Often touching and hilarious family saga. The cast are uniformly terrific, but it is a particular joy to see Sandler and Stiller acting together. The former gives some of his best work in a while, too. Would have liked to have spent more time with these people, and a tv show would have been perfect. As it stands, this is well worth seeing, and may reward repeat viewings.
So good, Kurosawa manages to do so much with so little. The framing and camerawork are often incredible, both in the static "courtoom" scenes and in the dynamic forest and medium scenes. The medium and the woman's breakdown in the last version of the story unexpectedly really creeped me out.
You're brought to doubt the reality of what you see on screen, something we usually take for granted. The unseen interrogator, the audience, can keep questioning the characters, but the truth is left for interpretation.
Despite being traditional in execution and not really anything groundbreaking, Gifted succeeds on an emotional level and really seems a return to his comfort zone for director Marc Webb.
Chris Evans is perfectly serviceable in one of the few non-Marvel movies we've seen him in in the last couple of years, but the real revelation is young McKenna Grace, that strikes a rare equilibrium between cute and, well, gifted.
One of the first truly great Netflix Original Movies, along with Beasts of No Nation.
After the success of Snowpiercer, Bong Joon-ho provides another original, timely and thought-provoking movie, with themes that deeply resonate in today's society.
After three weakest Doctor Who episodes, finally, we got a even weaker one.
The plot was good, actually. David Suchet's performance was excellent, too.
But the storytelling was just terrible!
Get ready for one hour of Amy making jokes about her vagina. The material was repetitive and nearly the same as her other stand-ups. Quit with the character act as well. Get up there and give us new material that is original and not about your vagina. We didn't laugh at all!
A lovely feel good movie. Worth a watch if you need a bit of a lift.
At this pace, something noticeable will happen in about 10 episodes. If producers want to induce boredom with this show, its a success.
I would have liked it more if the sword or the caves were messing with their minds in some artificial way. Kor going mental I would maybe understand, but Worf suddenly lusting for power, that didn't sit well with me at all.
This season feels so disjointed. It still has heart but so much of the season is unearned. I'm sure I'll enjoy the finale but they are ending the show at the right time. The chaeacters are proving to be paper thin in season 3.
They do a lot of things right in season 3. Definitely improved over season 2. Well-balanced A, B, C plots involving a lot of different issues. I like that the girls have stories in their own right. I only wish they got the soccer part right. The pitch seems wrong, the game seems wrong, match preparation seems wrong. I blame bad FX. But it's also everything around the game: You don't present your matchplan on match day. I mean, it's not supposed to be a documentary about pro soccer. I get this. But an infusion of some more realism would probably make the show better.
that was the fakest whaaaat i ever heard lmao great job from billy
Didn't Clarissa's implant stuff use to look better? :thinking:
Yo who TF talks during Paddington. Have some respect for a masterpiece
Stellar premiere, not missing a beat from last season, with two great surprise cameos. Benedict Wong looks to have so much fun, and man, Haley Joel Osment gives all in lol.
It's insulting how fun this show is. Best high fantasy series in recent memory
I liked how many conversations you can have simply with “hmmmmmmmmm” - “hmmm!!” - “hmm...hmm!”, and “yeeeeeessssss”. Highly enjoyable, yessssss?
[9.2/10] One of the problems I often have with The Original Series is tone. It’s the sort of show that will play some confrontation for high drama, only to immediately jump to something campy. Or, as in “The Changeling,” it’ll present a tense, lethal standoff with a seemingly unbeatable foe, only to have Kirk close the episode by making some lame joke that everybody laughs at right before he presumably has to go notified the families of his dead crewmen. There’s nothing wrong with blending tones in principle, but it can be tricky, and the sort of whiplash it creates has hurt many a Star Trek episode.
But “I, Mudd”, by contrast, knows exactly what tone it wants to have -- absurd delight -- and it makes the most of that animating spirit. While I’m not always on the same wavelength of this show when it comes to comedy, the humorous bent of this episode worked on me like gangbusters. I have seen cleverer Star Trek episodes; I have seen deeper Star Trek episodes; I have seen more affecting Star Trek episodes. But I don't think I've ever seen a Star Trek episode made out of more pure, broadly comic delight than "I, Mudd."
That begins with the title character. I had mixed feelings about Ol’ Harcourt in “Mudd’s Women,” but I loved him here. Roger C. Carmel digs into the role with relish, playing Mudd as an oily, outsized, living cartoon character. The way he preens, boasts, takes theatrical offense to Kirk’s insults, just makes him this broad but ebullient presence throughout the proceedings. There’s little doubt that Star Trek is going for big comedy here, but Mudd is a character who can withstand it, even channel it, to wonderful comic ends. It’s a shame that (I think) we won’t see him again until The Animated Series.
