I really started to enjoy the show by the end of the season, so I'm excited for the second season
it was great and a bit sad seeing Robin again, who's else return we might see in the future as well?
These two oblivious, stubborn kids are driving me insane!! For God's sake even Abbott is plotting to get them together!
If what Chidi said to Eleanor didn't make you cry, what is wrong with you?
"Every time someone steps up and says who they are the world becomes a better, more interesting place, so thank you." <3<3<3
Does anyone actually like this show anymore - or just watching it out of obligation?
I mean, the show is bad...plain bad. The writing is terrible, the screen play is just as bad. I know it's a show about zombies and all but it is so unbelievable.
Unlimited ammo, a gun fight with tons of people on both side where no one gets shot for minutes...when the big "plan" is finally revealed that the idea was to trap them in with zombies..only ONE zombie kills someone..and some how still the good guys are losing.
Suddenly people have a heart and let Saviors live...while the one person who usually lets people live is massacring them all.
The only thing good about this episode was the Tiger again someone again.
Maybe it's just me..and I know it's all building to something..but man...the writing is terrible.
Don't even get me started on how the crew had a chance to just flat kill Negan in the first episode..that ruined the whole season for me... they would have killed him right there..the plan doesn't matter..killing Negan matters.
Holy fuck. I have goosebumps. Might be the best episode of TV this year. Fucking amazing. Honestly, I can't blame Tom for what he did, he's taken so much shit from everyone, including his own wife.
an amazing, very progressive show. a comedy that knows how to be funny without being rude. lots of puns. a strong and very well developed found family trope with a diverse cast. even after four season they are still going strong with the same brand of silly, funny humor.
– Was I, Master? Was I a worthy finale?
– No. But you put on a hell of a show.
A light, bright and tight rom-com!
I didn't expect to love this so much. I kept my expectations pretty low for this because of its repackaged Groundhog Day premise. All of my reservations were blown away by this movie's sheer brilliance. It is fun, cheesy and heartfelt in the best ways possible. With the pandemic going on for months, this movie brought in an air of freshness.
Just go ahead and watch this utter delight of a movie. One of the best rom-coms in recent film. Definitely the best to come out this year.
"The only thing you won last heist was a lifetime of mediocre heterosexual intercourse with Jake."
Dead.
Captain Holt is so goddamn extra and I LOVE IT. Also, imagine being as civilized and respectful as Rosa and Amy having that debate. Ugh, I love these people. Stephanie did a great job with her directorial debut. Fantastic material.
Such a great creative episode that didn’t feel gimmicky and flowed with the series without missing a beat!! Bravo !!
The final minutes were some of the most tense moments I've seen in television in recent years.
Great dual moment at the end with them both realising they have met. And so the game of cat and mouse begins!
I like how flawed they both are, it's such a rarity to have layered female characters written well. Really liking this show.
Overall this season is a slight step-down from the second, but whew that finale was the series' best. Brutal, funny, tragic, and almost unbearably suspenseful. Skarsgard's story of ancient Roman slaves is such a succinct summary of the Roy family arc. The finale even retroactively elevates the path that leads to it a bit, which is no small feat. Also, I don't care how impractical it is, Emmys for all the five Roys please.
I feel more and more, that I can't describe what an amazing experience this show is. I'm not sure if I ever will be able to convince people to watch it, because the thing is, really, that I can't pour my thoughts into words about what this and Phoebe Waller-Bridge gives. So if you meet someone, anyone, who's thinking about starting to watch it, encourage them. Sure, they might not like it, that always can happen, but we mustn't lose hope, that some day more people will appreciate this miracle.
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.
I'll see you tomorrow, Miller
The Raymond, Kevin, and Jake dynamic is one of my top favorites. It always gives a feel of parents and their dorky son. Hehe. Come on, guys! Adopt him already. He needs it.
Jake: Ok, seriously what's going with him?
Rosa: It's a whole thing.
Jake: Is it going to screw up the plan?
Rosa: It's more quietly self destructive.
Jake: Sounds good. Terry, do you.
