Ambitious…. But messy.
There is some good stuff here but also some things that just didn’t work. At times the action looked phenomenal, at other times I couldn’t follow what was happening with the shakey cam and the way some of it was cut. I liked the story and exploring the past. The training break between 2nd and 3rd act was the weakest part of the movie. Also felt little unsatisfying with the way it wraps. I think Dev showed some good traits though and will definitely check out whatever he does next. Shout out to Shantel Copley, he’s great as always!
It's a beautiful movie. But I simply don't understand the story leading up to the end. I just don't know nothing seemed to really lead to the next plot point, creating sudden plot out of no where. But what I did understand, it was lovely. It was romantic, and it was fantastical. It had all the emotional elements that a Ghibli film tends to have. You feel this movie more than you understand, and I'm sure other viewers felt much more than I did.
What an amazing show... beautifully shot, costumes and props are amazing, and the Cast - - Wow, you can tell they are putting their craft into top gear.
Anna Sawai is excelling in this role... she is far more engaged than in 'Monarch Legacy...'.
If you aren't watching this yet, what the hell are you waiting for?!
Jesus Christ, stop praising Donna like that it's getting too cringy.
Definitely one of the best season finales of the whole series.
I really wanted to love this, but it fell flat for me.
I really enjoyed the themes it was exploring, but it ended up coming off a bit too pretentious.
It had gaping plot holes that made taking the rest of it seriously a bit of a stretch.
My favorite was that one of the seven most powerful/expensive robots in the entire world was sold to the circus as a joke!?!?
Note: _I didn't read the source material, and maybe they stayed true to it, but not fixing the plot holes was a mistake if that was the case IMO. _
The animation and the acting were very good, the mood was perfectly fitting as well.
This had the potential to be a home run, but they fell short of the mark.
It's definitely not Urasawa's best work.
The original material is very weak and the adaptation is also weak. Astro Boy's story of peace is far from bringing peace or resolution to the problems of World War II. And placing Japan as a victim or protagonist is problematic to say the least.
The story does manage to bring suspense and intimacy to the problems of war based on the needs of family. It's a smart and challenging choice. As it encourages people to watch, it also creates a dramatic charge. However, I couldn't identify with the characters except for the detective (who was probably Urasawa's initial character).
It seems to me that there was a business intention here between the Tezuka association and the Urasawa publishers. I speculate that Urasawa already had a science fiction story and that it was sold to the association.
Anyway, the production manages to maintain a high level of quality except for the 3D. The soundtrack is good and the voice actors are exceptional. In my opinion, the weakest points are in the story and mainly in the direction that fails to improve the narrative and makes it more rigid.
Not what I expected, yet it was terrific. Can't wait for more.
Ok so the acting was alright, but basically I just spent almost 2 hours of my day watching an annoying couple argue over a thank you speech and all of this in a b&w filter. I mean...
An Absolute child favorite! Must watch.
Courage the Cowardly Dog was a very nice re-watch, most folks remember this series for being scary but I honestly always just thought it was funny. It's still just as funny watching it today whether seeing how Courage's screams result in bodily changes or just laughing at how bizarre the premise of some episodes are. That does not mean however that the show lacks nightmare fuel all around, I can definitely see why a lot of viewers were creeped out by King Ramses or the Spirit of The Harvest moon. I actually really feel like the creators were going more for a creepy scary feel at the start and then shifted to "How many times can we psych the viewers out and make them say WTF". The music in the show is pretty awesome, it helps tons to hammer in on the creepy factor and on the heartwarming moments of the show.
One thing I really enjoyed while watching it now is that a lot of the times Courage ends up helping the monster of the episode or it turns out that the monster wasn't even the villain, it really gives the show a very nice theme of "Don't judge a book by its cover". There's multiple times where he helps protect a monster's babies, or just helps a monster actually gain something to make them happy. Seemed like the show was going for a "Violence is not the answer" message.
Unlike the rest of the Cartoon Network shows I've re-watched so far Courage tends to go the much more subtle route with adult jokes. I'd say there's about less than 6 adult jokes that are up in your face. There are adult themes covered in some episodes such as the infamous "The Mask" episode which covers the theme of domestic abuse or the final episode where Courage is forced to become perfect.
A detail I found interesting is that Courage speaks less English the longer the series went on.
