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.
[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.
[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.
I am incredibly grateful to Game of Thrones for this adventure I have found myself sucked into for some years now. I am grateful for all the emotions it brought me since day one, bitter and sweet alike. I am grateful for all the laughs, all the tears, all the jokes and gags, every single bit of it, I really am grateful and appreciative of it all. It's been just... wonderful.
That said, I am feeling robbed and betrayed right about now. This ending is arguably one of the worst series finales in the history of television and trust me I realize how bold of a statement that is. The terrible violations the characters have suffered this season, the lack of proper resolution to many of the plots and narratives developed over seasons worth of buildup, the seeking of shock value at the expense of quality writing... that and much much more solidified this as an absolute disappointment of a finale, as opposed to the marvel wrap it could've given this cultural phenomenon.
This episode does have its positives, as always the score, acting and cinematography are perfectly performed but I just do not think it's nearly enough to compensate for how lackluster the writing has been, as much as I wish they did. Oh well, sad as it may be, I'll just hold on to the good stuff and hope that GRRM's book, once finished, will tackle the ending in a more coherent, more respectful and more meaningful way. It's been real y'all...
P.S: I'll leave this here lest some people jump me again. This comment is a representation of my own personal opinion, I am entitled to one just as all of you are. If you enjoyed this season and felt this finale delivered what you were looking for then more power to you mate, but that doesn't nullify my opinion nor does it make yours any valid. If you want to discuss or challenge my views, I'd be more than happy to engage you on that basis but if all you have to offer are petty remarks then please keep them to yourself.
Normally, I'd have a whole much of stuff to say... but this time, I just can't. The whole tone of the movie, especially after seeing the recent string of miniseries, felt kind of underwhelming. The plot had potential though. The plot wasn't the issue. Scarlett Johansson and Florence Pugh's chemistry fit pretty well together. I feel like other people didn't care for David Harbour, but I get what they were going for and I think they did reasonably well but definitely could have been better. I can't even blame him. The whole movie felt more like a Bourne film than a Marvel film.
The VFX were pretty bad.. like CW DC show bad. If you have even an amateur level of 3D rendering experience, you'll be able to spot every little thing that is CG. Every car, vehicle, or backdrop that isn't actually there stands out like a sore thumb. Incorrect lighting, overly reflective, just.. amateur AF..
On to the spoilery stuff...
First and foremost... I don't know who did it.. I don't know who approved it.. but this movie has committed an atrocity almost as egregious as Fox screwing up Deadpool in X-men Origins or Sony with Venom in the third Spiderman movie. They completely ruined what I assume was supposed to be Taskmaster. I don't even mind that they made Taskmaster a woman. If that was all they did, it'd have been perfectly fine, but they turned the character into a gimmick that got thrown aside and left to the unknown by the end instead of the badass higher level villain they could/should have been. Sure, they said they were taking her with them but.. that didn't get explained either.
I feel like they fell short on establishing a timeline. The movie starts out in the past, in.. 1995 I believe? and things jump forward and it took me a hot minute to figure out why the hell she was running.. Maybe I missed some text saying that it was post Civil War/pre Endgame. If I did, then that's my own fault but it honestly would have only been because I had such a difficult time focusing on the movie.
The entire movie feels more like an afterthought than an origin story. Loose ends galore. This movie was delay but still somehow felt rushed.