Even though I'm the biggest fan of Holt & Wuntch throwing insults at each other, THAT was the best interaction in the episode. LMAO.
Ok, hands down best episode of the season.
It was really sweet the whole silent idea.
It also makes you think about "people [..] talks way too fucking much", and how fewer mental traffic we'd have by weighing with more care when to speak. Makes you also appreciate all the shades of reality one is able to experience by hearing, but that's a topic for another time..
Great silent comedy, also:
- that Scrabble scene!
- The typo in the hiding scene, "Are you having a stroke?"
Ok, even though we were the bad guys, I must say I LOVED all the Brazil references :P
And THANK YOU, YES, WE ARE AN ISLAND OF PORTUGUESE SPEAKERS IN A SEA OF SPANISH SO THANK YOU FOR GETTING THAT RIGHT LOVE THIS SHOW SO MUCH BYE
Best episode in a long time! So many funny moments, but it also wrestled with a serious subject. 10/10 stars for this episode!
Very well-done format shift that only adds to the suspense and intrigue, and the way it breaks out of it at the end with Steve Martin's shout and cackle is perfect.
Poor Holt... But he's a proud professional, you could easily see that he was doing an excellent job at the end of the episode.
The suicide squad did not disappoint, but it was the twists that were the true meat of the episode!
I think this was a season finale, but I read that it has been renewed for another season, so I'm already pumped for that! B99 never slows down and it's still one of the funniest shows around!
One of the most touching and beautiful shows I've ever watched. It's exciting, mysterious, keeps you on edge till the final episode. Brilliant casting and beautiful filming with some of the best soundtracks create for a perfect show that you should watch!
It literally took me forever to finish this because I kept repeating so many scenes like a crazy person. How can a 20 minute episode be packed with SO MUCH AWESOMENESS? Ahhhhhhhh! I love these dorks so much. My jaw hurts from grinning and smiling.
Also, can we have Rosa changing hairstyles as a regular character now? Because DOPE! And that CSI guy was pretty likable as well.
I can‘t help myself, I don‘t like Carolyn. I just don‘t trust her.
[5.8/10] So many movies don’t get the basics right: characters who want something, themes to grapple with, setups and payoffs. Too often, those essential building blocks to storytelling are just set aside for reasons beyond me. That should make it refreshing when a movie like Wonder Woman 1984 comes along, with a story specifically founded on what its characters want, centered around a clear theme, that establishes details before they become relevant later in the film.
The catch is that while WW84 checks all those boxes, it doesn’t do any of these things terribly well, let alone advance to the next level and really make magic out of the combination of people and events that make up the movie. Particularly when it comes to superhero franchises (or sub-franchises), the first movie has to introduce the main character and their world, while the sequel can use that as a springboard to really play. This movie aims to do more than its 2017 predecessor, built around those core storytelling components, but then proceeds to make a mess of its wider ambit.
That starts with the hamfistedness of pretty much everything in the movie. There is absolutely no subtlety or nuance in WW84. The characters practically announce what they want (the conceit of the film all but demands it). An authority figure essentially declares the film’s moral in the opening segment. And if that all weren’t enough, Wonder Woman herself basically looks directly at the audience and tells us the point and overall message of the picture. If you missed what Wonder Woman 1984 was trying to do or say, you were either asleep or, more understandably, lost in the hash it makes of these ideas despite its directness.
The theme boils down to some combination of “Don’t take shortcuts,” “Be careful what you wish for,” and “Think about the wider costs of your individual wants.” Director-writer Patty Jenkins and co-writers Geoff Johns and David Callaham oversimplify those notions in the script, but there’s worse stars to steer by. The problem comes from two extremes: one is the bluntness of how plainly the film states its thesis on these topics and the other is how it loses itself in purple prose trying to dress them as something profound rather than trite. The mix leaves all three central ideas feeling under-realized over the course of the film.
Part of that is the premise. The central MacGuffin in the film is a magic rock that grants people wishes, but as is eventually revealed, also extracts a price for it. As silly as that sounds on paper, it’s a perfectly acceptable comic book-y idea to deploy here. There’s even potential to explore the costs of getting what we want by taking this shortcut, both to ourselves and to our communities.
