Just like the previous episode, this one wasn't that enjoyable. This season seems to be declining in enjoyment, for me. Don't get your feelings in a twist. As far as being funny, I hardly have considered that to be so. What elevated it for me was that it was enjoyable to watch. That seems to be less so than when the season began. Maybe a factor that plays into that is that it is already to its end. Well, close. The next episode is the finale, not this one. I don't know, maybe this show is the type of show that's best to be taken in when I've been away from it for a while. That seemed to be why I was very entertained at the start of this season, after having watched the first one long enough before that. I'm almost glad that it'll be over in just one more episode.
Huge uptick in quality from last episode, Colin Robinson is an amazing sidekick but having an episode focused on him still worked really well.
.. a seemingly tepid response to mass murder I thought
The movie was ok until they went to space. There it become very childish and did not appeal to me.
Zoey Deutch tries to salvage with her charm a disastrous script, and she only half succeeds.
The movie is competently directed from a technical standpoint, but seemed to completely misread its tone or subject matter, becoming repulsive at times. It's a shame, because up until the confrontation with Will I had found Flower to be a decently funny movie, even if I found the characters really hard to like and their decision-making questionable, and the movie’s conceptual flaws – like its questionable treatment of heavy themes like teen suicide or pedophilia and its distinctly male interpretation of what female sexual empowerment looks like – were already clearly showing.
The whole third act is then a dumpster fire, between the kids somehow reaching Will before the cops even if the cops had been alerted of the event, the meaningless trip to the prison and Erica and Luke’s relationship, which never felt earned or believable.
Zoey Deutch will become a star, without a doubt. But she is far too likeable a performer for what this movie is going for, and most importantly, this movie doesn't deserve her.
The humor continues to be almost non-existent, and a pattern that I first noticed in the season premiere just gets more and more pronounced. Specifically, this is a 19-minute outing (if you don't count the credits) and it contains 16 goddammits and three Jesuses and eight shits. (It's easy to let a subtitles file do the counting for you after the fact.) So while the humor content drops, the vulgarity/profanity content goes through the roof. Yes, of course the show has always had it, but not to this degree, and not combined with such a dearth of funny stuff to go along with it. There also used to be a subtlety to some things that just isn't there anymore. In short, this continues to be a disappointing season.
[7.7/10] Plenty of great stuff in this one. Anytime Leslie has a moral dilemma, particularly one as low stakes as whether to fib about whether the possum she caught is the possum, it makes for a good episode. Leslie’s struggle with whether to take the credit for nabbing “Fairway Frank” and pick up a chit from the mayor’s office in the process, or to be honest that she’s not sure if it’s really him and save a potentially innocent possum is a good one. It has great talking head segments (like the one about Leslie asking herself questions) and other fun stuff like her frantic insistence that April help.
April’s help is a nice deal too. She worries about the fact that Andy caught the possum, because Shawna Malway-Tweep suggests it might win him Anne back. Andy’s boasting and preening in front of “the press” and April’s quiet frustration makes for a nice contrast. And her and Leslie freaking out and hiding and chasing when the possum gets loose in Anne’s house makes for some great comic setpieces. (The same goes for Tom fleeing in a panic as soon as he sees the possum.)
The B-story is a good one too. Mark helping Ron get his woodshop up to code, despite Ron’s insistence that the city code shouldn’t apply to him and his libertarian leanings is another great instance of Ron bending his own principles a little bit because someone is being kind to him. His smile after running the book with the city code in it through a saw and the perturbed noise he makes when he has to then go back and try to read it are both great. It’s a nice Mark-Ron story, which we don’t get much of. (Sidenote: I didn’t expect to have this reaction on rewatch, but I’ve actually really enjoyed Mark as the straight man this season. Still love what happens next, but I wish we’d gotten to maintain at least a little of that.)
Overall, it’s a very funny episode that has great character moments for Leslie, Ron, and April, which makes it a-okay in my book.
With sharp tonal shifts from dramatic to comedic and from introspective to genuinely creepy, Wakefield manages to be an entertaining watch for all of its runtime. Cranston really gives a powerhouse performance here. He was nominated for Trumbo, but I think he's even better in this, carrying the whole movie on his shoulders with a solitary and varied performance, making his unlikable Howard Wakefield a sympathetic character.
An interesting take on middle-age crisis, and how it affects the protagonist and the people around him.
Despite not being Hughes' finest movie, Uncle Buck is still a funny, endearing and ultimately moving family movie. I slightly prefer John Candy in the hysterical Planes, Trains and Automobiles, but his performance here exudes once again a charm and love that are impossible to resist.
Finally, I saw Frankenstein!
I liked it, it is good and it is definitely a mark in the history of Cinema but I must confess that I thought this Horror Classic would blow me away and it didn't.
