This is a parody of rom-com and a good parody imo will maintain genre. it's stupid easy to make a comedy parody of everything. See things like Epic Movie and Date Movie. But a good parody of horror films will also itself be a horror film see Scream and Happy Death Day both excellent horror films that lampoon aspects of horror films. I think what sets this movie apart from other parodies is that it does a very effective job at being a romcom. It doesn't take itself seriously which is what you expect but there's a level of sincerity that you don't expect.
It's super hard to pull off a song and dance number in a movie and not have it be super cheesy. Few films do this that aren't all about singing or dancing (Step Up, Pitch Perfect). But the number in this movie manages to be legimately fun which surprised me. Rebel Wilson is Rebel Wilson most people hate her I find her charming enough. Hemsworth plays a one note character that's on screen enough to be funny with his constant "You're beguiling" but not so much that you get annoyed with him. If I had known Priyanka Chopra was going to be in the movie I might have skipped it. I'm not a fan of her as a person. Also I learned she looks terrible in extreme close ups. When you pull out just a little bit she shines. She's a good looking person, a mostly decent actor and she has a top notch voice.
If I cared about Adam Devine personally I'd be scared for his career becoming one note but here he's pretty toned down. Which helps him a lot.
Plotwise I have a big problem with the opening scene after the prologue where Nat has to get a note off her door and give it to her neighbor. It's filmed so badly you can barely tell what's going on. WHich is that he's hot and girls are constantly leaving note for him but they don't know which door is his so she ends up with notes on her door. It's a weird problem that makes no sense but at least they do a callback to explain it at the end. But beyond that the plot doesn't try so hard to make sense. Which is a good thing. It's just walking the path of the romcom you the audience (more than Nat) try to figure out which tropes are going to make it in and which ones will get left out.
It was a fun ride that didn't overstay it's welcome. A light airy movie that didn't leave you empty. Congratulations we have a date movie.
Predictable but all these Cinderella movies rope me in. To see the wicked stepmother get what’s coming to her. Plus Kat Decker is completely likable.
Another episode, another pass for Vanjie. Yeah, she did better in the lipsync against Plastique who couldn't really feel the rhythm and the mood of the song, despite performing well, just to a different tune. But it's like the election day in Putin's Russia - all the people he competes against had been pre-approved by him, looking weak in comparison. Judging fairly from the start, Vanjie should have been in the bottom at least 3 times now, and there's no chance she would survive to lipsync against Plastique.
Snatch game was bad except for a few good performances. Silky was good, nina was nice and shuga too.
Vanjie bad and brooke was a huge flop. I expected Yvie to be better.
Brooke was saved by the runway and that lypsinc WAS EVERYTHING. BOTH QUEENS SAVED BECAUSE WAS GREAT. Vanjie deserved the bottom tho.
Could the ugly, untalented gays please report to the principal's office?
Isobel's story was included in this season as if it was just another side plot... only to leave us absolutely devastated this episode. I did not see all these feelings coming! Don't leave us, stay another episode at least... ah, everything about it was sad, but what made it even more sad for me was Rahul Kohli. Damn, that's some acting right there.
That said, I have multiple issues with this episode. We finally had a payoff with Major's infiltration mission... which ended on a terrible note. I was a bit unhappy about Chase simply shooting the girl, it doesn't really fit with the Chase who hesitated before killing Mama Leone. I have problems there, because it's too convenient (the shooting) for Major to definitely hate and work against Chase later on... but well. I like how Chase's expression immediately changed sensing something went wrong before they even knew.
Also, I feel like iZombie is struggling hard with the "cases of the week"... As fun as it is to find out what brain Liv will be on next, I feel like they're doing so well with the stories that carry over through multiple episodes, having them spend time on explaining cases seems like a waste. I keep seeing scenes in the interrogation table and tuning off or just thinking "whatever, show us what the others are up to".
UUURGH!!! Just give us ANOTHER full feature film already!! Just when I start getting into it, IT ENDS!!!
Well i am not schocked at all! Since last two episodes it was written Yvie Oddly in that crown, i feel kinda bad for A'keria because in the lipsync she was better than Yvie tbh.In the last lipsync i was expecting more from Brooke Lyn.
Yvie's first and last outfit left me gagging.
The original Benji was the first film I ever saw at the cinema, so this little mutt has a special place in my heart. This remake isn't particularly special, though kids will enjoy it. I'm also grateful the first film I ever saw at the cinema wasn't Cujo - Benji shaped my morals in the right way, Cujo would have dragged my sensitive sensibilities through the mud and turned me into a serial killer. Probably!
