I wouldn't mind seeing a spin-off with Matias Solomon, his character is so much more interesting than Tom Keen. Maybe it's too early to say, but I think, Tom Keen has went soft.
Over 30 years since its release, this is still the high watermark of the series and, indeed pretty much any adventure film. Ford is the lynchpin of the series, and unlike James Bond, it is difficult to imagine anyone else taking on this role in the future. What makes Indiana Jones works so well as a character and instantly connect with an audience (apart from being Han Solo in disguise) is his world-weariness and that he does indeed seem to be "making it up as he goes along." He makes mistakes and gets himself into trouble more often than not. The sheer pace, the reliance on practical stunts and Ford's performance here sets this film apart from some of the more ridiculous elements that mar the sequels and Karen Allen is a great foil. Every film of course has a great score from Williams, but the theme created for the Ark of the Covenant elevates the music to another level. But it is Ford that embodies Indiana Jones - the looks of relief, panic and determination that cross his face, sometimes all in one shot, is often priceless and he is the key to making this character work so well.
The California Highway Patrol did not endorse this movie...neither do fans of comedy movies
[5.5/10] It’s impossible to process Justice League without considering Batman v. Superman, the film’s literal predecessor, and The Avengers, its spiritual one. Justice League is so much in conversation with these films, so much reacting to them and responding to them and in the twin shadows of them, that the movie almost doesn’t make sense without them.
It was The Avengers, the 2012 superhero team-up film, and its billion dollar box office take, that sparked Hollywood’s current fascination with cinematic universes and builds to franchise-wide crossovers. It is the seismic event in superhero cinema that moved D.C. from making siloed, solo flicks for its best-known characters, to packing as many recognizable faces and logos into each movie as possible, and promising more interconnected adventures to come.
On the surface, Justice League borrows plenty from The Avengers. Both films feature an alien invasion led by a helmet-horned antagonist who promises to pave the way for a bigger bad to come. Both feature the occasional extraterrestrial cube which some want to use as a power source and others want to use as a weapon. And both feature a collection of heroes who are not on the same page, and bicker and take sides with regularity, and need a grand event to reunite them. Having Avengers writer/director Joss Whedon on board to help pinch hit for Zack Snyder (the director of Man of Steel, Batman v. Superman, and this film) as needed just reaffirms the inevitable parallels between the first big superhero team up film and Justice League.
But just as Dawn of Justice felt like a reaction to Man of Steel, Justice League feels like an attempt at course correction from Batman v. Superman. Critics complained that BvS was too self-serious, so Justice League has plenty of jokes, light-hearted moments, and the sort of meta winks that have Whedon’s fingerprints all over them. Fans groused about Batman v. Superman’s runtime, so Justice League comes in at a crisp two hours.
And yet, this attempt to imitate the movie that started it all, and course correct from the predecessor that disappointed audience, just leads Justice League to make its own, brand new mistakes, which will no doubt be fodder for some third new direction in the next DCEU team-up film.
The most tangible of these issues is the awful CGI. Steppenwolf, the film’s computer-generated antagonist occupies an entirely different world than the flesh and blood characters in Justice League, and anytime his pre-rendered domain intersects with the nominally real world, there is a sharp dissonance that takes the viewer out of the picture. Everything from the villain’s uncanny valley visage to the fact that the climax of Justice League takes place an off-the-shelf Playstation 2 environment signals phoniness to the audience and makes all the action feel miscalibrated and inconsequential.
But the deeper problem is how underdeveloped most of the characters here feel. One of the advantages of the first Avengers film is that four of its six heroes had already had their own introductory films to establish who they were and what they were about, and the other two had played significant roles in those films. That meant that a handful of scenes to reestablish everyone was all you really needed.
Justice League, on the other hand, has only really introduced three of its characters in prior cinematic outings, and one of them spends most of this movie in a box (the film opens with the equivalent of a Superman flashback). That means Justice League’s hurried attempt to reintroduce its crew in the first act has more work to do, on top of introducing the major conflict, themes, and villain. Only Wonder Woman’s intro can coast on having a full film’s worth of exploration and coast on a thrilling action set piece. That leaves Aquaman to make abbreviated sarcastic comments to Bruce Wayne; Flash to have his entire situation explained in exposition by either Batman or his dad; Cyborg to banally brood in shadows and middling graphics, and for Batman himself to skulk around a cutscene from Arkham City. The result is that only Diana feels fully realized by the time they’re all ready for a team-up.