But as much fun as Mudd is in and of himself, his best material comes from his interactions with the rest of the crew, Kirk in particular. When Mudd relays how he escaped from his predicament after Rigel 12, his increasing, flabbergasted annoyance at Kirk calling him out on his self-aggrandizing euphemism is superb. The dynamic between the captain and the huckster is particularly well-written here, and it livens each moment the two men share the screen. Beyond that, his exchange with Spock over “selling fake patents to your mother” nicely blends Mudd’s over-the-top expressivism and the consistently great dry comedy of the Vulcan officer.
In the midst of all these great laughs and the superb character-based comedy, “I, Mudd” manages to include a pretty great little sci-fi story to boot. It’s not an especially novel one for Star Trek. We’ve done ancient robots before; we’ve done not being able to leave a planet before; and we’ve done defeat via logical paradox before. Still, there’s enough wrinkles to this one, Mudd included, to make the adventure down on the planet interesting.
Part of that comes from the androids’ “kill ‘em with kindness approach.” Star Trek goes full Asimov here, with the robots realizing that if their duty is to serve man, then the logical endpoint of that duty is to make sure that their guests can never leave so that the androids can make them as happy as possible. What makes that tack interesting is that in contrast to some of the other threats the crew of The Enterprise has faced, these robots are trying to tempt our heroes rather than cow them.
Uhura is offered indelible beauty and immortality (a prospect they raise against nicely as part of the later feint). Unexpected lothario Chekov (seriously, as much as Kirk’s reputation with alien ladies proceeds him, it’s Chekov who always seems to be macking on someone) is waited on by a pair of beautiful ladies with oblique hints that he can do with them what he will. Bone is amazed at the medical lab the robots have, and Scotty feels the same about their engineering shop. It’s not quite the same as “The Menagerie” or, god help me, “The Apple,” but Trek explores the conflict between paradise and freedom with commitment.
Still, it’s just as committed to making the loony most of the predicament presented. While the interconnected artificial beings (paging The Borg) feels like an excuse for a typical “we have to destroy the controlling hub!” solution, it’s the shape that solution takes that really elevates the episode. While the “short circuit the android with contradictions” is a cliché at this point, the way the crew does it -- by acting weird -- is utterly delightful.
To be frank, it feels like a Futurama solution (which is, I fully admit, putting the horse before the cart). It is easy to imagine the Planet Express crew facing a group of logic-bound androids and deciding the best way to make them explode is to be goofy and crazy, just as the Enterprise crew did here. And the way Kirk and company pull it off is delightful.
The manic joy in the eyes of the gang as Chekov and Uhura dance while Bones and Scotty play imaginary instruments and Kirk conducts is just perfect. Chekov being told to stay still and instead doing a little pirouette is amazing. Spock telling identical androids that he hates one and loves the other because of their similarities, or offering beatnik poetry about logic being a tweeting bird or a wreath of awful-smelling flowers has particular comic force coming from him. And the group’s pantomime of the explosives and other imagination game that prove to be too much for the robots show a comedic verve and commitment to silliness that really paid dividends.
In the midst of all this silliness, “I, Mudd” offers a trite but still well-observed take on humanity -- that as much as these artificial creatures may want to study us, there is an inherent, illogical contradiction baked into the human condition, whether in the form of enjoying captivity while wanting to be free, or loving and hating at once, or being able to be enmeshed in real danger while embracing the irreverence of the imagination, that is too much for any purely logical creature to understand.
Part of that contradiction is being able to take a television show committed to drama and danger, albeit a fairly campy one, and spend an episode that blends that sort of adventure with broadly comic goofball antics. Mudd being surrounded by a trio of copies of his scolding wife (who, in a nod to the casting director and costumers, looks like an appropriately severe woman) is the right ridiculous note to go out on. Star Trek doesn’t always get this silly or this comedically exaggerated, but when it does, it’s an absolute joy.
Excellent episode but Kirk really has an eject ion pod button on his console that seems very situation specific.
A reasonably funny episode, but the ending really bummed me out. Is S10 gonna be another dream season, this time in space? Please no, just conclude the actual story.
