Welcome, ye connoisseur of slo-mo, blend dialogue, and predicable... (I meant to write "twist", but I seem to be unable to. Hum.)... actions.
It will pass time time, but come around if you're looking for an actual space opera.
What's up with the renslayer scene though? Seems in a TVA-disused far future, and purple light was previously associated with he who remains. Back-up-back-up plan of his?
Nice come back to nordic mythology with yggdrasil, literally holding worlds/timelines together.
Trakt's description: "[...] with the future at steak [...]".
Is that a lame pun or what
Made me want to rewatch 2 broke girls
Delicate and uncompromising. Must watch
Double cringe - it does works pretty well when cringe works.
Kudos to the dedication to make it work!
A very mildly teen-spirited and comfort-watch show gradually building up to a most beautiful love declaration.
Deliciously english in its mastery of flourished language and manners, layering gentleness thick: works quite well :)
(also, cutey little heart animations :) )
An animated movie trope tour de force.- sure Spectacularly predictable. - sure.
As is Turning Red, 2022's Pixar, these feel-good movies that starts as a tragedy that is overcome by younglings discovering their roots: more, please.
As for the 'Spectacularly predictable', sure, as it's meant to be found out because that's not the point, it's the family-rooted coming-of-age strengh
Is it me or did they break some 5th wall right at the start?
"game, set, and ma..." "eheh, it's me boaz doing stupid shit, lol!"
Subtil but addictive dive into frozen horror
quick note :
for the "quanputer" to produce/select a story in which it has to create the substory of it doing that again, yep, looks like a big indeed! (either that or it had a "self-destruct"-wish)
29 minutes in: ketchup-wine, anyone?
Also, she has a bit of a cleptomania side, doesn't she?
Tl;dr: It's not bad, it's sadly okay.
Philippe Katerine as Assurancetourix is perfect! Cassel as Caesar allows for the most unexpected outcomes to stay within the character. But all in all... It taste like poor copy of the chabat one: same humor, but less punchy, turns of events that feels overly complicated and lengthy, and too many famous people, trying to shine on their own.
And of the middle kingdom we see 2 walls, 2 market places, and one prison on the side of a cliff.
Short version: a romeo&juliet story in modern setting wrapped in cringe comedy and gags.
Long version : With Italy as a background, just 20 min in with the aeroport scene here comes a modern romeo&juliet incarnation - happy happy edition (though I appreciated the metaphorical "double murder" of the couple!). Problem is, I think the scenarists thought the classic tragedy plotline was strong enough to allow for the most distracting and ridiculous gags and developments. I'm not sure it works well, mainly due to the many genres mixed up there, but it is good comedy, and it is an amazing couple of actresses. The "side" developments serve well in transforming the archetypal suburbian mom into mafia boss.
And kudos to Toni Collette. I knew her from the power, but she plays beautifully : as realistic as the role allows, and perfectly dead serious in the cringe comedy moments.
At times I felt a little bit overwhelmed in American soft power through Toni Collette's intensity though
Hilarious. Lacheau/la bande à fifi in its works, skillfully juggling an hilarious plotline with constant gags. It's seasoned with pop culture references that feels like childhood memories, and particularly this superhero one.
People not liking/discovering cringe humor ("the office" for example) might not find it funny.
Abe is magnificent in his soul searching, guilt-trip through his innate sexism. Now, given his usual intensity, can't help feeling bad for the daughter...
It is weird.
On one side, it is objectivity awful: 2 actors horrendously playing archetypal roles in a spy-comedy genre, which in that particular instance fails at both comedy and spycraft representation (maybe "imo" for that last one, but they really do ridiculous stuff - as long as it serves the badly written development between the spouses. Damn how bad do they act.) Think bottom of the barrel for acting, writing, and the procedural format. And that damn! line! beginning each episode manages to be illogical, horribly cringe and with no context whatsoever.
On the other hand, still watching.
Kinda feels like a telenovella for how they talk and how simplistic, archetypal characters are written and how little development there is, so why am I still watching?
Can we talk about the
dash or not dash, that is the question. Storylord's writer says "'dash' set up to fail".
As Rick goes very meta this episode, I looked up Rick-plush dot biz of course, but also rickplush dot biz. But that later one redirects to odditytech tiktok account. I stopped there, no tiktok here... :)
maybe it's just random!