To those wondering how much truth there is in this story, be sure to watch History buffs analysis on YouTube. You'll be surprised.
"I'll take this coal and ram it up their.. anus!"
On one level, it knows what it is, being an alternative vulgar holiday gore-fest, and I appreciate it deludes itself with satire and self-referentials. But the plot it tries balls deep to squeeze between the action is just a concrete slog after the 60-minute mark, and neither do the various subplots get much spotlight beyond thin plot reasoning.
Literally, the only reason I caught this in the theater was for David Harbour's combat skills, and I'm glad I witnessed them with a crowd of "oh shit!!" reactions.
I also really enjoyed the nordic angle of Santa's origins, and I really wished it was delved into more as it could've had a huge stake in the route of the story instead of just being a generic action movie tribute.
This episode was a real blast!
Early in 2021 I suffered a major medical condition and spent many days in ICU. The worst part was the sedation. The whole time I was under I was having nightmares, the sounds of all the equipment alarms were incorporated into my dreams. It was absolutely horrid, I thought I was in some evil world. Those nightmares are the only thing I remember until I awoke. The doctors all thought I was a goner. I must have declined.
Slow and miserable in the time honoured tradition of British films (im british).
Outstanding performance from the little girl. But why is this getting such good reviews?
I can walk down the street and see these ppl and events any given day. Nothing cinematic here.
Will have forgotten everything that happened in this movie by tomorrow. Because nothing happens.
Don’t know what critics and audiences are seeing i this.
Dear British filmmakers, please show more vision and ambition.
Visually impressive. Nothing else is though.
Tries hard to be deeper than it is.
Be warned Midsommar is not a horror movie, it's an art film covered in a thin veneer of gore. It is not scary, it's not frightening, just long with a few gross-out gore scenes sprinkled in.
The movie spends most of its run time showing you scenes of people eating, drinking or singing. These are really pretty scenes mind you, the cinematography is on point, but they are also excruciatingly long. The movie could easily be trimmed by 30 minutes without affecting the barebones plot at all.
The horror element is supposed to be the cult rituals but most of them were so absurd that I and the rest of the (few) people in the theater laughed instead. There was especially one scene with a bunch of nude older women that was downright hilarious, although I very much doubt that was the intent.
If singing Swedish people frightens you then this is a must watch, otherwise don't bother.
This is in many ways the exact movie that The Lego Batman Movie made fun of.
So, I can totally understand if this film reads like self-parody to some (I'll admit, the gravely film noir detective voice over was a bit much, it's been parodied to death at this point), but I'd argue that it's overall a refreshing take on the character in a well thought out story that includes some excellent performances. Paul Dano, Robert Pattinson and Zoe Kravitz all nail their roles.
It's a typical Matt Reeves blockbuster in every sense. It's grounded, serious, and there's a strong emphasis on drama/tension, and less on action. The production and style of this thing are phenomenal. Excellent cinematography, which should be Oscar nominated (but probably won't), music, production value, costumes, directing, etcetera. It's grim, it's dark, it's gritty, but it doesn't feel like it's directed by a 16 year old edgelord either. I love how the colour palette of this film is restricted to black, grey, orange and red. It's perfect, taking clear influences from David Fincher films, neo noir detectives and '70s paranoia thrillers (maybe a hint of Marvel Netflix as well). I hope it reinvents the wheel for many blockbusters to come.
Its biggest problem are the pacing and the characters. I'm fine with defending longer films, but this isn't a smooth 3 hour ride. It holds its cards very close to the chest during the first half, to the point where it's hard to engage with and can get kinda boring. It's a lot of set-up, mood and atmosphere, and not much else. It doesn't really hook you with its characters or the dramatic intrigue of the story, as I didn't find this slow moving mystery compelling enough by itself (partially because it doesn't really engage the audience; you can't solve it by yourself). There's not even that much action to compensate, besides a few quick beats here and there.
It also relies too much on the cultural iconography of Batman and Catwoman that already exists in our current zeitgeist, and while I might know those characters as cultural icons, I don't know this Batman, or this Catwoman. It eventually gets there though, as The Riddler and Catwoman get a lot more interesting in their own right as the film goes along, but it takes a long time. I love that this Riddler is essentially re-imagined to be a radicalized 4 Chan incel , which feels very relevant for today. Still, we know very little about Batman by the end of it (besides his brooding indie rockstar behavior), which is mostly due to the general lack of Bruce Wayne in the film. Batman cannot be interesting without a good Bruce Wayne accompanying him. That's nothing against Robert Pattinson, he's very good in it, but the writing for his character is very one note. As a film, it would've benefitted a lot from a deeper dive into his psyche, because the emotional arc of his character doesn't feel earned by the end.
