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.
Watching this feels like watching two different movies. The first movie is one in which jokes are forced and music feels shoehorned in. It feels like the writers and director are beating you over the head trying to make the point of "look, look, remember us? remember how you liked music and jokes the last time?" For me the first half of this movie is a poor imitation of the first Guardians of the Galaxy. 6/10.
All of this changes around an hour into the movie however. Once they actually started moving forward with the plot, this movie becomes something special. The second half of this movie is perhaps the best thing that Marvel Studios has put to screen. It is so heartfelt and moving, the comedy lands PERFECTLY every time, and the movie makers allow us as an audience to remember what we loved about these characters the first time around organically. The second half of this movie is almost flawless.
Special mention to Dave Bautista's Drax... by far and away the character that stole the show. HILARIOUS!
The California Highway Patrol did not endorse this movie...neither do fans of comedy movies
[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 day that Ben Affleck stops being Batman is the day that Batman comes back to become the best superhero films of all. This guy with 0 acting skills is destroying it. Too many awesome films before him to let it pass.
[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.
My most beloved TV show got destroyed in a matter of minutes. The previous episodes of S08 at least gave me some kind of emotion, episode 05 was a flat line. This truly is a masterpiece, a masterpiece of destruction. They've destroyed everything! The character development, the story, the plot, the meaning of GOT, the writing of G.R.R. Martin. They've destroyed all the hard work put in all of these years, they've spit on everything. I'm not going to hate the show, it gave me so much, and it will continue to be my favorite, but i'm just going to pretend this last season was never made. I'm going to imagine all the possible theories, all the story plots that could have been made, and just hope the writer finishes the series some day.
Sesion 8 the waste of our time.
I didn't know they spoke such fluent English in Russia. They should've talked Russian! We have subtitles for a reason, yes?
I didn't know they spoke such fluent English in Russia. They should've talked Russian! We have subtitles for a reason, yes?
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.
So far the worst episode in the worst season. This was terrible.
If nothing interesting happens in the last remaining episodes this will be my last season with this show. And I guess for everyone else too cause can't see how this can be renewed.
I hate Jim, ruins the show every single time he shows his face...
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?
....I didn't like it.
There was no plot.
There was no literary protagonist. There IS a main character, though.
When I say plot, I mean an objective that the protagonist is after from the beginning; Some kind of imbalance that they sense needs to be rectified or corrected. When there is no objective, there is no obstacles in their way, either. This movie is 3.5 hours of, just, things that happen and it never clues the audience in on the endgame...so there's also hardly any climax, either. Its just, this happens, then that, then that, then that...with characters you can't really call "likeable" or "rootable" I wouldn't have cared if DeNiro died at any given moment in the film because I couldn't connect with him.
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.
Technically marvelous but I felt nothing watching this. No thrills, no suspense, nada.
And once again the freshly baked, first-time captain is the American Hero saving the day and awing the world against the bad, evil Kriegsmarine, which, as we all know, only consisted of sadistic Nazis howling over radio like a delirious drunken man while engaging the enemy. Straight historic facts.
And obviously the captain has a soft spot for the coloured cook Cleveland, who tragically parishes in an attack. Except the fact that the navy didn't allow coloured people on their ships until 1948 while this cheap propaganda piece is set in 1942. Except the Kriegsmarine was known to be the least Nazified service in the German war machine.
Why the directors/writers of cheesy sh*t like this always try to rewrite history, I don't know.
Seriously, watch "Das Boot" or "The Enemy Below". Don't waste your time with this garbage.
Mariah on hearing Ridenhour’s death ~~~ the acting was terrible
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.
It was so bad. I dont know why it had such good reviews. There was no sherlock element in the whole movie. Waste of time really.
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.
