Ahh, I love a good "how it all began" story.
What a pretty, massive dog lmao like a smart girl like her wouldn't be able to tell a wolf from a dog.
The whole whisky campaign seems a little thin though. That the video would have to come back to us somehow was certain, but like this? Probably not coincidental, but who knows at this point. Really struggling with seeing how two wolves killing a coyote is a perfect sales pitch.
The scene in the end with Elena and Jeremy was so well done I think. He has so little emotion in his face in general, but there he just... that lip quiver... it was beautiful.
But I wonder what he was going to say. Maybe there's something to it she doesn't know, and he's kept hidden, about that incident.
On that note, I'm actually suspecting now that Jeremy told Clay to bite her. It's strange Clay would have "just changed" and then "just been in the house", been careful and then suddenly bite her. Now I'm suspecting Jeremy told him to, because as he said earlier, you can't bring outsiders into the pack. So she either needs to die, or to turn. And it would be a perfect set up for the scene where Elena tells him how much she trusts him just when he wants to tell her that it's actually his fault for her getting bitten.
Makes sense right? Let's see!
They've really got a thing about the whole "cutting off a scene and plunging into a completely different time". At least this time it's easy enough to follow.
Either way, found this episode to be quite a good one, all considering. Despite the many flaws.
Like the idea of the pirated train, although they should have known Wilford doesn't give a shit about anyone than himself, not Audrey either.
And where the fuck would Melanie go, there's no reason for her to take the sled out with all the stuff, realise Snowpiercer had an oopsie, and then just... not trust that people were fighting for her in any way. Also doubt that she'd just conveniently for the story had eaten up all her rations JUST before Snowpiercer was coming. Really convenient for the story, and kind of bullshit. Sure. Let's set up for Alex becoming a leader or something, someone completely new to the entire train. Or maybe she's supposed to be the "queen of the new world" or something.
So I guess, new season, off train, with Wilford coming back with a rage trying to eradicate them because he hates people not needing him to survive.
And poor Ruth... when she realised she's on the wrong part of the train. Also this was a bit "convenient"... why would she go THAT far back in the train when a de-coupling was going to happen? Doesn't make sense. Of course she'd miss it.
Well then, pirate train. Let's see whether you'll make another season or not.
Such perversity already in the first ten minutes.
It's really just a shit show of perversity at this point. Wilford the God, and all that.
As usually getting hung up on little details, but when Layton gets his ration... that huge block? Didn't they use to cut them up into tiny pieces in the tail, with everyone getting just a little mouthful per day or something? And he gets an entire block? That's more like a month's worth isn't it...
Anyway, I'm glad some people speak up to him. They have to, bit boring otherwise. I suppose he'd just freeze them all or put them under, but he can't really do that with the bigger portion or the train would stop working. People like him are so outdated though, the trope gets boring. Like Layton puts it... fragile, powerful men, they're the ones who fucked it up in the first place. Definitely outdated to have one in power now. Yet still, the show put us to that point. For what end? Down with the patriarchy, the "good guys" win in the end, let Wilford freeze to death, whoop whoop Layton/Melanie/Alex/Ben/Ruth/someone will lead and everyone will love them?
Also meh, because that's what we already had half a season ago, ah yes, at the end of the first, so all of this was kind of pointless so far.
Not a terrible ending, although maybe not the best, either. At least they stopped with that terrible unfitting techno music, that was a shocker :joy:
I get Sherlock's decision, after all they've both been apart and suffering for 15 years, and there wasn't really anything on the other side for him that was worth more than her. For Watson to give him up was strong, but I bet Sherlock would have resented him for the rest of their lives, had he not. Again, other than the girls whom he had just a short acquaintance with, there was nothing for him.
However again, we have Watson as the eternal third... fifth wheel, since the beginning of the show up until now, and he has no resolve. The only thing that changed with him was opening up to others a little, and finally letting go of Sherlock. While all the other characters went through actual transformations, some more, some less.
Not a terrible ending, but also a bit cheesy. So they're making it all about love, fine. But Bea going on about "everybody leaves me" but who exactly left her? Only her mother, when she was a child, and she actually got to say goodbye this time around, and now Leo. Everyone else is still there, and we JUST had a huge point about the whole "sister love/power" thing, so that was kind of a step back for her. And Watson's "I'm not going anywhere" was just as unconvincing.
Oh well.
When you realise half-way in that anything you've seen so far could have been a lie, because they're just retelling stories, and it's not necessarily facts we're seeing... :scream:
What a gripping, titillating tale! I've been at the edge of my seat throughout almost the entire thing.
One of the best films I've seen this year... and last year. I'm still all "holy f*****" about it.
A few details that bothered me as they "happened" (or not):
- When they first got to the car and were about to drive off like nothing happened... WHO THE FUCK WOULD LEAVE THE DOOR OPEN. You leave things like you find them. Fuuuu... for Laura being "so smart" like she's being depicted later, and as this "femme fatale" type, that would have had to occur to her. That's highly suspicious. That alone would have gotten them into trouble / the story wouldn't have worked out.