Still, these issues could easily be fixed in a sequel, it's a good enough foundation for a series of great Batman films.
7/10
Not a fan of this. What saves some of it are the fresh ideas it brings to the table, it’s good at playing with your expectations. At the same time you can also really tell that this isn’t the most experienced filmmaker. The camerawork, lighting and music are mostly bland and only pop sporadically during key moments. The horror is ok, it makes the mistake of showing some of the supposed scary stuff in broad daylight, and it occasionally resorts to cheap techniques (hectic editing; annoying, unearned jump scares). Its logic gets very thin in places, and while the acting is passable, it can get kinda bad at times (the dialogue certainly doesn’t help either). You can excuse some of that for the fact that it’s aiming for shlock, but I think this gets kinda lame next to a movie like Malignant.
4.5/10
I thought it was ok, then it just got dumb as all the other scary movies do. Don't expect anything new or too scary. Police in the movie are depicted as dumb as any person can be ......lots of dumb people in this movie. Lots of nudity, I warned you....
What starts out as a standard horror film soon turns into a plain dumb, unbearable and often incomprehensible hot mess that tries too hard to shock and forgets to entertain. Genuinely surprised seeing its average rating on Letterboxd as this garbage should have never been made and is undeserving of such high ratings. Yikes.
Not quite a "10" , but pretty darn close if you're looking for a fun actioner, where even some of the "bad" guys are kind of likeable, and the lead (Pitt's "Ladybug") is pretty much perfectly cast. Based on Kotaro Isaka's best selling novel, the film version does take some liberties with the characters as far as their ethnicities are concerned, as well as (IMO) the only glaring miscasting of the big bad which lacked believability, and caused me to briefly discard my suspension of disbelief, but overall, it was a thoroughly enjoyable experience, which I can wholeheartedly recommend. Hiroyuki Sanada is ALWAYS a welcome addition to pretty much any film he's ever been in, as is, of course, Miss Congeniality herself, Sandra Bullock, although she is used sparingly as "Ladybug's" handler.
The rest of the supporting cast, especially ("Kick-Ass" Himself) Aaron Taylor-Johnson and Brian Tyree Henry are comically villainous counterpoints to Pitts charmingly successful but at times unlucky character, and, I liked the way the story intercut their backstories to tie their present situations all together. Again, if you're looking for Shakespeare, best catch another train, but if non stop comic mayhem is what you seek, grab a ticket, and take a ride on the this express train to chaos-town.
@Lazo - .....or, action-wise at least, a more gender mixed version of "Gunpowder Milkshake". ;-)
Hmmmm....,Will THIS be 2024's "Bullet Train?:
https://www.universalpictures.com/movies/argylle
[8.8/10] It’s easy to love Primal’s action. Sure, it is violent, but that violence is artistic, kinetic, heart-pumping, balletic, filled with the incredible work of the show’s animation and design team that turns even the most bloody battles into visual poetry. We care for Spear and Fang after all they’ve been through. We fear for them when they’re in danger, cheer for them when they triumph, and sit on the edge of our seats through every blow and battle.
But this is not Genndy Tartakovsky’s prior show, Samurai Jack, where all the opponents are robots. The creatures and, now, people that the duo take down are living beings. They have the same familial and societal bonds that Fang and Spear did. They feel those bonds severed with the snap of powerful jaws and mighty blow from fearsome fists. The violence here is not costless, not simple, not easy to cheer for.
That’s what gripped me in “The Red Mist”. We start out wanting to root for Spear and Fang because they’re our heroes. They are freeing slaves from imprisonment by the Scorpion tribe. They are facing off against equally scary and powerful warriors astride their own sharp-toothed beasts of burden. These enemies are no pushovers. They’re ultimately no match for the combined force of primitive man and powerful dinosaur. But they have numbers, and weapons, and home field advantage, which makes the good guys’ position seem tenuous and perilous.
