I had high hopes for this movie since it has two of my favorite people in it but I was still surprised by how great the movie was. Funny, smart and elegant both in cinematography and writing, it’s just amazing. I won’t stop recommending it.
The challenge wasn't as fun as I wanted.
Silky overshadows everyone and Shuga was her victim. Brooke is improving which is good!
The runway well Nina was nice and Brooke as well! Liked Yvie and Shuga!
i agree with the ones that lypsinced Vanjie and Plastique! And well Plastique was the worst so bye gurl bye
[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.
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?
THIS should've been the moment for a double shantay, personally I don't think Kandy was better than Olivia but both of them were good so...
If I was 12 and it was 1986 I'd have given it a 9/10 and watched it again already
WTF are you kidding? Ra'Jah can't dance really well, can't act, she's not funny and doesn't have a big personality, doesn't have good runways, she's not memorable at all and she was saved? Even if Scarlett was send home just based on this challenge i don't think she deserved it! She was very consistent and week after week she look amazing on runway, i mean, she literally was robbed last episode.
Ra'Jah being pissed at Scarlet was ridiculous - I can't believe Ra'Jah got her to apologise when she had named Scarlet to go, along with everyone else on the team. If anyone had grounds to be upset, it was Scarlet.
Ra'Jah came across like even more of a dick this episode. At least with this being her third time in the bottom, the likelihood is she'll be gone in the next episode or two.
I am so freaking in love with this movie and my heart is mush. No mean girls, supportive characters everywhere, and female friendships ftw. I only regret that I was dumb enough to not read the book first.
Seriously?! I had a feeling I'd watch this whole season and then they'd leave it on a super dumb ending to make us tune in a year from now.
Henry, the key, Mac now having the curse... sigh
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
Holy shit that was a waste of time. And i even skipped a bit
I wanted to love this so much, but it just felt... Empty. The characters didn't connect at all and the Fantastic Beasts themselves felt like an afterthought to the franchise they're actually trying to build.
Overall a watchable movie with some charming moments but damaged by a muddy story and atrocious pacing. I expected more from the HP universe.
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.
Best Ball on Drag Race Herstory... said no one!
The fact that BoBo won this challenge says everything about it.
Welp.... it doesn’t really matter what happens in the rest of the season now
Did they spend so much money on the shitty CGI beast that they can't afford to properly light scenes?
What on earth were those accents?? "Ze 'unting partiee leafs at dorn"???? What are you doing!?
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 want to "touch" up on the part where they fist bumped; this is just my speculation, but it seems dangerous to even interact with the kid in the cell, and touching him would be the catalyst that would drive you completely mad as if the kid is in control of the body. I have an inkling, and imagine what would happen if Molly were to touch Henry.. Maybe she did that one time, and that's why Henry has no memory of the murder. What if both Molly and the kid has the Shining ability, but are completely opposite of one another.
Interesting and lovely Bill Plympton (Plymptoons) animation for the couch gag; reminds me of something I used to see on MTV
And Amazon owning CircuitCity, hehe, that'd would be something :-)
Oh I am soooooo glad they kicked Acid Betty to the curb! Lawdamercy... couldn't stand her snarky, superior, arrogant self. Yay for Bob The Drag Queen!!
Could the ugly, untalented gays please report to the principal's office?
I thought Symone would be on the top
RuPaul: Bimini Bon-Boulash, I can't se... there's some actress that you look like and I can't...
Bimini Bon-Boulash: Meryl Streep?
I'm still laughing so hard with that :laughing:
Well not all were laughs this episode, this is the first time I cried over a lipsync, personally I think Lawrence was the least funny so I still don't know how she gets to the top, on the other hand I think A'Whora didn't bomb at all and since they gave "extra points" to other queens they should've give her as well for being first and confident.
Lawrence and A'Whora being pressed by Ellie's decision but if they were in her position I'm sure they will set her up to fail.
I'm just so sad... wether the bottom two would be it should've been a double shantay, sending any of them home this week it just doesn't make sense with my fantasy.
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.
I would hate to meet a kid who loves Ana y Bruno -- they'd scare the bejeesus out of me.
A young girl in an insane asylum befriends the grotesque hallucinations of the patients interred there. Which might work, but the characters are all so ugly, the tone is dark, the coloring even darker, and the child has more bags under her eyes than I do.
Which still might work, except then they try to make a traditional Disney cartoon out of this mess. Coraline meets Snow White could work in a Columbian drug factory, but not on the big screen.
Show me a kid who likes this upbeat trauma, and I'll show you a kid who will try to kill you in your sleep thinking they're helping you.
Very sad when the crew arrived back at the base and no one was there to welcome Naird home. I had the same experience when I was in the Navy and returned to the U.S. from a six month deployment; my family was still on the other side of the country and could not be there to greet me.
That's the way to make a period movie!
No lingering shots of the expensive, beautiful sets & costumes.(But they are still noticed) no slow, drawn out clippety cloppety horse carriages,.
not a single dull moment.
Gorgeous, riveting, hilarious, heart-warming
It's has some, dashings (but not full on) of those 'Moulin rouge' madness scenes.
Filled with the cream of British film industry.