- Who the hell will adjust a car seat etc when they're this high on stress and just want to get the fuck away? I wouldn't, I would have tried to just get away, then adjust it later, if it turns out I really can't drive like that.
Oohhhh shit just got real.
Unfortunately I had a pause somewhere in the middle of this episode and now I don't remember whom the muffins were by.
Was it the "peace offering"? But that was from Capitani to the girl's father, right?
And Ley had them first. And she... she got them...? From the truck, right? Where she found the passed out girl. Which might suggest that she's not actually dealing but also ate one and passed out. But that also might explain the drugged kids, when there's a bakery truck with drugged muffins right in front of the school.
But the question is... who the fuck would hide drugs inside of muffins and sell them for cheap? Who wants to drug up kids? Or maybe they just meant to OD the actual girl working the truck, because she's seen something or knows something?
And damn, that ending... so Tanja is actually Jenny, Jenny being the one who's dead (?) and somehow they ... faked her tattoo on the autopsy table? Or both of them had tattoos and one kept covering it up...? What? Confusing hahaha. Real good episode so far though.
I would really suspect Mick Engel, he's a fucking intimidating man with very clear intentions on some things. But his going on his own to find the killer and defending others kind of speaks against him being it.
The cinematography keeps being amazing, the action great, the cast, fantastic, the assassins keep assassinating.
This series just keeps giving and giving, doesn't it.
"art is pain, life is suffering" ... yeah, that's exactly what ballet instructors would say. :nauseated_face: I'd like him to shoot her in the head just for that thanks :upside_down:
Also, more puppers! What a perfect way of applying Malles in an actual setting on screen. We should get more of this perfection. Simply beautiful. And love how she gives the dogs almost all the water in the desert :grimacing: Sofia and John must be soulmates but I guess he fucked up somewhere in the past.
I find all their rituals quite interesting. I don't mind at all that they're not really being explained. But now I'd wish they'd put someone with a lost finger into one of the previous parts. Maybe they have and I didn't notice then. Should rewatch. Wondering how many rings he's collected. Wouldn't think that many had to go to such lengths, but since there's a ritual for that, there must have been.
RE motorcycle chase... why go for the rider when you can go for the ride instead? Should be more effective. :upside_down:
Bit silly, aren't we, hiding behind glass doors from a man with a bat who just smashed a car with said bat? How in the hell did they think that was a safe option.
And there's so many eye witnesses to him by now, with him never changing what he looks like, yet they can't issue some sort of phantom drawing or make a press release or something?
Hmm... well given this is all in one day, police work probably doesn't move this quickly.
Despite the fallacies, I quite liked this one, had a few unexpected turns. With Jenny, and well... Twin brothers? Or something?
The only thing I was a bit underwhelmed with was Luther's tactic with him in custody. I mean... you got a guy there with dice who doesn't talk but seems to base all his decisions on a dice roll. Which... he doesn't seem to have figured out yet, dice + numbers in a book? Bit slow. But just in the event that guy CAN actually talk, why not just make it a game. I roll 1-3 you tell me who you are, I roll 4-6 I tell you who I am... something the like. Go get with the game man!
Fantastic way of answering that question "What ever happened to that little boy in The Shining?"
We start off with an alcoholic/otherwise drug-abuser. That makes perfect sense.
And I love how I can't decide who's side I'm on, really.
I'm still watching at this point, around the middle or so. If Abra ever derailed, which is something I'm afraid of might happen at this point, she'll become a true monster. The Knot, they're just, whatever they are, trying to survive. Their survival meaning a few special dead kids on the road, well, as bad as that sounds, that's just the way it works. I can't really hate them for that. Abra however, if she turned power-hungry... yikes.
I absolutely love how Billy so quickly trusts Dan (this movie truly advertises gut feelings) so completely, enough to come with him on this insane trip. (Then again I think they had 8 years to get to know each other, so I suppose their friendship had some roots to grow in that time span)
And there's no bullshitting with Abra's parents either. A lot of stories fail by introducing a bunch of doubters. This one is way more straight forward, and I truly appreciate it. ... Not what I'd expect of a King-story, the vibe here is so different, but in my opinion that might make this story so good.
In the end, when Rose is in the labyrinth, asking whether there've been any improvements... she seems to assume she's in Abra's mind, but then she calls out "pup" which would suggest she's been in Docs? Which is new? What's happening?
We all know that Abra is dangerous, I just hope Doc, or whatever is left of him, can help her grow up into a sane person.
I realise now this season is likely to give me stomach aches.
To start this all off... this is going badly for Stella.
I brought up my own concerns about why they hadn't done anything about Jimmy beforehand, knowing that he'd assaulted the women at the shelter and with his history of rage against Spector... one could have blamed it on "so much else was going on" or "priorities" but I feel they could still have put police officers not assigned the task force to search for him and keep him detained. Quite an oversight. So I can see why they're questioning her now. Being asked why they hadn't been wearing protective gear... well, I can see how they hadn't necessarily expected to meet a gunner in the woods. But they could definitely have Spector waiting in the car, wouldn't have made a difference to the search.