The way Primal can make us bite our nails in these moments is incredible. We know, or at least have good reason to think, that the show won’t kill off Fang or Spear in a random episode in the middle of the season. And yet, when Spear is crushed underneath a bear, when Fang is cornered by a group of ax-wielding warriors, you worry that something terrible could happen, because of the way the expert flow and progression of battle leads to emotional highs and lows amid the tumult.
It helps that the episode gives us key figures to follow on the opposing side. There are plenty of cannon fodder soldiers who mostly exist to be chomped through, knocked pasts, or slayed in any number of gruesome or bloody ways. But there is also a chieftain leading his people in battle, a mother protecting her village, and a child striking a blow for the fellow members of his tribe wherever he can.
Therein lies the rub. This is not a simple war of nature, where Fang and Spear fend off rival beasts or mysterious critters. This is not killing a giant turtle to avoid starvation, or snatching fish from the air for sustenance, or slaying a massive shark for survival. This is a community they’re fighting, with connections and mutual support and devotion and conviction and pain and anger at the losses they suffer.
At some point, the fight in the Scorpion tribe stronghold goes from being a battle between good and evil, to being a more complicated test of wills between groups with contrary interests, to being a horrifying massacre.
Spear and Fang are not wanton. They do not kill for sport. They try to escape after winning the day and find themselves backed onto a cliff. They try to run past the Scorpion tribe’s defenses, only to face a flurry of spears in the process. They absorb arrows, suffer major wounds, and are driven to the point of fury and self-defense, rather than choosing to kill indiscriminately.
When push comes to shove, though. Fang kills that mother when it’s that or dying himself. Spear kills that child, after trying several times to find non-lethal ways to stop them. And when the titular crimson mist floats above the hazy grounds of the battlefield, they kill everyone. It is the most shocking, widespread, blood-curdling loss of life in the series to date.
On the one hand it is righteous. These are slavers after all. Fang and Spear wouldn’t even be here if they weren’t trying to free what seems like a collection of meek individuals who’ve been kidnapped and menaced into submission. These are conquerors, possessing of weapons and mounts and other technologies that mean they are naive innocents. What’s more, they fight back, unrelentingly, even when Fang and Spear try to retreat. At some point, our heroes have no choice. They’re fighting for their lives against enemies who’ve committed a moral wrong and who refuse to surrender.
But these are also people defending their homes, their brethren, their elders, and their children. To them, here are two barbarous invaders who have barged into their village, torn down their homes, and killed their standard bearers. To them, this is a righteous defense. And even if we want to write them off as a heartless slave-holding society, it’s hard when the show humanizes them. We see mothers and fathers defending their children, kids joining the fight to try to protect their caretakers, other lamenting those they’ve lost in the fray. This culling is not as simple as it is a complete one.
I walked away feeling conflicted. Fang and Spear triumph. They free the slaves and escape in a ship with Mira in tow. They’ve defeated an unjust society that held other sentient beings captive. And yet, it’s hard not to recoil at the absolute carnage left in their wake, mourn for parents and children alike felled in the storm of spears and claws, sit aghast at the bodies spread and stacked across what used to be their homes.
The sharpest choice “The Red Mist” makes is to put us in the perspective of a father and son returning home to find this horror. There, in the quiet spaces that the flurry of combat do not provide for, we can sympathize with them. They too are slavers, coming in with fellow souls in shackles, a party to such evil. But they also look upon the bodies of their loved ones, torn to bits and viscera, their partners slain, their children lifeless, and weep.
The father struggles to light the funeral pyre. He decks his son in armor and prepares him to exact vengeance. This action does not happen in a vacuum. It is not the law of the jungle playing out. It is, instead, the cycle of violence, where even such inhuman slaughter, however justified or total, sparks the cause for more in the name of revenge.
To them, it is just as righteous. To our heroes, it is a necessary cost of self-preservation. And to us, it is the queasy moral middle ground of being thrilled, enraptured, even awed by the images Tartakovsky and company paint on the screen for us, while also recoiling, repulsing, chastening ourselves at the scope and force of such violence, that will surely not end here.
This movie is a mess. It's a pretty mess, but still a mess. Far too many plotlines are completely dropped for an unrealistic one, and it never really explores or explains the virtual world it presents. There are tons of ideas, but they are all hindered by poor execution. Character motives don't make a lot of sense, the world seems empty despite there being over five billion people registered into the app, the laws of the app are broken and the writers don't seem to understand how apps work, and it all just kind of falls apart once you think about it too much.
