[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.
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 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.
I honestly don't understand all the hype and high scores and positive reviews on this movie.
To start off, the 20yo "high school students" are nowhere near believable, but at the same time they're such stereotypes-on-legs that one feels the urge to just punch them in the face. Not only their personalities, but their every single interaction as well is so sterotypical and predictable that they're literally painful to watch.
Once they get into the game, it doesn't get any better. The fact that they're sucked into a game only serves to negate any and all sense of danger they may face during the "adventure": with three lives, you just know that whatever happens to them will have no consequence whatsoever - if anything, they manage to utilise "death" as a game mechanic to help them along the way; heck even their weaknesses become strengths, if not just butts of jokes. Their transformation only goes the most predictable way too: turning into their own "inverse" versions, with one or two character traits preserved to make everything else about them a joke. The world itself is poorly utilised as well: the source of the main dangers isn't nature but bandits on motorcycles, with some bad CGI animals only occasionally getting in their way. Even the story is non-existent, with a huge timeskip after a short intro, because gods forbid they actually continue where it was left off, or just bring it to present days right from the start.
The actors at least try to make an effort to do something with their characters, but quite frankly the ensemble of a muscle-brained G.I. Joe, a middle-aged unkempt Indiana Jones, a black valet, and Lara Croft has too little originality to it (ie. none) for those efforts to make much of a difference. Not to even mention the pilot, who couldn't be more generic if he was actually cut out of cardboard. But hey, at least Jack Black gets to play a teenage girl.
I'm not sure who felt that making this movie was needed. I'm not sure who thinks walking clichés and d××k jokes constitute a "fun family movie". Take away the title, and there is quite literally nothing to see here that stands out from any similar "lower tier" flick - none of which ever gets this ridiculously overrated.
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".
"Oh God, he can't stand. The ovation is insensitive, everybody down!" was genius and hysterical.
So were many comments made regarding similar topics and social concepts entertaining. Like the ramp thing.
If it can keep this up I sense a great new comedy show.
I also really, really like the reactions of the audience over at IMDB and RT for this pilot.
People claiming this is offensive and disgusting to make fun of a handicapped person like they allegedly do here.
I hate it, when you criticise something and someone else says to you, you mistunderstood it. Especially in anime this is an annyoing comeback to any criticism. If you don't like Minnie Driver and find her overbearing here, sure, okay. That's one thing.
But I think in this case it is pretty obvious that the comedy pokes fun at how we perceive disabled people and treat them. How we claim we want them to be included but exclude them even more as a society. By complaining how offensive this is, you do the same thing. It's the classic issue: should we include a person with a specific attribute by making fun of something regarding it or should we not, to not point that attribute out but exclude that person in the process and handle that person special that way?
Example for criticial undertones:
The school is for inclusion. So they got rid off the male-sexual-aggression-Viking mascot. It could be a reference to 3rd wave feminism. Because everything slightly "too male" is automatically considered bad and needs to be changed to not offend anyone.
The ramp thing in the back of the building by the dumpsters: inclusion by separating wheelchair and non-wheelchair, letting the former sneak in out of sight.
The ovation thing (and making him a candidate for president) references those paradox situations as well. A "don't offend anyone" mentality where you accidentally do stuff that could be considered offensive nevertheless, even if the opposite is your actual intention. While it's not necessarily pointed out by the person that should be offended but by others "for" them.
The AV club has a good review for the first two episodes
http://www.avclub.com/review/speechless-delightful-addition-abcs-stable-family--242882
The Finest Hours, Disney’s (yes) old-school recreation of “the U.S. Coast Guard’s Most Daring Rescue” starring Chris Pine and Casey Affleck who portray the generations ingenuity and sensibilities as they are thrown into the usual genre tropes of unwavering disaster and relief.
The film is a parallel story of daring from Pine’s straight-shooting, small-town Coast Guard coxswain, Bernie Webber, and Affleck’s tanker engineer, Raymond Sybert, separately thrust into roles of authority amidst overwhelming danger. Although a man of few words, Affleck, makes his character the most interesting on screen.
The main premise of the story is on a February night, not one, but two oil tankers have been sheared in two. Most rescue teams have gone to one ship, when news of the seconds reaches Pendleton. The Chatham Coastguards new station boss Daniel Cluff (Eric Bana), orders Webber and a small crew into the storm on what is described the local fisherman as a suicide mission, but Webber, with something to prove to his past sets out.
The tanker sliced in two, and with little hope of survival, Sybert has become the captain of sorts to the surviving crew; although many are not keen to follow his orders. Like Webber, he is an outsider, his home is his ship. In one of the most interesting scenes Sybert responds to a shipmate who dismisses him for being a lonely man with no family, after saving his life, responds with the simple “I’ve got a life just the same as you”. Syberts side of the story is a series of ingenious ideas to help buy as much as time for someone, whoever might be out there, to rescue the him and the crew.
Most of the remaining story follows Webber battling through the storm, but the visuals are far from impressive, large waves in just a sea of blackness, but perhaps this is all you have of evidence of a storm at sea? The 3D adds further unnecessary darkness, and no real depth.
The film is a nice touch to the story and certainly an enjoyable watch, if only to wonder what could be next for Webber, and what brilliant idea Sybert might come up with next.
A solid 8/10 and a recommendation to see in 2D only.
What is it about religion that blinds people to common sense? How is it possible that average people eat aphid shit off poplar trees, drink sewage leaking onto a statue, bathe in the Ganges river (immensely polluted), send their social security checks to charlatans in exchange for vials of water, withhold medical treatment for their CHILDREN opting instead to engage only in wishful thinking? Because those normally rational people will walk into traffic when wearing their blinding faith glasses.
Fireproof is a stale cow turd wrapped in the undeserved prestige of religion. One of the shouters on this movie record, shadowfeet, claims to have cried watching this movie; a movie that advocates domestic violence. Let me repeat in case you glossed over the last sentence. Fireproof advocates domestic violence and SOMEHOW has a reputation for being a movie full of good marital advice. I can not type this strongly enough: Fuck Kirk Cameron and his twisted world view.
To any person in a relationship who may have seen this movie: if your partner ever raises his or her hand against you that should be the last day you are together. Move out, leave, seek divorce, do whatever it takes to end that relationship. There is no fixing that relationship. To attempt the advice in this movie is sadistic.