Pathos extravaganza.
5 words they say, but really that sums the whole movie up...
Was expecting a random teen movie, got a smart, funny and actually surprising movie - and these days actual surprise in plots are really, really rare (at least for me etc etc, to each its own), let alone all 3!
(But) it is a teen movie, light and funny, with no pretension to be anything more.
I did not expect anything from Spanglish. Really, nothing at all. But, as it's often the case with Adam Sandler movies, it's tender, smart, and inspiring.
Channel changed airing schedule. How can we help update air dates here? Thanks :pray:
Urf. At a loss for words.
On one hand, it is a good show, and it's a good adaptation of the book on the (day to day) cultural aspect.
However, as a reader of the book, what I'm most disappointed with this show is that it exchanges the actual human trafficking (kidnapping (foreign) girls, to supply the high demand in Japan for, basically, sex slaves) for... Drugs. How American. How... Well, not Japanese, betraying the cultural fidelity is was supposed to depict.
In my opinion, that show transforms a very good (actual) story (in the book) into yet another random show.
Meh.
("disclaimer" : it's been a long time since I've read the book. So even though I didn't find (yet) the elements leading to the main plot, maybe it's coming, if they have a 10 seasons something in the works. Still not impress yet anyway.)
Once again, Discovery hits the spot for me, all in the subtleties of the (now) human Gorgiou trying to impose her will of steel to veer her barbarian, inhuman home universe towards the aspiration of humanity and greatness she came to discover and enjoy in USS Discovery's universe.
The universe travelling stuff limits exploring the depth of that situation... how I'd love to see an adaptation* of the skolian saga with Jaibriol III in that exact same situation!
(*well not so much adaptation as an extension of the skolian saga!)
Amazing show, exuding love and its torments at every turn. The acting, resting for a good part on the amazing performance of Ariane Labed, is outstanding: I was there, in there lives, and wished I was with them some more for a second season of happiness and love and life.
One more praise for the road, in the style of a theater critic who'd "gets it real" :joy::
From "whaaat" to "whaaat" of the spectator gluing itself to the TV for the show, we are engulfing with delight into this sort of horrified enthrallment for this kind woman. Well the one we remember from the start at least:sweat_smile:
I think this is a very good movie, but that comment in itself is worthless. So, 2 more opinions: the sexbot thing is just a pretext to hand out human rapport assertions. And even more in my opinion, voluntary missing the point on the last one.
Roughly summarized, the story is about a guy a little lost in is life, who discovers intelligent (but compliant, no ai evolving to freedom here) sexbots. More than sexbots, they're basically programmable companions - here I already recognise a critic of today's internet and the social networks: with these bots, you are pleased and prisoner of your own world, they're a mirror of yourself. Then comes an assertion about the universality of love, and a shoutout to free oneselves from others' judgments, or tradition, or expectation from spouse/close one's etc.
Finally the last point with spoilers: the film conclude with the couple at peace again, each with their sexbots to satisfy their self-appreciation needs, while leaving room, if not the main place, to their spouse, their love, only one actually loved (not the bot, not themselves). The point is being able to love the spouse with no constraints, no obligations, eg love while redirecting excesses (examples given are ranting for hours with a enthusiastic debate partner, and ofc, sex fantasies, chores) to the bot(s).
I'm saying the point of human relation is purposefully missed here for several reasons. 1st, the movie is mainly a criticism of the self-idea of love each person has. It's nothing to do with bots, it's about people. So the message cannot be 'get a bot', that doesn't exist in our society. However, stating that calls the attention of the spectator to the fact that in a couple each individual has needs and aspirations/potential. And understanding that allows more understanding, more compliance to satisfy the needs of the companion.
Sorry for length :see_no_evil:
To be more concise (finally!), it's an ai-love story wrap around the concept of "be there for each other".
I found it very well built, peaking in making the viewers ask themselves what they would do: under fire, do you choose try to communicate, or do you erupt with anger, devil may care with the consequences?
there are issues with licencing (due to streaming soaring, every actor tries to pull back their productions to their own streaming service, hence disney+ etc) hence the break I think (hope).
And whatever haters say, I really like this show, whatever the perceived incoherencies (we are in a future where there is programmable matter, so no, hacking alien tech in minutes is not that far-fetched in that context)