I'd go into specifics but it isn't worth it. Even as someone who usually doesn't notice plotholes, this one is legitimately full of them, and to go over them all would take tons of time and effort this movie doesn't deserve.
It's just mediocre thanks to some awesome visuals, some creative ideas, and a nice enough soundtrack.
Belle... A collection of music videos glued together by a really badly written narrative.
Belle is one of the weakest animated movies i have seen in the past few years, and that makes me really sad, as a fan of the director i went into this expecting an 8 or an 9, but what i got is a 5 at best.
Belle has a interesting idea, with its reworking of the "beauty and the beast" and its child abuse themes... But it fails to build on its characters and to explain basic premises of its own world, making it for a very boring and bland experience.
Most of the things we thought would be relevant were completely ignored and absolutely useless, we asked ourselves watching "did she get some disease and now is unable to sing in the real world and that is why the U is an escape?" No, they never address this, she just fails to sing and vomits once because the movie wanted to i guess? They keep all her "friends" completely irrelevant and underdeveloped until the last quarter of the movie, so i basically don't care about any of them in the end, they never explain the socio economical structure of the U world... How does this work? They say the avatar is made automatically based on people physiognomy, but the avatars are crazy different in form and species, how can that be made from ones physiognomy? How is the invitation system decided? Who is invited and why? Why even have an invitation system instead of selling the app or freely distributing it if that ends up irrelevant to the story? Why show us a very interesting singer character on the start that rivalizes our belle if you are just going to forget her for the whole movie? How to know which avatars are AI controlled and which are actually people? Is it possible do die in U? If not, what is the relevance of all the conflict we see?
Belle raises too many questions and answer very little, it presents us with an beautiful and interesting virtual world but tells us NOTHING about it and how it all works, it presents us with futuristic technology in a world that seems stuck in the 2000s, it gives us many bland and uninteresting characters with only one personality trait each and develops none of them... There are so many problems, so many drawn out scenes... That it all gets boring and tiresome...
And.... That makes me really sad, the music is GREAT, the visuals are BEAUTIFUL, the music scenes are AMAZING... But they are few and far in between and the rest of the movie... Is not interesting, they present us a nice duality of belle and the beast, but their interest in one another is so out of nowhere and forced that it doesnt feel even a little bit real or natural... There is a great scene that develops the characters and emotional connects, but it is only in the last quarter of the movie... When it has already lost all my interest and attention... and the plot of child abuse is ok and very important... But it feels shoved in... The main plot... Feels shoved in... Oh, and how they find the boy... Well, that was just the worst "investigation" bit i have ever seen...
I really wanted to like this movie, but there are just too many unanswered questions, just too little character development, and a plot that is just generic and bland enough to lose my attention... The visuals and music alone are not enough...
At the end, i feel like they made some really great music videos and didnt want to release it as just animated music videos, so they wrote a really bland movie around it and shoved a controversial and important theme(child abuse) to appeal to peoples hearts in an effective but kinda cheap way.
Starts slow. It picks up a bit. Looks amazing. Good sound. Great shots. The journey into the zone did have a brilliant atmosphere, sense of adventure and was intriguing. Some of the dialogue was thought provoking and meaningful.
My problem is that some of the shots (nearly all) are very long for the sake of long arty shots. It feels extra long considering it's over two and a half hours in length. No it's not because I watch hollywood trash, it's a long movie by any standards. Especially a purposely slow paced one. It didn't gain any extra atmosphere by being long. It was bordering on self indulgent. There isn't much with character interaction and plot development after an hour, so it's the same old stuff but in a new tunnel. Dialogue become thinner.
It's everything I like and dislike in one movie. One of those movies people add to their CV to look sophisticated perhaps. After a while the writer character seemed a mirror for pretentious viewers/ failed artists to reflect upon. These aren't fully fleshed human characters, despite all the self analysis and doubt the writer is still a cliché. I dont mind that at all. But from what ive read it's supposed to be so much more philosophically. All ive read on imdb from fans is them attempting to turn the negatives i to positives. Would they act the same if those faults were in mainstream movies?. It's very well crafted but desolate in more than just setting, and panders to a specific audience.