Poor Rose. I've already been expecting a scene last episode of Rose seeing him and it triggering her gravely. Seems like a huge oversight here of the hospital staff to let a victim be anywhere near the offender. I mean, holy fuck, she needs to be safe. What the fuck is this blunder.
And what the heck why would you get a mean solicitor for your murderer husband? Do you want to live side by side with a cruel man? Have him raise your kids with you? What is wrong with you :triumph:
Not to mention anyone who'd want to represent him in all earnest.
I'll be so mad if they go from the angle of "oh no, near death experience changed him, he's a different man now, we can't charge him for what his other self has done! Boohoo!" ... But it seems to be going that way.
Wonder whether he's really confused or whether he's just faking it. Would be another brilliant stroke if he were, and fitting his evil genius. But oh gods so frustrating.
Also Katie and her phone... who in the hell reads newspaper articles like that, other than people with really bad eyesight? Ok they probably did it for the camera, but they do little else in this show only for the camera.
I was so tense up until he finally confessed, and then I was still tense, because... this storytelling is marvellous.
The way Stella and Paul talk to each other is just so electrifying. Or like a minefield you don't have a map of.
And details like how his pupils are dilated while he's retelling what he's done, it's just masterful.
The way she's arguing from the perspective of him being protective of children, then pulling in Katerina as being a child, then back to his own daughter and "all of your victims are daughters"... love it. As well as "maybe you did possess your victims, but you didn't keep them, and now they're gone, and you're alone..." I can feel it reaching home inside of him.
What I can't get behind as for plot, is how there's no repercussion for Jimmy to having attacked the women in the shelter. The police was on the way and all, but he didn't get arrested, not charged with anything, he's still out there and able to fuck everything up because of his rage against Spector... bit of a plot hole, there should have been a follow-up. The units would have to have been notified of this too... unless the women kept it secret? Which would be weird for more reasons than them wanting and needing to protect each other. The police forces arriving at scene would have to have interviewed them, and even if they miraculously, all of them were to decide they don't want to say it's Jimmy, the police would still have to do some sort of investigation about the attack. And since Jimmy is so closely connected to the case, the unit should have known.
Oh, here we go again, blaming Melanie for everything.
The fallacy annoyed me greatly last season, and it keeps going. Her daughter being all like "boo hoo you left us behind" and a scene later, she tells us how she herself CHOSE not to go with the men that Melanie sent for them.
Please, cut the crap.
I'm also annoyed at megalomaniac Wilford thinking he owns "the world"... well, kind of like Melanie described him. But then having brainwashed Alex so totally?
I don't know what I expected, but this is a minimum of 90% bad news and a terrible environment to start a series from.
What I find interesting is how they have such crazy advanced technologies apparently... but how, or how does Snowpiercer not have it, if that was the train intended to carry Wilfred? It's not like they started the train 100 years later? That doesn't really make sense. Hope they'll explain it, but I'm not expecting it to, seeing to that they are quite good with leaving plot holes.
Also, season one was a much more realistic post-apocalyptic showcase of class-struggle... but now, suddenly we get super-science, insane scientists and IDK what that ice-guy is supposed to be but... mutants? What the fuck?
I'm not convinced by the last episode. It's a bit too corn for my taste. I get you want to end a great show on altogether positive notes, but it all kind of rolls back to the cinderella speech. It's more like some kind of fairy tale.
What I did like, was the way that they got Faye out. The con was great.
From then on, it just went down the fairy-tale slope. All a happy family... ok, I'll take it. Louis getting married with Sheila and having their child the same day? With complications? Nyeh... Also the entire "there is no free room available" plot was empty and unnecessary.
As was the "I don't want to waste another second" by Harvey. I liked the rest of the speech, or more like, their vows later were nice enough, but what exactly are you wasting by not being married to the woman you love, YET, and just living with her as you do?
And then the whole thing about them marrying without Louis being there. That is something that normally would have hurt Louis a lot. We could blame him just having a daughter and going through the scare of maybe loosing both, while it turned out fine etc, but not even Donna or Harvey thought about that. Cheesy, and for the sake of their characters, unrealistic event.
Nice to have a little sum-up of the show together. And the "future" of Harvey and Mike together again, because for me, that is what Suits really is about.
And man, I miss those days with Rachel and Jessica. It really wasn't the same quality afterwards.
This show is so wholesome.
Just when I'm about to disappointed that they're doing the "stupid" thing, like Bloom trusting a person she's just met and massacred an entire village, they turn it around again and come to their senses... in a way. I can see how Bloom could have gotten strung along a bit there, putting so much expectations into the one person who has some connection to her past. But I'm relieved to see she came to, realising that she's not entirely on board with Rosalind having her join her ranks.
That was good to see.
As well as Stella being extremely mature about her and Sky's relationship... hell, she's more mature than a lot of adults I know. She'd make a great queen, albeit a very different one than her mother.
Then Bloom betraying Sky's trust, when it's always been him wanting her to trust him instead, nice twist. So they figure things out, and his "whatever it is you will do, (no matter how fucking reckless) I'm here" is just the hugest confession of love there is. Whatever you'll do, I'll do it with you, no questions asked. ... Or is that just the soldier in him?