I wish more musicals would get released like this after their runtime in theaters for people like me who have no way to see them live.
"Every time someone steps up and says who they are the world becomes a better, more interesting place, so thank you." <3<3<3
[8.4/10] I feel like this episode isn't going to please most people. The critical crowd is going to be annoyed at it for indulging in fan service at times and wrapping a lot of character relationships too quickly. The more casual fan crowd is going to be upset that this episode was full of yakking and sparse on action or narrative momentum. But honestly, I really liked this one. I have to imagine that the next four super-sized episodes are going to be filled to the gils with action and high drama and excitement. In the prelude to that, it's really nice to get a series of quiet moments to reflect on where everyone has been to get to this point, and the uncertainty of the future, amid the other grace notes that "The Rightful Queen" provides.
Those are the two big ideas at the center of the episode. On the one hand, you have this sense of everyone both assuming that they're doomed but worrying about what the future holds. More than one character declares that they're all dead. And yet at the same time, you have Dany and others worrying about who might have a claim to the Iron Throne or some slice of the Seven Kingdoms. You have Tyrion and others worrying about who might become (or remain) Hand to the Queen. And you have everyone from Misandei to Sansa thinking about what the world looks like when this battle is over. There's the sense of an inevitable, mortal threat, but also of concern for where things stand after they've picked up the pieces.
But there's also a sense of marking how long the journey has been to reach this point and how much everyone has changed along it. Arya is grown, with her own skills, directness, and desires that mark a sharp contrast from the aspirational little girl who went with her father to King's Landing. Jaime and Tyrion are both much different men since they were "The Golden Lion" and "The Imp" who previously set foot in Winterfell ("the perils of self-betterment"). Hell, even the likes of Podrick has become a capable warrior (and classy singer to boot.) There's a boatload of taking stock in this episode, of remembering where everyone's been and the distance between here and there.
What's more, there's tons of nice little moments. Lyanna Mormont gets a nice scene with Jorah, Gilly gets a little time to shine, and Edd gets a chance to reunite with his Night's Watch brethren. That's all on top of Tyrion's little gathering by the fire, which makes the most of the hang out vibe this episode summons when the time is right.
All-in-all, this feels like one of those Game of Thrones episodes we'll remember beyond the bigger clashes and contretemps the series usually has in store. It's a slower episode, but one that deepens our understanding of where these characters at psychologically and developmentally after nearly eight seasons, and lets us wonder about what the future holds right alongside them.
Ouch.
The visuals are breathtaking, as already shown by the trailers.
ScarJo is trying, you can tell that she wants this to be her new franchise.
It's edited quite nicely, it's got a (simple) story, and it's coherent.
So where did it go wrong?
One of the problems is that it takes away all of the philosophical depth from the original.
Well, that means you can still enjoy it from a simple action flick perspective, right?
Good luck with that.
This film has such a ridiculous amount of exposition, that it badly hurts the enjoyment of the film.
Many sequences consist of characters just talking to each other, and explaining the plot.
Things are definitely shown, but then the filmmakers don't think we're able to put two and two together, and hence add another explanatory scene.
As a result of that, the film doesn't take its time to develop the characters, meaning you won't care about them.
Top it off with an awful performance from Juliette Binoche, and you have your modern style over substance film.
3.5/10
Probably never seen that many proposals, marriages and pregnancies in one film, but I loved it!
I'm a big fan of Pixar films, but this new animated division of Disney, which crafted Moana, is superb. The quality of the art is clean and georgeous. The personal idiocyncristic movements that capture each character are reminiscent of the work of the great animator Hayao Miyazaki/Studio Ghibli (Spirited Away). This animated movie is a gem, must see movie. Beyond it's technical excellence, the story is full and unique. Disney gets a new princess (OK... Chief's daughter). Children get two new songs with which to drive their parents crazy and replace Frozen (on repeat). The Asian Pacific is brought to life. Both children and adults will love this picture. I'm a fan. I give it a 10 (spectacular) out of 10.
Ok, we got a Peraltiago "I love you", we got Jake worried about what it would mean for Amy if something happened to him, we got Jake being THE emotional support of the squad after a little talk with Holt, we got a Rosa + Jake (best friends) hug and we got that beautiful scene at the end Gina + Amy + Rosa not afraid of showing how much they love each other.
THIS SERIES IS A BEAUTIFUL, CHUBBY LITTLE BABY AND I`LL PROTECT IT FOREVER.
Welp.... it doesn’t really matter what happens in the rest of the season now
Omg finally they are married but holy shit that cliff hanger!