Although I think it needed more creepiness in the atmosphere, I didn't felt that as much as I needed. Another thing that bothered me a bit was also the over the top acting, very teatrical. It should have been more natural.
The Frankenstein Monster is a memorable character! A huge and strong creature that never asked to be in the world. Boris Karloff was great incarnating this beast. I found Fritz maybe a bit too silly although I know he is supposed to be really mad. The set design is amazing, some of the sets are very well done!
It may not have the impact that it had in 1931 but it's definitely a remarkable work that needs to be seen.
Action is still good but the plot is becoming weird and (at least for a non-player like myself) illogical. It seems that a lot of things are simply done for the sake of doing them. Why the mutations ? Where does that big dude come from ? I´m not expecting deep storys here, I was OK with the first three movies. But at least some logic would be nice.
And as far as CGI goes - the first movies were much better as they did a lot more practical whereas here it´s almost all green screen. And it´s showing again that practical effects are better at standing the test of time.
what the hell with the thick lines ? that episode looked so cheap :(
Absolute genius. If you love comedy and 80's movies, then this is for you. I now know Kung Fu!
This might as well be my favorite Marvel movie so far. Action, drama and comedy are balanced at perfection and it has a sky-high replay level. This movie is a game changer, and the Guardians will definitely claim their role as one of Marvel's most promising franchises.
Pros
+ Jaime and Bronn stuff
+ Jorah Mormont
+ Sparrows going HAAM
+ Stannis confirmed for greatest daddy ever
+Jon and Melisandre
Cons
- Littlefinger's plan gets dumber and dumber as the season progresses
- The sons of the Harpy shit
- Sand Snakes are somehow even bigger pieces of shit than they were in the books
- Still no Greyjoy brothers, Young Griff, Quiet Isle priest, or Quentyn (aka the best parts of the 4th and 5th books)
very funny film, really good and a great directorial debut .
excellent, watch it with your ma!
Yeah, this is absolute gold
I thought it was kind of boring. It would have worked better as a B plot rather than a full episode.
Another stunning episode.
Ramin Djawadi's music took me back to the atmospheres of some GOT (g)old episodes like 5x10. Even the ending kinda remembers that situation of kings and crowd closed together inside a building that could mean death for everyone.
Up for the Queen that never was, down for some CGI scenes (and it's not the first time this season). But, WOW.
Mia isaac as Rowan is spectacular. Enjoyed the storyline but also i get mad second hand embarrassment so i had to skip over some parts. I couldn't handle it. costuming on Zoey Deutch was so good. Also Caroline Calloway being in this truly sent me. The fact that she was the moderator for the online shaming support group??? DEAD. LMFAO.
It won't break any new ground and is fairly predictable in its twists, but Bill and Ted Face the Music is such good-natured, clean fun that it's impossible not to be glad it exists, especially in 2020.
Definitely not perfect, but most excellent, dudes.
Paul Blart finally got its rated R reboot.
Heil Blart: Mall Cop
Yeah the storytelling is really lackluster, dialogue is uninspired, worldbuilding is half-baked and acting can be improved upon.
But this is just fun. Great imagery with enjoyable product design paired with predictably amazing Carpenter Brut soundtrack makes it for an entertaining and different 50 minutes. You gotta hand it to Ickerman, he didn't hold back.
It's the kind of thing teenager me would find amazing. And fuck it, I miss teenager me.
Still not bad, but the worst episode of the season by a long shot. The comedy just felt very broad and not refined.
[7.1/10] I’ve talked about this before in the context of Star Trek, but one of the things that stands out to me watching this show is how many tropes it solidified, if not invented. My lens for original recipe Star Trek is often its heavily-influenced comedic successor Futurama, and everything from “paradox absorbing crumple zones” to stentorian-voiced robots to probes colliding with alien phenomena leave me mildly chucking and the problems and solutions in “The Changeling.”
And that’s completely unfair. Sure, there’s something kind of ridiculous about Kirk convincing a robot to blow up just based on the fact that it cannot resolve a case of mistaken identity, but there’s also something pure and goofily sci-fi about that too. To the modern eye, it’s kind of a silly tactic, given how much that sort of thing has been ingrained in the popular culture, but it is also, true to form, a Star Trek solution that relies on the wits of the captain and not just his fits.
It doesn’t help that Nomad is pretty clearly a redecorated water heater on a fishing line. But there too, it’s wholly unfair to blame a television show from the 1960s for not having its effect up to snuff. The flashing, accusatory milk canister isn’t necessarily as scary as it’s intended to be, despite the way it blasts and vaporizes the various members of the crew, but it proves the point of a piece of dangerous and advanced technology that cannot be controlled, only directed.