More wholesomeness? The first scene of Dane and Riven in the greenhouse. The hug in Farah's office.
Some negatives.
Everyone completely forgetting that they had a murderer in school who just happened to disappear, but no one asks why or where to also had me a little stunned, but in can forgive it, since Burned Ones in the school are definitely a priority, I'd say.
Another little thing that I was skeptical about, was how suddenly they mention Blood Witches (last episode?) and everyone's like "Oh yeah ok of course, that's bad" but they've never been mentioned previously. We can assume that in a magical school of fairies, they had heard and learned about them at some point, but in the show it's just like "fact drop", and even Bloom, who is new to all this, is like "oh yeah, damn, that's bad"
And well, the whole fairy transformation being a bit like Sailor Moon didn't disturb me as much as the track they chose to go with it... what...?
Good (sad) ending and well... great twist. I feel the second season will have quite a different vibe about it. Oppressive, possibly.
I love how Bloom isn't like "uh you're hot, I totally want you as bf" to Skye, but real down to earth about it: Sounds complicated, don't need that right now, thanks but no thanks.
I also love how the teachers/grown ups aren't looking down on the kids much as is so often portrayed, but genuinely caring. The headmistress didn't even try and keep up the "bullshit" when challenged and right out told Bloom the truth. That's real healthy.
When Muse starts stalking Sam, at first I thought maybe the thing with him is that she can't feel anything from him, hence the attraction. Like with Sookie and Eric... can't read vampires' thoughts haha! Interesting turn to find out he's actually Terra's brother. Who would have guessed! Also, he doesn't have an earthy name, like Terra said her family all does.
Adore that in the face of danger, she's actually the one solid as a rock, able to perform tasks while everyone else around her melts away. Puns intended. That makes her less flattering character traits (aka being a fucking chatterbox) a little more tolerable.
So Stella uses fear and anger to trigger magic, but when it comes down to it, and she's actually scared herself, she can't? Unreliable indeed. Seems like Aisha knows more about her than we do.
She doesn't use magic like a first year either. And with just a little floosh they kill a scary burned one? Hmmmmmmm. Not sure.
At first I thought, the whispering voices were something like Will'o Wisps or helpful spirits that guide Bloom, but now it seems like they're pulling her toward the Burned Ones. Interesting to hear Bloom say she felt a connection to it. Which has me begin to suspect that her being a Fire Fairy has something to do with... well... burned people. Maybe her family was the one creating them in the first place.
Aaaaand intrigues are rolling! Who the heck is "he"? A disgruntled fairy king? A ... non-fairy?
All in all, I find this show to be quite healthy so far indeed.
There's even moments with the more dubious characters.
And I thought where the last episode took us was already intriguing, but look what's happening here. Juicy.
Also really makes you wonder who steers the game. Seemingly, nobody at the beach, but it also just seems like whoever does, has full control over even what's going on at the beach. What could be more convenient now than to kill off most of that army that's been trying to find a way out of the game in one huge thing that targets only them?
I agree with how some actions don't really make sense anymore, but to be honest, there's always been some illogical ones in this show. I guess now that it's peaking, as with so many others, it just overloads into more craziness.
I find it interesting we get some sort of background story to the characters now, even if they don't necessarily make the hugest of senses. Like, if you got bullied as kid, you don't normally end up like the one who bullies everyone else. But then again, it's probably different if you get picked up by some gang members or yakuza in Tokyo with the purpose(?) to avenge yourself... or whatever. But still, I enjoyed the little views into their pasts. Especially "Hikaru's", that was beautiful and unusual.
Well, who do you think the witch is?
Following the "team's" logic, it shouldn't be anyone from the militia... Yet it being Aguni would make sense, as i guess a lot of us are suspecting him to be the Hatter's murderer. Plus, him being so passive during the hunt, just kind of overseeing it.
Then there's Chishiya, who's always been suspicious as fuck. I had suspected him as game master the first time they met him, then the suspicions were diverted (as his actions could well be justified by him being part of the beach), now I'm kind of suspecting him again. But as game master he wouldn't have to kill people on rooftops the way he did. (As a witch however, he might)
Somehow, we're all made believe the first scape goat and best friend of the murdered girl isn't it. Although it being 10 of hearts suggests a huge betrayal.
...
What about the murdered girl actually not being dead? Or it having been suicide or something? The way the show handles realism I'm pretty sure they allow someone to stab their own heart sufficiently with a knife. But... eh.
I guess I'll have to wait and see :upside_down:
How intricate.
I enjoy how it really is not obvious who the big culprit really is. First the show led me to believe it is obvious, which almost disappointed me, but now it doesn't seem all that easy – instead, like a labyrinth of strings, or a gorgon knot.
It's clearly Markoe... hmm wait.
It's more likely to be a woman... so it's the matron, what a bi... oh, wait.
Oh, so it's Libby? Well, she's come oddly unhinged now. What would her underlying motive be, other than not being able to have children? And why would she try to help Sara, and get the list in the first place? Or if she's such a "psycho", why act innocent and scared even when absolutely no one can see you, but then going completely wild the moment she's found out? Nothing to lose? Hmm. I'm not sure I buy it.