It also means that everyone comes off caricatured rather than developed. There’s not time in Justice League to really tell Cyborg’s story, so the film ups the brood factor to try to compensate. Flash goes from being the compelling, untested kid finding his way through all of this to being just a superpowered Sheldon from Big Bang Theory. And everyone, but especially Aquaman, starts spouting catchphrases and rejoinders so cheesy, I half-expected the King of the Atlanteans to blurt out “Cowabunga!” There’s interesting threads of stories for each of them, but it’s all either rushed or discarded as the film plows forward.
Despite those mistakes, Justice League finds its own unique, laudable moments, which are entirely separate from its predecessors. The peak of these is the “save one” sequence, where young Flash starts to get cold feet when things start to heat up in terms of the big fight. Batman tells him to simply save one person, and let it all unfold from there. It’s a simple idea, but one that blooms nicely as the sequence goes on, and provides the optimistic bent that had been so demanded in an organic way.
And as much as it follows the Avengers blueprint, Justice League also finds ways to distinguish itself. If there’s a single self-contained arc in Justice League, it’s the same one the Marvel equivalent had -- that these superheroes could be a powerful force for good when working together, but that they needed something important, something that was missing, to unite them. For The Avengers, that was a major death, but for the Justice League, it’s a resurrection. needed a death to reunite them. For the Justice League, it takes a resurrection.
To that end, the film manages to make good on some of the promise of Batman v. Superman that was lost in execution. In many ways, Justice League is the other half of BvS, the answer to the questions that the prior film was asking, and both films come out looking better for it.
It’s a creditable twist that when Batman seeks to revive Superman, and cautions Alfred to have the “big guns” ready, that saving grace turns out not to be a superweapon or a dose of kryptonite, but simply Lois Lane, there to remind Clark Kent who he is. It’s a clever moment, and an echo of that much-maligned “Martha” scene, which reveals how Batman now understands that the way to get to Kal-El is not through weapons of technology, but through their shared humanity.
By the same token, BvS wondered aloud and often if the world really needed Superman. and the closest thing to an overall theme Justice League has is that the world is broken without him. There’s a conviction in the film that Superman brought the world hope, and without him there’s only fear. He is a unifying, reassuring force, for his mother and the woman he loves, for the team that needs him, and the world at large. There’s new threads to pick up, and future teases galore, but the best thing to say in favor of Justice League is that it takes care to resolve much of what its predecessor set up in a satisfying enough fashion.
The only issue is that in trying to split the difference between its lead-in and its competition, Justice League turns out to be a fine but unavailing outing for what is supposed to be the climax of D.C.’s Cinematic Universe. It is not nearly as fun, enjoyable or clever as The Avengers. It is not nearly as contemplative or thoughtful as Batman v. Superman. Instead it’s stuck in a strange middle ground, taking a team-up that fans have been salivating for for decades and making it into a reasonably enjoyable, roundly generic superhero action flick, rather than the world-beating crossover the movie-going public has been waiting for. In trying to find a middle ground between those two approaches, and those two aesthetics, Justice League comes up with a film that’s lesser than either.
Stupid, insulting and a real stinker. The Baby Boss made me wish there was a Planned Parenthood for films.
This show is going nowhere. We are six episodes into the season and nothing significant has happened.
Like the show a lot but Mercy is one of the most annoying characters I've ever seen in a series or movie. Hate is a strong word to use but it's close in this case.
This is so terrible I don't know where to start.
It's like a very very weak copy of The Middle, a very loud, tomfoolish, without finesse kind of copy.
Managed to watch the pilot and half of the second episode before I binned it.
I could do without the Elliot character. And I am not saying that to be homophobic, I am a gay man myself. He is just a horribly unlikable character. I find myself wanting to skip through scenes with him in it. Would it have killed the writers to put in a gay character that is a decent human being?
no. that guy was a jackass, embarrasses her ON THE JOB. he takes advantage of her, they get together and he gives her the cold shoulder for being ambitious. not just being ambitious - fulfilling her dream! it's hard to stay unbiased when she's so pretty but like let her live her life ffs.