The premise of that is, at least, fairly interesting. Even in a show featuring god-like beings on a near-weekly basis, the notion of two probes colliding, combining, and creating a new, collective mission rings mildly implausible, but it’s still a neat enough concept. I like the fact that Nomad’s goal -- to seek out new life, and the alien probe’s goal -- to sterilizes the samples it collects, get mishmashed in the resulting probe’s settled on aim to seek out new life and if it is not perfect, destroy it. There’s some “just go with it” logic necessary for that, but hey, I’m willing to hop on board.
Nomad also presents the latest being with practically-supernatural powers trying to understand humanity on the show. Star Trek’s hit these notes several times before, but there’s still something at least a little compelling about Nomad being drawn to Uhura’s singing, and something eminently memeable about it shouting out “non-sequitor!” or “insufficient data!” to many responses it gets from the befuddled humans it interacts with. (Nomad’s line about Spock being a logically ordered unit is a nice touch to that effect too.)
And in that vein, the episode plays with the idea that if Kirk could keep up the charade of being the “James Roy Kirk” who invented Nomad, he might actually be able to use it for good. The fact that Nomad kills Scotty when he tries to defend Uhura (giving us our first “He’s dead, Jim” if I’m not mistaken) is obviated by the fact that when scolded by Kirk, Nomad is also able to bring him back from the dead. There is a power to Nomad, and there’s the possibility that Kirk could harness it for unmitigated good.
(Side rant: the last scene seems to be toying around with these ideas in a comedic guise. That’s all well and good, and I’ll admit, there’s something quite amusing about Kirk joking about how Nomad though of him as its mother, giving a yente-ish “My son, the doctor” declaration, and saying “it gets you right here.” But there’s also something really word about him being that blase and jocular after that thing killed half a dozen of his men. I suppose when you lose as many redshirts as Kirk does on a weekly basis, you just get used to it.)
Of course, if Nomad were able to be cowed and use as an instrument of good, it would drastically change the show, and so everything must go back to the status quo. The upshot is that Nomad proves to be too dangerous to be kept around. Its robotic and myopic focus on perfection means it does not recognize the value of other sentient, “disordered” beings and kill, vaporizes, or mind-wipes them with reckless abandon.
There’s some interesting ideas at play there -- sense that rigidity or the quest for perfection at all costs can lead to some terrible results. (And I might be reaching with this, but it wouldn’t be the first time that Star Trek made some oblique references to Nazism.) There’s also the strange pitiableness of Nomad simply trying to fulfill its mission, and existing as enough of a sentient being itself for Spock to perform a mind-meld, but not being able to understand why others would be so upset at it taking lives. It is that rigidity, that quest for perfection, that ultimately proves to be Nomad’s downfall, which fits into the types of irony Star Trek likes to bake into its episodes.
Still, there’s a fair amount of repetition and padding on the way to solving the mystery. It becomes clear that Nomad is a threat and while Kirk seems content to pacify the item when trying to come up with a plan, it takes too many cycles of “it just killed a dude” for him to actually try to get rid of it. And again, the solution is perfectly legitimate, but comes off a little hokey to a viewer coming to the now-stereotypical robo-character fifty years later.
Still, even if these things have become tropes -- the robot that cannot divert from its mission, the mistaken identification of its creator, the A.I.-defeating paradox -- those tropes had to start somewhere, and they had to be passed down from somewhere. “The Changeling” isn't my favorite episode of Star Trek, and I wouldn’t call it the show’s cleverest or most entertaining installment, but there is something fascinating, as Spock might put it, about seeing those tropes deployed so earnestly and unironically. In an era where sci-fi in particular is constantly eating its own tail and trying to subvert expectations, seeing it all played straight has an attraction and uniqueness all its own.
Kodachrome is predictable, light and fun. As with many "trip" movies, the fact that you know exactly how it will end doesn't make the journey not worth taking. Sudeikis and Olsen are perfectly fine in this, but Ed Harris belongs in another league and here he shows why one more time with a masterful performance.
Although, again, telegraphed, the poignant moments hit at the right time, and the movie feels sweet and heartfelt.
It won't make anyone's Top 10 lists, but Kodachrome is well worth the film it was shot on. Even if unlike in the movie - thankfully - it won't be the last one.
Haha this movie is so unexpectedly bad, you think it's one kind of movie then it just does a hard 180 into insanity. I wish I didn't have the twist spoiled because I would of loved to have seen this unfold and had the big WTF moment.
Proper cringey dialogue and and I think they paid less attention to the gunplay. Pretty sad overall. Spends time trying to develop John's character through introducing new characters, which doesn't really work very well.
Kind of enjoyable for the action and Keanu but not much else...