How pleasant to meet another Alienist. Although it's about as unlikely to have female alienists in that day, as it is unlikely to get black female journalists, and well, all the other unlikely details in this show, but it would have been nice, I guess :fairy:
Quite heartbreaking to see John be such a fool. Sara spoke the truth, but he's nowhere ready to hear it. Although maybe, he knows. It doesn't seem like he's got any love for his future wife anyway, it's more like a cover up and escape for his true feelings. And sad he can't just be with Sara in another way.
The show is trying to be so progressive, but marriage, that remains a must. :sweat_smile:
I feel like they're wasting a lot of time talking.
First time he's back, ok he's disoriented. She tells him to look for quiet people, or nervous people.
Then a random "oh you ONLY have 8 minutes and you have NO idea who the bomber is but DO get the gun"... what? What logic are you applying here? Oh yes: none.
Then she tells him to look out for people with equipment.
Sure, but at this point he's been clear going in every time, shouldn't he know what to look for?
And the whole conversation about the Dr telling him about Source Code, yet him being to stubbornly deaf/forcefully dumb to understand what he's actually being told. He is basically being told it is some sort of simulation, like he thought the first time, and he can't save anyone. Thick-skulled.
It was picking up around the middle of the film, and it seems like further plot is sweeping over the initial weaknesses, while adding a few more.
Nobody should be surprised to find that the bomber is the one the audience had their attention drawn to right from the very beginning. And they keep acting so devoid of logic. All he needed, was to find out who he is. Check. Fine, plate number and goals etc are extra goodies that might help. Brave soldier and all that. But why let the guy get on his truck and not shoot him in the leg at least? Why let him fiddle around with the bomb? W...what is happening? Lmao. This is so unprofessional.
I did enjoy how it all plays out toward the end though.
I watched this and the "remake" back to back, seeing how people complained about how the "remake" wasn't anything like the original (true) and how it was so awful in comparison (... I'll get to that).
All right.
First off, the composition and directing is incredible. Such neo noir vibes right from the start.
The musical score is crazy and loud. People must have complained in the theatres about three volume though. It’s so much louder than the spoken lines. This creates quite some dissonance, which I am sure is just about intended. And it seems typical Goblin.
The colours are impeccable though. That whole scene of the first deaths ... lovely. As it cuts to a blind man devoid of colours both inside and out - fantastic.
Yet already at this point I don’t see how people can actually compare the two, as they pretty much are two entirely different films. It's only that they took a general idea, and some names, and imho made a modern masterwork out of ... well, this.
The one thing I find comparable at this point, while the styles of directing are so different a comparison doesn’t seem fair, the acting is definitely better in the remake.
Yes, women screaming senselessly into the camera used to be a thing. Yes, "overacting" used to be a thing. But most of the characters in this seem like puppets rather than actual people, and that's a choice, not just "how the style is", as there's films of the same era, same genre, where it's done oh so much better.
A few points made along the way: spoilers here
- The original Blanc talks way too much and has way less charisma.
- The number of men is already disturbing and seems only be serving to distract from a plot (wait... there is one? ... Okay, sure there is one. But then cut to the new Suspiria, and there's a whole layer of plots. Come on, now.)
- I enjoy classical ballet far less than modern dance. And we get like, what, one or two scenes of them actually dancing in this one? DANCE is no part of the plot at all, while in New-Suspiria it DRIVES the plot.
- I do not appreciate how weak Susie is depicted versus that strong willed person she is from the start on the remake. Her first moments on the dance floor are basically “oh no I’m woozy I don’t think I can do this simple step” versus “I can dance this thing you’ve trained for for months and I will show you how good I am, rawr!”
- Depicting or alluding to the seemingly senseless abuse of both animals and the physically impaired is pretty bad taste.
While I can appreciate the film’s cinematography and have some minor understanding of typical horror genre shooting of the day, when it comes to the story and characters... excuse me, but no. They’re weak at best. None of the characters have any sort of strength of character, nor any personality worth speaking of, hence the happenings have no to little effect on the viewer as it’s impossible to relate to them. Other than an obvious perversity to enjoying lightly dressed female screaming in horror and flailing about helplessly, there’s little to no enjoyment to be won from this.
I can see how the original set in its own time frame could be a great? good? movie, but it wouldn’t do in our times whatsoever and as such, the “remake” has done an amazing job of retelling a similar story in a different context and make it both believable and gripping in a modern age (despite still being set in the 70s)
This one had me sit there with a raised eyebrow for the better half of the film and hope for a quick ending, while the new version had me pretty much glued the entire way.
When it comes to horror films around this era that I actually enjoyed, let's talk Phenomena. At least we have strong willed and smart characters, not annoying dimwits, in this one.
And the bad rep of witchcraft in this one to boot!
I think I need to watch the old Wicker Man to cure me of this disaster :joy:
So thanks for enlightening me of the "original Suspiria", but no thanks. There's way better classic films out there than this one.