I'm so lost as to why this movie is widely praised. It's impossible to deny that Park Chan-wook is a stylish director and that this movie has some very impressive, memorable scenes. The hallway scene is famous in film buff circles and rightfully so. It's a memorable and exhilarating set piece that appears to be a single shot. Some of the visuals in the film were interesting too, like how the main character relives a flashback while running around his school grounds and the scene cuts between past and present.
Sadly, style isn't everything in a film. Oldboy's plot is beyond moronic. The villain's motivation makes no sense whatsoever and borders on B-movie level stupidity. Basically, the main character told everyone that the villain was banging his sister when they were young. This led to people telling others that the villain got his sister pregnant. As a result, the villain's sister commits suicide. So, to get back at the main character for telling people that he nailed his sister, he gets super rich and plans a massive 15-year scheme. This scheme involves locking up the main character in a prison cell that looks like a hotel room and hypnotizing him into falling in love with his daughter. By the time the main character gets out, he meets his daughter and bangs her, obviously not knowing yet that she's his daughter. After this happens, the villain says, "Ha ha ha, I got very rich and did all of this so you would bang your daughter. Now we both have committed incest and I have gotten vengeance for my sister's death." So the main character cuts his own tongue off for some reason, the villain shoots himself for some reason and the main character gets hypnotized again so that he forgets that he banged his daughter for some reason.
I hope that anyone who believes that this movie has a masterful plot can read that paragraph and get a grasp on how stupid this film is. The whole film is framed so that you're wondering what awful thing the main character did to get locked up for 15 years. The pay-off is literally just that he told people that some dude banged his sister, because the dude did bang his sister. I'm so awestruck at all of the praise this film has received. If you love the film for the style, fine. I can understand that. But to brand this film as some kind of master-class act in storytelling is absolutely unwarranted. It's not disturbing either, like many people want to believe. Yeah, the dude unknowingly bangs his daughter on screen. Have you watched Game of Thrones recently? There's also a scene where the main character pulls some guy's teeth out. It's pretty much all off screen. The general violence isn't bloody or difficult to watch either. Just your typically dude punches goons in the face type of deal. Overall, I thought this movie was dumb as bricks, but I'd recommend it if you want to kick back, watch some seriously cool scenes and laugh at the silly plot.
It’s hard to rate, because there are a lot of entertaining scenes in it, but the movie at its core doesn’t really work.
I can’t shed this feeling that Edgar Wright had a visual cue in his head of a girl experiencing visions of the 1960’s first, and tried to build a movie around that second.
The characters, drama, camerawork, music selection and social commentary are all very good, but the whole set up is kinda nonsense once you know the answers to the mystery.
I kept waiting for the twist that’d explain why our protagonist has these accurate visions of things that happened 50 years earlier , but it’s never answered, despite it being the crux of the whole film.
Also, showing CGI ghosts in a horror movie using well lit close ups is never the best idea, it kinda killed a lot of the horror and suspense.
I kinda liked that I thought that I was ahead of the film at one point, only to find out that it was a big misdirect to make you think you were ahead.
5.5/10
It was at the point after Eloise enters the first dream sequence, and Sandie descends the mirror lined stairs and dances that I thought "This is so good, I don't even care what happens next!"
Turns out, I did care. It's such a shame to see a movie that could be so brilliant suffer from such a poor and incoherent narrative.
By now you've probably seen the rating. Yes, that's right - I've given what is widely regarded as the best sequal of all time a "7".
This movie had very little of what made the first movie so good. In my book the most interesting part of the first Godfather was the transformation of Michael Corleone from pacifist to head of the family. "2" featured the difficulty of both running the family and trying to legitimize their business. The result, from my perspective, was a mish-mosh. The movie never did have any flow. In fact, when it ended I almost fell off my chair. There were few high points in this movie the ending certainly wasn't one of them.
The worst part of the movie were the flashbacks. I understand that part of the reason to visit Vito Corleone's childhood and early life was to contrast his style of leadership with that of the heavy-handed Michael. Other than that, I really had no interest in seeing a 13 year old future mobster. The result was an already fragmented plot being torn apart that much more to take trips down memory lane (and a 2-disk movie to boot). It seems to me that a prequel would have made more sense. The only positive was that we got a break from Pacino's constant brooding. Quite honestly, I've seen better Sopranos episodes.
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