The Avengers, with barely any collateral damage. "Oh but, you can follow the journey through the monsters! You don't need humans to have that nuance." Oh really? Godzilla doesn't like Kong being off his island, he puts him in his place, story done. Talk about deep. No moments to breath or for a character to properly react. This is hot off the heels of King of the Monsters, a film that continues the themes of Skull Island and Gareth Edward's Godzilla. Dougherty's outing before this deeply explored the themes of what it means to live with these monsters on Earth. How do you continue living when a relative of yours has been taken at the hands of one of them, do you shut yourself off or do you try to change the world? Emma became essentially so riddled with guilt she released the devil on Earth. How are these monsters really not so different from us, considering they were birthed out of our own arrogant, persistent lust for control over this world. It's too much to get in to, but that film dealt a great deal with overcoming grief, putting your faith in God, coexistence, and forgiveness. Mark's scene where he looks in to Godzilla's eyes and finally restores his faith is one of my favorite moments from this series. There is nothing in Godzilla vs. Kong that could be remotely construed as a plot. Charles Dance's role has been replaced for some reason, we have a wacky podcast conspiracy guy that serves as just a walking prop for the viewer to see world explanations, Kyle Chandler as Mark has been reduced to a cameo, and on that note: Why is he working at Monarch? He consistently hated Godzilla until he had a change of heart and faith by virtue of Serizawa and Mothra. Monarch didn't change to the good guy, they're still an organization on the cusp of lawsuit and government shutdown. Would GvK mind explaining that for us? How and when was Apex formed? How is it possible the creation of MechaGodzilla never leaked out? The world has been introduced to the titans. It's plainly established everyone is obsessed with these things, the internet and news won't shut up about them. The government doesn't know this is how Apex is using their power supply? In '14, it's at least explained their research on the MUTO was a government cover up for Monarch, that's why Joe in that film became a crackpot theorist who wouldn't let the nuclear incident go. But it's not 2013 anymore, the creatures are no longer a big secret. In King of the Monsters, the people unleashing Ghidorah to rival Godzilla are small band of eco-terrorists, they aren't a multi-billion dollar corporation. It makes no sense and done so much more poorly. It's rushed and done with quips. The most we ever get in terms of world building is a single shot of a map and newspapers, talking about the UN vetoing Godzilla or Apex facilities springing up across the map. We don't hear internal communication or even have a Senate scene like in this last film. The world has simultaneously been expanded greatly and shrunken to nothing, something Pacific Rim Uprising also horrifically accomplished. This series was built off the foundation of engaging with this science fiction, government monster universe through the lens of a sympathetic every-man that's been hurt by the monsters in some way, usually a familial death. Dr. Nathan Lind is given two words to establish he lost a brother in the Hollow Earth, but nothing ever comes of that information. Humans? There are storytelling devices used to get the audience from scene to scene. In the same span of runtime, from '14 to this, Bryan Cranston is grieving over his dying wife, to this has a fat guy making jokes about toasters. The most amount of interesting character development are thrown away in two very specific pieces of dialogue. The little native girl's family was killed by the storm surrounding skull island, which we saw in Kong's film, as was the whole island wiped out. I imagine there was a sequence that explored this and able to give a more tragic or perhaps resounding, uplifting message of sticking with family even when you've suffered so much loss. It would fit the overarching narrative that's stuck to this MonsterVerse so far, but it seems the cutting room floor did a number to this movie, as even stated by director Adam Wingard. It really does feel like the movie is playing damage control. Audiences didn't understand the previous films' stories, so they got fed up trying to understand them and just declared they don't want any characters in these movies. So we get walking action figures that say the words necessary to get us to our next fight. The best potential that existed in one of these dolls was Shun Oguri's character, Ren Serizawa, who is related to the Serizawa of previous films, the one who sacrificed himself to save Godzilla and prove humanity needed to accept him as their king. It was a very touching, holy piece in the last film, and Ren could work as an antagonistic son who resents his father for giving up his life to this monster he doesn't understand, and we could go through a similar arc Mark Russel did in the last film. None of this is realized, he is a dummy test pilot told to get in the goddamn chair, like it's an Evangelion reference. The most amount of enjoyment anyone could get out of this is the splodge of CGI dumped on to the screen with no visual grace or narrative substance. If that's all you want, then I pity what this means for blockbusters. Edwards crafted a fantastic character movie in 2013 and the series has been handed a blow here.
I be perfectly honest, the sole reason I went into this was Cate Blanchett. I didn't knew any of the real life characters or much about the events depicted here.
Now, first, from the point of acting this was great. Even not knowing the real persons I enjoyed the performances very much. Especially Cate, I am a huge admirer of her. But there is no one in the cast who was bad or even slightly weak.
As for the story - like I mentioned I didn't knew the first thing, really. Not quite my time and not my country. They say that some things in the show are altered so I don't know what is true. I can only say something about the story as it is presented.
I had difficulties finding sympathie for any group. It was all really black and white. Both sides have valid points and both sides can be downright ridicoulous. And please, I am not against Equal Rights, I just comment on the show. The ERA Movement had to much trench fighting going on. Everyone wanted to add something, wanted his agenda pushed to the top. When people say: "This is what WE want" more often than not what they mean is "This is what I want".
For Phillys it was never about the cause anyway, it was all about her. It was a way to put herself into the spotlight to push her career. Tragically she was the prime excample of a woman who could have benefitted from the ERA. But in the end she got what she fought for instead of what she wanted.
I am a bit at a loss in terms of what rating to give. The production is great, acting like I said, too. The story is important to know and yet at the end I was left somewhat ..... indifferent. It wasn't as engaging for me as it probably needed to be. Therefore I choose "just" a 7 but it is one of the better 7s.
Okey, i'm gonna be honest and say that I really didn't have like a lot of expectation with this because when I saw the trailer I just tougth that it's just a TV show of a bunch of depressing teenagers with first world problems (like mostly of the shows that Netflix loves to create)... and, I mean, there is no a biiiiiiiiig difference beetwen that and the whole situation of the serie, but now that I watched it all I have some things to say. Please take a sit.
1. I have to let it clear that this is an ADAPTATION, and the funny thing of everything is that the creators can actually take all the bases, all the main trama, a lot of the original characters and create something new to the grown children that saw the animated show. I think that i'm actually satisfaed with it... I could enjoy all the main story with Bloom, her past,the discoverment of her powers, etc... when I was a little girl and now being a young adult.
2. NOT AND INFANTILE SHOW. Don't let kids watch it with you, please conserve the innocence of Alfea with them.
3. Maybe it's too "mainstream" or "millennial" for some people a lot of thing that were on the show (like the existence of Instagram or smartphones and texting messages in case of danger, in every single person in the fairy magic world... even teachers) but I think that this just make that the story would be light, funny and accurate to our times. I feel it REAL.
4. Story is DEEP. And that's why I feel it real! 'Cause we all know the main characters of the original version, yes, but not in the sense of talking and treating a LOT of topics that put this show in a range of +16 public (violence, revenge, sex, alcohol and drugs, etc, etc). All the whole situation of Bloom and her powers and family... it was deep sis...
5. FINAL CHAPTER GOT ME SHOCK, no more comments.
6. I think the show deserves a chance, just like Shadowhunters did (wich actually I find both REALLY similar... weird), it's just the first season and I think that it was a very well-doing beginning, I honestly want to see more...