What a stunning, multi-layered film. It went from being one thing, to being another, and then yet another thing, while always remaining being the one thing after all.
Fantastic depiction of what dance can be.
And it left me with a number of questions I don't even recall in their entirety.
Some of them might be answered if I rewatch. Like the connection between x and y and the silent Miss, who then killed herself because of reason ?
I understand that the mother killed "all other mothers", so all who were voting for Markos, yet Blanc had to die anyway? (appreciated the red sacrifice gown)
However when they clean everything up, the other Miss puts Blanc's head back up and for a moment she's alive again, but she lets her die?
During the reunion with the Doctor and his beloved Anke she said something about looking for her papers but not finding them, and without them she "ran into some trouble" to put it like that. When we hear the other truth, that she got brought into a camp, just while he was looking through her papers it strongly suggests that he had them all along, and kept them hidden, but for what reason, if he loved her? Basically she died horrifically because of his egoism? I wonder what's behind all of this.
And lastly, I don't know when the last scene before the credits was supposed to be, later but it did seem like the 80s at the "latest", yet is the girl talking into a mobile phone?!?! What! :joy: That's the one thing that really bothered me lol.
I thought I'll be watching the original after to compare, but I'm wondering what people get all upset about when they seem more like two entirely different films with entirely different styles. (The only thing I would say with confidence at this point is, that the acting of the remake is worlds better, but then again these are also different acting schools/styles so... why compare at all lmao)
In the end, while I can appreciate the cinematography of the original in its own context, it just doesn't hold up whatsoever, and an actual REMAKE of it in this modern age would have been impossible. There's just way too much wrong with it, and made 1:1 it would be a weak film at best, if not horrible.
It did not age well.
It did not age well, the way an overripe mango does not age well sitting outside in the sun for a few days.
That said, this version of Suspiria, worth the time. The other... eh.
Wow, that scene at the barn was incredible. All of it. The fight with Lila in itself was so intense, and I really feared for Allison. The whole thing with the handler, but something had to happen to stop her so I thought at first either one survived it or Harlan comes around and does something... And boom, at that point I had all forgotten about the Swede, fantastic cinematic deception here.
And the ending is so wonderful and bittersweet at the same time. I mean, it's mostly fucking heartbreaking. In a "I guess it had to be that way but wish it didn't fuck I hate life" kind of thing haha. I'm really happy about how Vanya is now a bigger part of the family, accepted, closer.
But so many sacrifices on the way. Sure, they saved the world, I guess. But for a fate. At least they've got each other, one could say.
The part at the end with the Swede and the bus ahahahah! It's like he's "Oh boy... here goes nothing" :joy:
I did suspect Harlan still having some residue of power. And I'm thinking, he's what like, 10 in in the 60s... so he would probably still be alive in their real time-line... Is that what season 3 is going to be about? In that case I'm not really expecting it to be the sweet "here-we-meet-again" as one would hope.
Love how Klaus took the hat. He's such a fashionista. "We actually succeeded at something?!?! That's incredible!" Bless you and your heart.
THE ENDING THOUGH
THE ENDING
YES
Sorry, but it just makes me happy when time-travelling is involved and people of COURSE mess up shit so nothing is as expected. Just... OH SHIT hahaha.
So looking forward to the next round, this one was incredible.
I can just say again how much I despise this "adults are truthful" vs "kids are liars" thing, and how much more power the words of ONE adult have. This has all blown up a bit too much. And the officials aren't doing their job right.
I mean, one guy saying that his daughter got diagnosed with something, first thing you ask for proof. With a bit of proof it would all just disappear, his whole web of lies. Like JohnB being a drug addict... and manipulative. Oh yeah? Ask anyone on the island who knows him whether he's either, and do a drug test.
Now I don't know how it would have gone down had the SBI guy been able to talk to Sarah on his own if she hadn't run. Maybe it would have gone down better.
I'm disappointed in how the pogues don't all just in unison say what really happened when the police find them. Once enough people say JB didn't do it, SOMEONE would have to start listening, yeah?
Ugh this is frustrating to watch.
Also the FIRST THING when Ward calls them and is all "turn around, I'll make it right" would be "Yeah then tell everyone the truth right now or we're going into the storm" The very first thing that would be on my mind.
So many known faces in this. Good faces, even.
Steam Punk, set in the future where the ancients, aka we, destroyed the earth? What is not to like? If this is going to be a bad movie, at least it will be a REALLY GOOD bad movie.
But I mean, come on. The whole history is amazing. Food that hasn't gone off in a thousand years (yuck), the minions as things in a museum...
But I guess that's all from the books, and I only love it because I can't compare with the original. :grimacing: Good for me.
So after watching it all, I still don't hate it. In fact, rather the opposite. What do you want from an action movie other than this? I love the characters, even though 2 hours doesn't give them enough development, but how'd you do that in an action movie? And it has so much action. Beautiful worlds... a believable world-view... beautiful scenes... I don't see the hate.
He gets the girl AND the ship in the end, and she gets... the guy, and revenge? I also want to go where the wind takes "us", see the world. And someone to say "I'll go/come with you".