But the rules are confusing and seemingly arbitrary, and divined by hero and villain alike with little logic. People have to be in contact with the stone to make their wish, but apparently can undo the effects by simply declaring “I renounce my wish!” a la Michael Scott. The legend of the stone says that it takes what you value the most in exchange for granting the wish, but when bad guy Maxwell Lord “becomes” the stone, he can apparently just decide what to take from people when they make their wishes. And the contact rule also goes out the window when Lord takes advantage of vague “particle” technology that makes seeing him on the TV screen as good as holding his hand for some reason.
Any single one of these things would be a stretch but perfectly tolerable within the outsized confines of a superhero movie. But stacking them on top of one another, in addition to plenty of other smaller contrivances and conveniences and headscratchers, leaves the film feeling like it doesn’t play by its own rules, and instead just makes up whatever it needs to in order to hurry things along to the next scene.
Some of that’s understandable, because the plot quickly becomes the least interesting part of the movie, WW84 finds an excuse to bring Chris Pine back as Steve Trevor and, as with the 2017 film, every scene of Wonder Woman and Trevor together is better than every scene without the two of them. Pine and Gadot continue to have great chemistry, and the combination of reversing the “fish out of water” dynamic from the last one, and the inherent joy and tragedy of reunion and loss, makes them the strongest element of the film.
Alas, the same can’t be said for the villains. Kristen Wiig’s Cheetah is a “baby’s first” version of Michelle Pfeifer’s Catwoman from Batman Returns. The homage seems to be a deliberate one, replete with power lines, but that just makes Barbara Minerva’s cartoony affect and transformation all the more lacking by comparison. There’s the germ of something good with Minerva feeling invisible and unsure, seeking popularity and poise, but it’s lost in a bunch of over-the-top moments that dampen any humanity at the center of the idea.
The same goes for Pedro Pascal’s Maxwell Lord, who seems part a commentary on Donald Trump and part a rejection of the “Greed Is Good” ethos that WW84 hopes to combat when invoking this era of American History. Pascal goes for broke in the performance, but the character is so thin, with a last minute depositing of backstory and presto-changeo change of heart that leaves him like so many other characters here -- more one-dimensional than he should be.
Some of the film’s more substantive failings would be easier to ignore if it were just more fun to watch and nicer to look at. Despite a solid opening sequence where a young Diana runs through a Themyscira obstacle course, most of the action here is unavailing at best. The CGI, frankly, looks pretty terrible, with tons of obvious green-screening and movements that lack weight or recognizable fluidity.
Some of that can be chalked up to superhumans doing superhuman things, but much of it just comes down to a flat weak aesthetic mixed with unconvincing special effects. The direction is largely indifferent outside of that opening triathlon riff, and the look of Wonder Woman’s lassoing and ass-kicking and flight feel neither real enough to pass muster or impressionsitic enough to feel artistic.
That’s right, Wonder Woman learns to fly here, another nod to her powers in the comics. Along with the invisible jet and her magic super armor, the movie comes up with a plausible enough bit of setup to where these developments don’t feel completely out of the blue, and yet most of them still feel underdeveloped -- pieces that wouldn’t make sense if they weren’t references to something else in the character’s publication history, with only the barest of scaffolding to keep them from being totally random. There’s at least a minor emotional resonance to Diana taking flight after accepting the renewed loss of her true love/pilot boyfriend, but it’s still undercooked.
That’s true for so much in Wonder Woman 1984. The basic foundation is there. The characters have desires and lose something in the pursuit of them. The film wears its themes on its sleeves. And however rushed the setup may be, most of the developments in the film have some minor preparation for them in the early going.
But once you move beyond those simple building blocks, Jenkins and company make a hash of pretty much everything else. The film soon becomes an overlong, over-the-top, ugly muddle of a movie. It proves that you can fulfill the basic requirements and still fail as a movie by not doing them very well, let alone matching the feats of your protagonist, and soaring above them.