I was really disappointed by this sequel. I enjoyed the first movie as it developed the theme of polishing a diamond in the rough, an unlikely but likeable hero, with wit and clever direction and writing. This second film did the opposite, it celebrated the crass and the writing was bad - there were huge holes in the story lines, and the character arches were undeveloped or fractured by missing/unwritten elements. The heros and villians were silly without comedic intent. The only bright spots were Taron Epstein, Mark Strong and Haille Berry's rapport, and Jeff Bridges. Colin Firth's character was butchered by the writers, Elton John' s part was unnecessary, unexplained and poorly executed, This movie is just BAD, and a waste of time. I give it a 3 (bad) out of 10. [Comedy?, Action, Adventure, Spy}
The episode turned out better than expected tbh, but all in all there's still so much wasted potential.
I can't believe they just killed the Antichrist by traveling back in time and running him over with a car. It's just so cheap.
I also don't really understand how the two kids with extraordinary genes from the first episodes managed to birth the next Antichrist and what even made them special in the first place (I saw theories they might be the alien children from Asylum but I doubt the writers even thought that far), what the point of Coco's power was, why Mallory was the most important character but was so bland and had no real development or why we even had a whole Murder House sequel episode when it's all undone again now anyway. Just to throw some unsatisfying things out there. Though the most unsatisfying thing has to be the Antichrist - How can anyone take him seriously after we know he's basically just a 6 year old who feels abandoned by mommy and daddy?
If I was 12 and it was 1986 I'd have given it a 9/10 and watched it again already
Up until now I loved Naomi so much and I can't believe how shady she was. So disappointed and so sad to see Manilla go.
I really hated this movie, the characters were poorly constructed, especially the male characters. All of them manipulate Elle throughout the whole movie, telling her what to do and pushing her around when it suit them.
The worst part for me though was how lightly they treated Noah’s violent side. Lee wondering if he had hit Elle was incredibly painful to watch, and when he slams the car to make her come inside she really does seem frightened. He is a violent character that doesn’t change at all, just says a few nice words at the end to “make up for everything”. Lee gets some sort of redemption by helping Elle, but Noah doesn’t, and I don’t think that’s the message we want kids to get from movies like this one, that your boyfriend loves you because he gets into fights “for you” or that he manipulating you and other people around you is something sweet and a proof of how much he cares about you. That’s wrong, and this movie take on that is completely horrible and misleading.
I am confused. They actually made some significant changes to the group's life, they even made Stuart successful and they introduced a cool nerdy girl, and at the end of the episode they didn't ruin it again for everybody! That's not the TBBT I'm used to. And I like it.
Holy shit that was a waste of time. And i even skipped a bit
7.5/10. Dan Harmon, creator of Community is known for several things -- his trademark bottle of vodka, his tendency to spill his guts to audiences full of strangers, but also his story circle. The story circle is a device that Harmon uses as a blueprint for nearly any story he writes or supervises. It offers a series of steps to telling a story: 1. A character is in a zone of comfort; 2. But they want something; 3. They enter an unfamiliar situation; 4. Adapt to it; 5. Get what they wanted; 6. Pay a heavy price for it; 7. Then return to their familiar situation; 8. Having changed.
Brooklyn is basically Story Circle: The Movie. Eilis may not have the best life in Ireland, but she is comfortable there. But she hopes and wants for a better life than she can expect to have in the Emerald Isle. So she moves to Brooklyn, a situation whose unfamiliarity is hammered home from the first Irish immigrant she meets on the boat, to her fellow boarders who snip at her a bit, but also guide her through her new surroundings. She slowly but surely grows accustomed to her new home, with its different social mores and customs. She eventually has a good job, a future in accounting, a boyfriend, and the good life her sister wanted for her when she helped send Eilis to America. But just as she grows comfortable in that new life, she pays the price not being able to be home for her sister's funeral or to comfort her mother in person. Eventually, she's able to return home, but as the film makes clear in its third act, she is much different person now then when she left it.
That's not meant to be a criticism of the film. That type of adherence to story structure does lead to a film that feels conventional, and in truth Brooklyn is a feel-good story that is as interested in a film experience that feels like slipping into a warm bath as it is in proceeding through its simple-but-sweet coming of age tale. The notes are familiar, but the melody is beautiful, and the audience goes home happy.
At one point, Eilis offers her beau, Tony, an adjective to describe herself -- amenable. And it's the perfect way to describe Brooklyn It's a very amenable film, happy to lean into the soft hues of the past to tell a love story, and immigrant story, and a bildungsroman, in gentle tones that provoke smiles and sighs as Eilis finds happiness, love, and fulfillment despite her initial reservations and homesickness.