Would almost give it a 6, but that's just for Hardy and not entirely fair in the overall look at it.
Most of it was just terribly predictable, and large parts of the rest were ... predictably terrible. Except for the conversations between Venom and Eddie, and Venom eating annoying bitches. Excuse the language.
Besides being predictable, there's just so much wrong with it. So much, being the writing?
It just irked me from the start. Like someone loves you, they lose their job and they dump you instantly... that's not love. Don't portray their relationship like they're a loving, sweet couple who know each other inside out if you're going to want to justify something like that. Including how Annie has a new BF basically the moment she's dumped Eddie. Like... come on. That only works if you're a man, or whether the guy you were with didn't mean shit to you. Again, don't write a relationship like they love each other when they're only acting like they don't.
Her so-called justification that it was all Eddie's doing... is a little immature given the fact that she just dumped his ass and threw all his shit out the moment she realised he "used" her for a story and got her fired. Real people would have had some sort of conversation at least.
Then there's a lot of little things that just annoy me. Like the first host in the lab, he just stops screaming as the thing crawls up him like suddenly it’s not scary anymore versus wouldn't be that the most terrifying moment of your entire life, and then he’s like where did it where did it go... Come ON.
Then uh Venom says he knows everything about Eddie because he’s in his head but then he asks who Anne is. Seriously?! WHO WROTE THIS. Don't tell me. I don't actually want to know.
I suppose mentioning things like how people react so quickly to riot in the launch room... humans are way slower to process things and actually react, the brain is a slug, but screen time is precious so... I guess that one is excused :joy:
Ack, sad. I really wanted this to be a good movie. It has such cool potential.
Opinions about this seem hella split. Which can be a good sign.
I'm still watching so I can't say, but what I will say for now, is that I liked the
"He is not my boyfriend" monologue. Even if it might have been a little artificial, or little convincing work of the actor, the words, they were nice. Sounded like I've heard them before though.
Niles’ phone showing 6:31 and then 6:34 after about 2-3 minutes of screen tine was a nice touch. Many others manage bloopers like that.
Other than that, there were quite a number of dialogues and scenes that seemed just recirculated. I couldn't quite get behind the whole "everyone you love will die" thing either. While it's for sure their reality, we've heard it so many times (or I have, hello every vampire movie ever), it's not really delivered that well. Not entirely sure how to deliver it in a novel fashion, but literally regurgitating "Everyone you love will die" as if it weren't obvious is a little... unnecessary.
Im more than a little surprised that the “bad guys” would keep all of them in the same room, “secured” but able to communicate with each other and all. No one in their right mind (debatable, but let’s say no logically thinking scientist?) would have a setup like this for their so-called crucial, ground breaking, win or die kind of thing they’ve got going. This is weak.
And how is it that when they fall, the entire street/block is empty, but the moment they drive away, people come pooling around the corners as if someone just emptied the tourist busses. What.
Charlize is (also, obviously?) the best actor out there, and the only one who's inner pain I can truly believe.
I'm not really satisfied by that make-up between Sarah and Kiara. Or the way they worked up to it and then had a pretty weak resolve. Kie was so adamant about Sarah "ditching everyone" and "taking everything for herself". We got the resolve for her "ditching", which she explained herself she does with everyone who gets too close, but for Kie to be so specific about having everything taken, or Sarah taking what is yours for herself just because she can, that wasn't touched upon at all. If there really had been something between them in the past, it would have to be resolved in this episode, instead they just dropped it like that was never a thing, or Kie just over-dramatising things.
These kids are also pretty cough dumb with their flashlights in this show, like way back when they were running from attackers with their lights on, like, come on. But I forgive that, cause I like the show in itself.
Just like I forgive the terrible rope-game. Do you not know how to let someone safely down a cliff/other surface?
I'm wondering about Sarah's dad. Other the fact how they alluded to that he might be the mysterious killer? And him "knowing more than he lets on", I'm just talking about his personality here. So the kids both know he has a tendency to explode, while otherwise seeming like a rather benign and gentle father (especially to Sarah). But after the whole scene with Rafe and Billy, somehow I don't really trust him anymore with being so cool about Sarah and her "mystery boys", where all he said was basically "choose well", like he trusts her and her decisions entirely. Maybe he does, but... I'm just not sure he'd be so chill if he found out Sarah were slipping up.
Other than that, I feel little pity when it's about Rafe. Although his father has definite anger-management issues (although him not really noticably getting angry, just suddenly jumping at your throat or starting to kick the life out of you rings more socio/psychopath bells than "anger issues" lmao), I find his words/"actions" justified – not when it comes to Billy, but the whole "You're a thief and a liar, don't come back home", I get that, somehow. Rafe is a spoiled brat and needs to learn that life is a bit different when you don't get dollar bills stuffed up your ass by daddy, or when you can't steal his cash.
As for character creation, I'm just not entirely sure whether you can justify a) dad's borderline-split personality in general b) for it to only affect one kid c) how Sarah seems so balanced apart from the issues with closeness and her brother being a thief/liar/violent person/drug addict hmmmmmmm.