This is one of these shows where the producer simply doesn't know how to say goodbye. I mean the show was great but now they are just milking it. Like why mess up such a masterpiece. The story at this point is "blah". Look even Emmy Rossum got tired of this and said "f this. I am out. See you guys in the South Side when I see ya"
This show really has become a parody of itself. What a terrible and boring episode.
The most over hyped show from Viasat so far.
Five episodes that tries to tell a story but fails completely and just leaves the viewer with more questions than answers what it was all about. Could aswell been cut down to a three episodes mini series and with out problems delivered the same so called story.
The script and dialogue is a joke and the directing/editing/filmography a complete mess.
Fares and Rehborg did OK considering what they had to work with.
225 wasted minutes.
Part good part boring episode. Seems to be the MO for this show. Just glad this is coming to an end. This show has ran its course.
The writer(s) and director(s) of this show have lost it completely, the story line is all over the place and I basically lost interest a few episodes back with the prequel episode as a tipping point.
Will only watch it til the end to find out if Raven finally will get the cred she deserves or not.
What probably could have been a great movie is molested and completely destroyed by ill performed time jumps and dream scenes, it made me loose interest about half way in.
Such a terrible waste of story and talent.
The best Punisher season is Daredevil season 2.
Not a bad show which was supposed to be funny, but plenty of improvement needed. No, we dont need a second season. 5/10
trash ending. please don't bother with this film
Oh my God, could this movie be any worse. The laws of physics can be bent in super hero movies sure, but completely ignored it seems in this case. And the plot was so easy to predict, but the resolution at the end seemed so lazy. Where did the team for the first movie go, I get that they hire cheaper staff where they can for sequels to save money, but it seems like they got a bunch of amateurs to work on this one.
sorry spike. movie was slow and at times unbelieveable.
Police Squad! was comedic genius, this show is just terrible.
Given the cast, I was looking forward to a great comedy. Not sure who would find this funny, it's definitely not me. Annoying, yes -- funny, not at all.
I tried but really struggled to get through a single episode. Highly not recommended. This stuff died in the 80's.
The Trial of the Chicago 7 is like a Disney cartoon of the Lindsay Lohan trial: it's an interesting Hollywood production, though I would've preferred less of a fantasy and a film closer to reality.
After 5 minutes of research online, I discovered that the most inspirational parts of the film never happened, and this deflated the buoyant feeling I had while watching it. Oh well, it had a good cast.
Quite an obvious film from the beginning. It has some lovely shots and I liked the ending despite it's predictability. Liked the history of it and it's importance. Not a poor film by any stretch - it just held the viewer's hand a bit too much. The girl Helena Zengel is so brilliant, such a natural little smile - anyone who enjoyed her performance should seek out 'System Crasher' which was one of the best films of 2020.
5.9/10
"Words spoken by people in a 1930s & 40s American accent which no one gives a shit about : The most boring movie of 2020" (2020) was the original title of this movie, i don't know why they changed it to Mank (2020)
This is the second dumbest show I’ve watched while stuck at home. The writing, the directing and the acting are abysmal. It’s like if Hallmark tried to make a spy thriller and lowered the budget for each consecutive episode. If my remote was within reach to stop Amazon from auto playing the next episode I’d stop watching. Unfortunately, this show has drained me of the will to reach for it.
I don't think I've ever seen a more stupid series. That's 10 hours of my life I will NEVER get back. Every episode (and I do mean EVERY episode) contained the exact same troupes "No one can see the bad guy but me" and "Everyone around the protagonist is a complete idiot and can't figure out basic common sense principles". And then in the last 10 minutes of the last episode, the main character is magically cleared of all suspicion and her innocence is delivered in exposition. Get the F**k out of here...
To suggest that hollyweird has taken a down-turn is putting it lightly. Do yourself a favor - avoid this one. Like seriously
I tried for the third time to watch this and can't barely go through an episode... Yes it's that boring.