The more I think about Terminal the more I hate it. The two main plot threads (Simon Pegg and the knockoff Guy Ritchie hitmen) are completely unrelated. The twists are never earned. You can see Mike Myers being the actual big bad from a mile away. The director has to think we're all idiots seeing how many times he has past scenes flashing through monologues to remind us of what happened. And when you think for even one second about the overall story it doesn't make any kind of sense, the hitmen have no reason at all to be in the movie, since apparently Margot Robbie knew everything from the beginning. And "she's crazy" can't be a justification for dumb screenwriting.
I lost all hope when the only remotely interesting part of the movie (the Pegg-Robbie conversation) was removed around the end of the second act.
Only redeeming qualities are some cool shots and lightning, and I really liked Myers, Pegg and Robbie, especially Robbie who was hamming it up the whole movie. She made this watchable.
Suprising, original and constantly entertaining, Better Watch Out really is a fun breath of fresh air in a time when most movies feel predictable and telegraphed. It reminded me of two of my favorite horror comedies of the last years, Krampus for the thematic and tonal similarities, and The Visit for the reunion of stars Olivia DeJonge and Ed Oxenbould.
If you’re going to make a vampire film in this day and age you better be confident that is going to stick out from the huge crowd of vampire films that proliferate cinemas, DVD and Blu Ray players and streaming devices around the world. It is endemic and you must make a good and interesting film. There is no doubt that Ana Lily Amirpour has done this, which in itself is a major achievement. Particularly with considering that this is a black and white, Iranian vampire film, spoken mainly in Farsi and filmed entirely in California which doubles well for Iran, as far as I can tell anyway.
Let the Right One In and Byzantium in recent years have risen above the crowd of blood-suckers and overall as a film A Girl Walks Home Alone at Night joins this small group.
Dialogue is sparse and the viewer is not lead by the nose through the storyline and there is little in the way of in your face action sequences and little to no gore. Instead the film focuses on the characters and their place in the decaying and dying city, Bad City.
The black and white cinematography is superb and suits the film and story perfectly, giving the setting and characters a sense of otherworldliness. Clever locations and shooting means the film could have been set anywhere in the world.
The acting throughout is good and even the weaker dramatic moments hold up. Shelia Vand superbly plays ‘Girl’ swinging from both rather scary, to terrifying, to vulnerable and lovely in the space of minutes. Dominic Rains drug dealer is the biggest monster in the film and plays his role just on the right side of scenery chewing, Arash Marandi is truly believable as Arash, a nice boy but a nice boy who would do anything to help his hopeless father, if that means breaking the law so-be-it. We even have the Spaghetti Western stable of the little boy in the town who sees what is going on stoically and is indeed he, played by Milad Eghbali, who plays in the best and scariest scene in the film, a scene that the gore-hounds of Hollywood really need to watch. How to be scary with no-blood, slashed flesh or death. Fantastic stuff.
The film is certainly not perfect and flawless though. At times it seems to be playing up to its influences. Trying too hard to be a Jim Jarmusch sibling. too hard to be mysterious and cool but despite this and the fact that some judicial editing could have shortened some of the less than interesting longer moments and tightened the whole package up this film is as good as most film goers have been saying.
Certain sections of the public are never going to like this but they again they are never going to watch a black and white film, subtitled from Farsi to start off with, even when the word ‘vampire movie’ is dropped in the mix.
Despite some reservations there more than enough in this film to make looking out for all of the main participations next projects a worthwhile endeavour. If they can produce more stories that mean I see something different and something that makes me think whilst being entertained, then lets us hope that I don’t have to wait too long.
Anyway if your contribution to the cinematic world is a skateboarding Iranian vampire then you need to make more films.
Easily Nichols' weakest movie to date. The story was an important one to tell, but maybe not an interesting enough one to allow for entertaining cinema.
The movie felt overlong and uneventful and, although I think that's what Nichols was trying to go for, excessively subdued. The main characters' passivity, expecially Richard Loving's, in my opinion downplayed in the eyes of the viewer the gravity of the whole situation.
The main stong points are the Negga's and Edgerton's exceptional performances, and a few deeply moving human moments.
I was really looking forward to this movie but was utterly disappointed. The story was just flat and didn't really connect well. At least there were a few funny moments and the soundtrack as well as effects were great. The actors were not that good and most of the story was predictable – so no surprises as with the original Harry Potter franchise.
I loved it but why did they make Videl so fugly?!?!?!?!
༼ つ ಥ_ಥ ༽つ
I thought for sure O'Brien was hustling Quark.
My girl ate the whole city in a day to reset her palate.
Tim Baltz is such a highlight... he's on for 2 minutes but he's on my mind for the whole ep