If I have a criticism, its that Eilis's journey is almost too successful. For all the accusations of unrealistic perfection leveled at Rey in Star Wars: The Force Awakens, Eilis is a paragon of good fortune throughout Brooklyn. Nearly everyone she meets in Ireland and in Brooklyn short of the prickly Miss Kelly likes her and helps her to feel more comfortable in whatever her current surroundings are. To boot, she becomes successful at nearly whatever she sets her mind to, from working at the department story, to courting, to her burgeoning skills as a bookkeeper.
But that's not to say Eilis does not face challenges in the film. Hers are challenges of conscience rather than the standard plot obstacles we expect our cinematic protagonists to leap over. The crux of the film is Eilis returning to the land that she thought had nothing there for her, and finding that she was wrong, that there is good work, and friendship, and family, and a nice boy with a good future. Suddenly, the life she forged across the pond, the one with her husband, and her studies, and seems distant, something that unexpectedly has to compete with the renewed comforts of home. The choice the film stakes out -- whether to take the stronger, more confident persona Eilis has built back to Ireland and start a life there better than any she hoped to be able to enjoy, or return to the place that made her into that stronger person with the man she pledged her love to.
The problem is that as well as the film sets up that choice, and lays out compelling elements on both sides of the equation, it glosses over the conclusion in a somewhat unsatisfying fashion. While the touch of Miss Kelly's would-be blackmail is nice, it seems abrupt that after all the time the film spends setting up Eilis's hometown as somewhere that Eilis has a place and could be happy, one harsh woman is enough to send her back to New York. There's subtext about an iron fist hiding beneath the velvet glove that's been offered to Eilis since she returned to Enniscorthy, but it's hard to see it anyone besides Miss Kelly, with everyone else in the town seeming a bit pushy and presumptive, but also genuinely enamored with the young Ms. Lacey. Her confession to her mother is a quietly powerful scene, and the breakup letter she gives to her Irish beau feels like too easy way to resolve that relationship, but more than anything, it just feels odd that one mean old crow is all it takes to convince Eilis that she could never have a life in a place that, despite the vows she's tried so hard to put out of her mind, seemed to welcome her with open arms.
Still, the scene where Tony finds Eilis waiting for him and the pair embrace is a sweet moment, even if it doesn't feel totally earned given what motivated Eilis to come to that point. But it's a lovely image in a film full of them. Brooklyn is awash in muted pastels and primary colors, that give the past a gauzy hue that catches the eye and conveys the sense of a sweeter, simpler time. It's also a supremely well-shot film, that shoots Eilis and Jim Farrell at the beach having a conversation with their romantic companions framed in between them in the distance, conveying the subtext of the exchange. It's also a film keen to use subtle touches to show changes in Eilis's mood or perspective, from the simple act of wearing her bathing suit under her clothes that impresses her friends back home, to the letters she shoves in a drawer to signify the way in which she's putting Brooklyn out of her mind. None of these techniques is so subtle that the viewer will miss them, but the film takes the old admonition "show don't tell" to heart, and succeeds well with that principle in mind.
In the end, Brooklyn is a fairly simple story. Girl leaves home. Girl makes a new life with success and romance. Girl returns home, seeing the beauty of what she left behind and has to choose her new life or her old one. But the film's pleasures come from the sweet stillness of the moments in between, of the temping worlds the film creates on either side of Eilis, in the recognizable steps of maturation, of change, that Eilis goes through as she moves past her homesickness, past her reticence, and eventually, past the girl she used to be. Brooklyn is an aggressively amiable film, that breaks little new ground, but covers the familiar territory with such a pleasant, charming air, that it can be forgiven for making few new steps.
This was bullshit! I feel more attacked than Laganja.
First of all, i am not mad because Plastique was sent home, i am mad because the way she left.
Apparently it's ok if you say that Plastique was relying on "Being Asian" but if you say that Silky or Akiria are relying on "Being Black" then you're racist... How can you tell an immigrant from Vietnam not to speak with vietnamese accent? I mean, this has no sense at all and besides that for me Vanjie was clearly the loser, she was whiping her hair like crazy and Plastique gives only five seconds of screentime.
Then they criticized that she wasn't wearing a fully mask when Silky doesn't even wear make up and on purpose, that was very off.
I may be dropping this season and a hope Brooke Lyn, Yvie or Nina win.
I AM DEVASTATED. I really love kameron and cracker, but I think cracker deserved one more chance it was her first lypsinc