Also, how is a bunch of kids realistically going to turn marked gold into actual money? So many people are looking for it. A lot will know what the markings mean. It's unlikely the kids can go heist the entirety of it by themselves without anyone noticing. And then what, do they know people on the black market? :upside_down:
Ok, so my best friend recommended me this, I guess, let's dive into the world of anime-furries.
Right off the bat, I had to say that I absolutely loved that initial animation. It was so classy, the dark looming shadow flowing down over the steps onto the victim, the colours drained away only to outlines and black and splashes of blood on his face, the bits of light from the closing door outlining the victimiser, that steamy breath and the teeth as the only thing visible until the door shuts... Beautiful.
To say more about animation, I also enjoyed the nice flow of the facial animations especially when it was focussing on "graceful" animals such as Louis.
I hadn't expected violence right off the bat either, so hey, good to have a dramatic start.
As we began, I first expected all the herbivores to be females and the carnivores to be males, as that would have given us a rather classical perspective I guess, males versus females, but finding that they didn't actually make it so was a relief.
And already we get the typical high school hierarchies and bullying. Cross-species/herbi/carnivores as well, which also was "nice" to see. That's some intense bullying though. Poor Haru. Poor, emotionally strong, Haru.
As I keep watching, I find more and more to like about the nuances the animal layer makes possible. Suddenly, a tail-grab seems as sexy as a tie-grab.
I like how we immediately see a shift from the initial stereotype of "carnivores are (more likely to be) mean" to witnessing straight up mean herbis. Or maybe Louis is just super tsundere? I guess I'll find out.
So they're angling it like Legoshi is both the good and the bad wolf here, and the "bad guy" not actually being anyone else as one might initially... no, think the second time around? Hmmmm. Let's see how that goes.
As per usual, I'm commenting as I watch cough
So... What about the word "hivemind" is attractive to you, Alyssa...?
Because not having your private thoughts, feelings and memories is the way you want to live? Zero individuality? Oh, okay then.
That guy who came to meet them looked so familiar to me... and then I realised... isn't that Spike (from Buffy)? Which in turn made me realise "oh shit he looks old now" and "oh shit I guess I'm old now" hahaha. Oops.
Anyway, a brainwash-episode, without powder :joy:Is it me or is this whole thing kind of cringy.
Getting the sense that even if that hostage/link-spell they did was legit, those hive-lers are probably okay to forfeit their lives and wouldn't care if they broke the rules or died. That's probably what the intention was. But then I'm seriously astonished as to why Vera or anyone has so little information about this other order. Apparently they have a history together, but the Blue Rose seems to have no real idea how they operate? OR Vera also just took the two that mean least, fully knowing the risks. However I doubt that, as previous episodes have shown that she favours both Jack and Alyssa. So her being so clueless just dumbfounds me. I mean, come on, the guys have a tree with ever-linked roots and foliage as their logo, I doubt they're THAT secretive about how they function.
Oh gosh, they made him blonde. Love how he himself remarked on that in the show, and how he hates it.
I'm glad they didn't draw the amnesia-thing out too long and the knights are back together within the first episode.
It makes some sense for the Order trying to keep the wolves "on a leash" and in control, and dusted for so long, even though that's barely ethical. But hey, with ethics teachers dying and all that, how'd they know :joy: It's not like the Order has been known to act ethically. I'm suspecting Vera to become just as powerhungry as Edward was. And why kick the wolves out in the first place, when a magus with the powers of a wolf is what she wants to profit from in the first place... so it's either sucking it up to Jack or only partially restoring their memories or something, like Hamish hinted at.
Let's see what this new magic user in town has to say. I'm guessing she's either from a different and maybe rivalling order, or a lonesome rebel as her getup might suggest. Maybe with magic-wielding family back in Ireland or something. Orrrrr she isn't human. We shall find out!
First off what I really liked:
"No one should be sad alone."
Cece showing a side of her that is actually useful.
And Ty's sportmanship. Hope it works out to the better for everyone involved.
In which Dana Sue turns back into a hell of a mother (in the more literal sense), poor Annie, and Noreen remains a spoiled, egoistic (+1.5) brat. She wants to be a mom so badly she's basically running over others, including other children, just to prove a point or two. Whatever Bill sees in her, after having such a smart, silver-tongued wife. Maybe he needed a downgrade... but whenever I see them together, it just doesn't seem to... fit. It feels so weird. Like he doesn't actually want to marry Noreen at all. But lo and behold, it seems to be mutual. Poor child though, if she's trying to make it her one reason to be happy in a sea of unhappiness. That doesn't normally work out too well.
Back to Dana Sue though... no one else seeing a problem here? She basically terrorises her kid for hours or days, before she gets all sweet on her like "you're way better than I ever was" or "I love you so much", "I only did this to you because you were lying to me" etc, with this big bang of relief and love being felt, yet, what happened last time Annie felt good with her mom? It imploded again just a little while later. Where is the line between manipulation in the extant of mental abuse and Dana Sue "just being a strict parent"... Just the way she handles things don't seem much different from how abusers handle situations when they think their abusee slipped up :unamused:
