What in the actual f*ck.
I'm a reasonable man, I realize I've been crapping on D&D even more than usual this season but I really do have to give them props for doing exactly what they set out to do. They hoped to subvert our expectations and they did just wonderfully in that regards.
We expected all of that buildup over the years to actually amount to something that at the very least passes for a presentable series finale but instead, we got an incoherent, steaming pile of shit. Expectations subverted!
We expected all of that character development to actually result in a beautiful pay-off that respects the journey of self-discovery each and every one of our beloved characters went through to get to where they are now but instead, we got a painful, disrespectful cycle of character regression. Expectations subverted!
We expected the final season of this show to keep us at the edge of our seats with thrilling writing that didn't subvert our expectations for the sake of subverting our expectations via low-quality shock value-seeking writing, but to introduce plot twists that make sense within the overall narrative of the story but instead, we got CW-level predictable, cringe material. Expectations subverted!
I get it. I really do. GRRM let them down by not getting the books ready in time and so they had to improvise away from his influence, but this? This? For a long while, Game of Thrones lived up to the slogan of its parent network, it wasn't just TV, it was something different, something unique and now to have to see it come to this... it's nothing short of disappointing.
On the bright side though, at least this episode didn't suck completely. The acting, score and cinematography were all on point, so I guess it's nice that I didn't walk out of it having appreciated absolutely nothing about it.
So why do I even bother anymore? I honestly could not tell you, though it's probably a mixture of masochism and a faint sliver of hope that they won't flush our collective investment into this series down the drain by the end of it, just one more episode dammit.
This is one of Marvel Studios’ riskier projects, the hyperlink structure combined with the villain being the main character immediately makes it stand out in the genre. It’s because of those two aspects that the film works as well as it does. Thanos is a great character with an interesting motivation. The animation is so detailed and lifelike that it never fails to bring out the emotion, in fact I’d argue that the scenes between him and Gamora have the most emotional punch (courtesy of Zoe Saldana and Josh Brolin, who both put in a really solid performance). The balancing of all the different plot lines is also quite well done as there’s a relevancy to each one, nor does the tone feel too disjointed at any point. Some transitions or the sudden pop culture riffing during serious scenes can be awkward, but it’s handled about as well as it could. The exposition is handled tastefully and kept to a minimum, it instead chooses to focus on unexpected interactions between characters from different branches of the Marvel universe, which is the more exciting part. I’m less into the action and filmmaking, however. Not a lot about the camerawork or score jumps out to me, I feel like what little vision the Russos brought to their previous MCU projects is completely lost here. The washed out colour palette (which for some reason is slightly more vibrant during scenes in space) and obvious music embellishments don’t evoke all that much. The staging and editing of the action is a little too quick for my liking, the moments that are meant to be memorable don’t leave much of an impression because the editing doesn’t take its time to punctuate the stunts properly. Some of the CGI also feels a little weightless, for example Stark’s suit looks and feels like its made from paper. The resulting scenes, such as the final battle on Titan, feel more like small scale, digital mush than the big epic scenes they’re aiming for. Once the film decides to slow down for the dramatic conclusion, I find its intent to be manipulative and disingenuous. I felt that way after watching it the first time in the cinema, and after every ‘death’ in this movie having been retconned in one way or another, it turns out I was right. Even in its riskier films, Marvel will find ways to take most of the edges off. Overall, it’s still decent but it’s lost a lot of its flavour for me over the years.
6/10
Okay. So here's the short recap for everyone confused:
Geralt saved Duny, father of Ciri (the hedgehog), by calming Calanthe down. As the price for saving his life he got the Law of Surprise as payment: Whatever's already in Duny's possision without him knowing it, is now Geralt's. Paveta, Ciri's mother, was pregnant at that moment and Duny didn't know about it. Therefore Geralt is destined to be Ciri's foster father. But both Calanthe and Geralt weren't fans and didn't honour the deal. So Destiny got angry and fucked things up for Calanthe and her kingdom by letting Nilfgaard invade Cintra successfully. Geralt knew about Nilfgaard's advances and wanted to save Ciri from it - by doing that he fulfilled the Law of Surprise and took his role as Ciri's foster father seriously. But he was too late. Cintra has fallen, Calanthe killed herself, and Ciri is on the run. There she meet elf kid, wandering into the Brokilon, trusting and following fake Mousesack for some time, before realizing her mistake and running away from Nilfgaard again. They are searching for her, because she has a power that seems to fulfill a prophecy about something End of the World-ish.
As I said again and again before: The books are not really that much more straightforward, maybe even less than the Netflix series. And they are intertwining lore and background only explained in the saga with the short stories of the prequel books, while also fleshing out Yennefer's and Ciri's story. And all of that within 7 episodes.
In the opening scenes the viewer is expected to believe a couple things right off the bat; first being that after surviving 100 years following the apocalypse on a space station, beauty care product synthesization has been perfected, and there is apparently plenty of electricity for blow dryers and curling irons -- not to mention lots of water for hair washing and conditioning. On the other side of the scale: overuse of medical supplies is punishable by death.
Take scene 1 for example: teen aged girl, blond highlights & dark roots, lots of mascara and eye shadow -- and she's in space-station-prison. Dressed in teen-Gap spacewear, she must have traded her exercise time for peroxide and hair foil, because after 100 years, there's plenty of that stuff onboard.
No shortage of hair product -- plenty of gel and mousse for all the men and women of the 100 year old space station. And speaking of the men, apparently there's an abundance of shaving stuff as well, making it possible to maintain a shave-every-day standard in space. Amazingly, even the young men sent to earth who are struggling through a radiated danger-filled jungle just to find the food locker manage to remain cleanshaven. Similarly, all the girls keep perfectly arranged hair, and manage to change their eyeshadow colors in that same jungle. Clever way to convey the passage of time, change eyeshadow colors. All this without carrying a single supply box, bag, or container of any sort off the ship they landed in.
The genre of SciFi should be offended, but then again, it's CW ;-)
Violent. Bloody. Dark. Gritty. Bloodier. Finally, a DC show done right!
If this premiere is anything to go by, I'm so glad to have this show among us! DC's TV series gave been mostly uninteresting, to use an euphemism. With the exception of the more mature and better accomplished Fox's Gotham, the CW offering has been nothing but a subpar series of shows clearly aimed at teens. But Gotham will have its finale next year, leaving an uncomfortable void in the universe of DC's TV series. Though it's rather premature to affirm this, I am betting that Titans is stepping in to fill that gap just nicely. This pilot episode gave me almost everything I'd want in a DC show.
Being used to watch Teen Titans on the Cartoon Network with my little niece, I was disappointingly expecting this show to be in the same league of all those CW series. But, after only a few minutes, I was so happy to be wrong! They made sure to let us know that this ain't a show for kids. The premise, though barely scratched in this episode, looks promising and the few characters that appeared look intriguing and appealing. This was a pilot episode well done in the sense that I'm already craving for more. And that's all a pilot episode should do.
Overall, I was pleasantly surprised with the way they've kicked off what is shaping up to be DC's most somber show yet.
Fuck Batman!
I liked how this episode seemed to focus on family. The flashback to Turner losing his daughter was incredibly sad and that ending scene was even more heartbreaking. I feel for him, even though I still think that going after an entire community for the actions of a few people is wrong and unfair. Then there were Marcos and Lorna, who are great together and I'm really loving their relationship, talking about their baby. I immediately thought Aurora would be the perfect name for a girl as well! It made me smile. The fact that their powers combined create the northern lights is fantastic. And Lorna is a total badass. Lastly, the Strucker family are together! They're so nice and loving to each other, it's wonderful to watch. Also, Caitlin is apparently the most qualified nurse in the history of everything. But just to nitpick (and my medical knowledge is, admittedly, pretty limited): if that guy's artery was nicked, wouldn't stitching up his stomach while inside the artery remains cut open result in his abdomen filling up with blood? Shouldn't you fix the artery first and then close him up? Because if so, that dude's gonna die of internal bleeding. Any doctors here care to confirm?
The man who rode that train was built weak and born to fail. You fixed him. Now forget about it. Teddy 2.0
Dolores wanting to change everything but herself, Maeve wanting to change herself to influence the world.
What we learned in Phase Space
Dolores is programming and testing and Arnold bot
Or maybe, that's not her (or her cr4-dl consciousness). That's Ford. He needs to have her appearance b/c that's what the real Arnold knew about that conversation.
William thinking his daughter was a host sent by Ford. ROFL!!!
Of course, he was testing her to see if she was a real or host version of Emily sent by Ford as part of the game
Climate control is working
More about the Cradle
Cradle—spelled CR4-DL is "the simulation technology that stores and tests all of our storylines" and ensures customers "get the immersive and dynamic experience [they] deserve." So it's the way Delos test-drives its experiences. Bernard describes it as a "backup," and Elsie calls it a "hive mind" where all the host's consciousnesses are "alive.
Japanese Armistice is sticking with Maeve and the gang
William and Emily's relationship has been...difficult
William confused his wife with his daughter when recounting the story about the elephants in Raj World. Does that say something about his family life, a simple slip of the tongue, or is it something else like MIB is a Host?
Maeve's daughter has new parents
Who didn't see Maeve meeting her replacement? Did she think her daughter was all alone? That was typical of Lee to omit that little piece of information. And what is the Ghost Nation's game?
Ghost Nation wanted Maeve to come with them. Since they protect the guests, there was also more to Maeve than simply being a host.
Akecheta is awake & probably sees that Maeve is too!
Teddy 2.0 is Stone Cold
Dolores is going to regret reprogramming Teddy in the coming episodes.
Her reactions were so funny "oh shit what have I done!"
Teddy is aware that Dolores reprogrammed him. I feel that will be important later.
Ford is inside the Cradle
Ford's back, or at least an approximation of his consciousness in the Cradle. We all suspected Ford would return as a Host despite the flat-out denials from Anthony Hopkins and Jonathan Nolan & co.. They pretty much telegraphed his return over the season (he's in the system, briefly surfacing in Hosts e.g. young Ford), but Episode 4 all but confirmed it.
Dolores and Maeve storylines ** is not interesting at all. They're currently paper thin and taking their sweet time to go anywhere.**
The Man In Black's daughter who we know nothing about is a far more compelling character.
The Cradle Is Capable Of So Much More Than We Expected
The Cradle, in essence, is a server that stores memories and consciousness for retrieval. Like a file cabinet, the hosts’ “data” is copied and contained within the server, and can be accessed to run theoretical or training simulations on the robots. The main function of the Cradle, though, is to act as a backup for each of the intricately-crafted hosts; a way for Delos to preserve the work that went into detailing their appearances, their preferences, their mannerisms, the very things that make them so human. Think of it as the Cloud that stores your phone pics.
Those pearls, it turns out, are the container for the hosts’ consciousnesses. But the Cradle itself send commands to the parks, not unlike the way the Matrix papers over glitches with deja vu. And the implications of this functionality go way beyond just data storage. It means that the Cradle itself can run simulations or disrupt the flow of time —if it has a programmer (the host) to program a server farm (the Cradle), illustrated by Bernard getting off the train at exactly the spot he needed to be. The Cradle doesn’t appear to create simulations without a host’s consciousness to guide it.
Do we have a host in the Cradle? We sure do, and because Bernard just uploaded his brain pearl into the Cradle, it could mean that everything we’ve seen in season 2 thus far — the multiple timelines, the weird ways that the characters are interacting with him — are just a simulation. This totally mind-bending but plausible theory was put forth by YouTuber HaxDogma, and in a 10-minute video he makes the case that Bernard has hacked his way into the Cradle, and everything is running from his point of view. In other words, it’s as though we’re viewing everything like Neo did at the end of the first Matrix: as a source code that can be manipulated.
Or (and this is even more sinister), perhaps Robert Ford has been in the Cradle all along, pulling the strings, and driving wedges between Dolores and Maeve with her new powers.
There were two factors that made me question the necessity of "The Ballad of Songbirds & Snakes" beforehand: Firstly, it's a prequel, and secondly, it's also an origin story for a villain. These are both things that often make the plot more predictable than it should be because you know exactly where the journey is going. Even though this is also true in this Hunger Games prequel, I nevertheless quite enjoyed the movie overall. Panem is an interesting world. Because the action here takes place shortly after the war, you learn many reasons for the state of the world 64 years later. The eponymous "Hunger Games" are also very different from what we've seen before. Here they are much more scaled-back, grittier, and somehow also more brutal.
The casting of the main characters is also very successful. Tom Blyth is quite convincing as the future dictator Coriolanus Snow; above all, he manages to let the cool, calculating, and dangerous nature of his character shine through from the very beginning. Particularly strong, however, is Rachel Zegler as Lucy Gray Baird. Recently, there has been some very strange online hate against Zegler, but personally, I've found her good in everything I've seen her in. In "The Ballad of Songbirds & Snakes", it's not just her acting talent that's required, but above all her enormous vocal skills, and she masters the task effortlessly. Of the rest of the cast, I would also single out Viola Davis, who, as Head Gamemaker, puts her stamp on every scene she's in.
Now, this all sounds pretty positive, but unfortunately, I didn't enjoy the last third of the movie as much. While the first third manages to introduce the characters very efficiently and the actual "Hunger Games" take place in the second third, the movie loses all momentum in the final act. Naturally, the characters had to be positioned so that they fit into the previously known story, which brings us back to the disadvantages of a prequel. Overall, however, I stick to my recommendation for the movie, even if the ending is perhaps a bit disappointing.
I finished watching last night and today I kept thinking it was a fever dream, cause this was so odd, there's no way this is real.
I don't think anyone understands how shocked I'm at the fact that the leading woman, the heroine, the sun summoner spent half the episode laying in the ground doing nothing other than saying "mal mal mal mal" out of all the shows I've watched this is the most shocking (and funniest) thing ever, the closest I can compare it to is some episodes of Smallville where Clark also spends half the episode on the ground because there's kryptonite around and that's also super embarrassing but at least there's kryptonite like in this scenario I don't think she was hurt? she was just sobbing about mal? it's insane, and also smallville is a 20 year old show so that kinda justifies clark being a little useless but wow I'm just shocked. And then Alina is so useless that the bambi's ghost had to come back to illuminate her on what to do, which was literally grab the knife.
Now back to the specifics of the episode, this time I checked and my first laugh came at the 2:25 mark, and from then it was laughter mixed with shock (at our heroine doing absolutely nothing)
Then we have Nina and Mathias, okay hello nice to see you, totally forgot about you guys, and also a hot witchie that loves waffles? that's as 2013 tumblr as it gets. And oh wow, their ending was so heartbreaking, hope they can sort that out, but I really like the set up for next season w Nina, Mathias, and the three crows.
And then it was so cringey cause can you imagine every diplomatic guess at the ship? there were like 5 of them and they had to deal with the darklina malina drama and I would just be so embarrassed for them I would just jump off the ship, like you fix your issues and then you call me.
And just when everything was so embarrasingly shocking and funny, our true heroines came!!! INEJ WOW!!! And then Zoya surprised me!! they did what poor Alina couldn't! they techincally defeated the darkling! (if he wasn't eternal, but if he was just a man he would be dead) that was the highlight of the episode/show for me.
And I think even worse than Alina, there's Mal... he literally just buried his head on the sand, it's so so so sad and pathetic, it breaks my heart, there's a mexican saying "si no ayudas no estorbes" like it's ok if you can't be helpful, just don't get in the way, that's all he did for 8 episodes, and then on the end he has the nerve to say "they'll have to go through me (if someone wants to hurt alina)" and it's like... only Inej has the right to say that.
And the dumbest thing out of everything, them believing one of the fold creatures would go against the darkling, its creator???? like maybe in the confussion of the battle a creature can attack him, but obviously he would know how to control them, you don't need to be very smart to conclude that, they clearly aren't any smart.
And I know I've talked a lot of sht about the show, but for real I don't mean it in a hateful way, it was an enjoyable and entertaining show, but I also feel like there was a lot of wasted potential, just starting with the budget , you can clearly see it was limited and the sets, costumes and characterizations paid the price, A Christmas Prince had a better palace than this, and there's a lot that's lost when you don't invest in creating that fantasy, then the story felt super rushed, we never see her training again, we never see any romance build up (I don't know if that happens in the book) but it was like BAM you are a grisha BAM you are now the most powerful grisha BAM you kiss the guy BAM the guy and you are now mortal enemies BAM the show is over, so maybe 12 episodes would've been a better option, yes that sounds more expensive, but if netflix is gonna invest in a franchise why not do things right (not that it matters cause we all watched and this gets renewed and they don't improve anything and it's a vicious cycle til the end of times) but I wanna watch quality stuff. Then there was the acting... I don't wanna call anyone a bad actor, but you could crearly see two different acting energies, and it's not like one of them was wrong, but it's like they don't match, and that's where most of my laughter came from. And then my main issue which I guess isn't nobody's issue but mine, is that at the end of the day I don't vibe with the character choices/development especially Alina's, it's not even the story cause overall it's a good one, but this is more like a personal preference, where I can't stand girlies that spend 90% of their time being like "mal mal mal mal" and I guess this is how the book goes? so at the end of the day this isn't netflix or the actors' fault; but maybe just how they took a lot of creative liberties with the winx show, they could've tried to make a more modern adaptation? at least with some character traits? like when Alina apologized to Mal for calling the darkling aleksander cause it was implied that he realized they were close why would she need to apologize to someone who isn't her boyfriend? for a hook up? and again this isn't about men suck or a good female character has to be evil to be strong, it's more like we know we can bend the rules a little, we know we don't have to be the poster kids of purity and rightness to be good people, we know there's a gray area, so that's what I mean when I say I want a show to be modern.
Sorry for the super long comments, I'm super bored and sometimes I hyperfixate on things to get distracted of my miserable reality, but this is a goodbye, see you guys in this comment section in around two years? best of luck!
[7.6/10] Martin Scorsese has been accused, not entirely falsely, of glamorizing a life of crime, and the mob in particular. The likes of Goodfellas and The Departed and even the indulgences of The Wolf of Wall Street are not, in the end, terribly flattering as to the end results of those lives. But Scorsese’s eye for the rise before the fall, his ability to craft a scene and suck the viewer into the allure of these worlds, can sometimes do the job too well. It’s easy to remember the glamour and forget the ignoble close to so many of these tales.
The Irishman feels like a tonic to that. It’s not without its beauty and glory. Scenes set in a lavish celebration of the title character, or in well-appointed Italian restaurants with delicious bread and wine, or with big speeches delivered to adoring crowds engage in some of the same myth-making that Scorsese’s prior mob flicks do.
And yet, this feels like the most matter-of-fact of any of those movies. It is uglier, visually and spiritually, than those prior iconic films. It’s a film about the mundane cruelty of doing this job, about how it alienates you from family and friends, and ultimately leaves you with nothing. It’s a long-form tragedy, encompassing how a good soldier did everything he was told by the people who seemed to have his interests at heart, only to leave him picking out his own coffin alone.
It also could have used an editor. The biggest knock against The Irishman is that it’s more than three hours long and doesn't need to be. It tells the story of Frank Sheeran, a truck driver who, through keeping his nose clean and following orders, works his way up from the local mob to being the bodyman for Jimmy Hoffa. The film traces his journey into and out of the organization, the intersection of mob and union politics, and the friendships both genuine and of convenience that emerge and wither away along that path.
And you will feel every minute of it. There are good ideas in The Irishman, good performance and good themes and good direction. But it is also a logy, lard-laden film, that feels like it includes everything that was shot because Scorsese and company couldn’t bear to part with any piece of it. Individual scenes stretch on and on and on. Smaller moments generally connect to the whole, but often come off as superfluous texture in a movie already straining to contain everything. What’s more, the pacing is downright abysmal, with the march of years happening in fits and starts without a real sense of progression or momentum.
At times, that approach works. Sometimes Scorsese slows down the film to capture the awkward, fumbling, human interactions from the wiseguys he once turned into larger than life figures. There’s a grasp toward realism here, where people have long, rambling conversations and only wrap around to their eventual points in the most oblique terms. Sometimes the languid pace forces you to live with some choice or impending unpleasantness in the same terms and on the same timeline the characters do. But for the most part, it leaves the viewer wishing Scorsese had either been more judicious in his cuts, or shaped this into a mini-series to keep the scale but maintain more structure and direction over the course of the story.
Still, the themes of the movie resonate. There’s a deliberate connection drawn between Frank’s time in the military and his time in the mob. In both organizations, Frank and those like him believe that if they follow orders properly and do their jobs well, they’ll be rewarded. The film makes those connections explicit, right down to Frank unwittingly delivering weapons to the CIA for use in the Bay of Pigs invasion. If there’s anything that characterizes Frank, it’s the good soldier, somebody who doesn't think but does believe that whoever’s giving him orders must have his best interests in mind.
The crux of the movie, and the bitter, de-glamorizing irony at the center of it, is that this isn’t true. Frank never gets disillusioned exactly, but in the end, he’s estranged from his family, forced to kill someone who loves and trusts him, and finds himself sad and lonely and still keeping secrets for no one at the end of his life. There’s a sense of “What was this all for?”, of broken promises and a numbing of the soul.
The most noteworthy little flourish in the episode is how many characters are introduced, big and small, with small chyrons that talk about their ignominious deaths. Some are blown up on their porches, some rot in jail, and some, like Frank, live long enough to see the wasteland they’ve created. For all the friendship and supposed family and solidarity promoted, The Irishman presents the mob as a bunch of gossiping, thin-skinned guys who kill one another for, well, not nothing, but not very much either.
The hardest part of that is when Frank has to kill Jimmy Hoffa. There’s the sense of Jimmy as a good man, one who, in his own way, didn’t believe in going all the way with the mob. The film uses Frank’s daughter Peggy as a talisman in that regard, warming to Jimmy in a way of innately understanding good that he does in direct contrast to her fear and coldness toward “Uncle Russell”, Frank’s original mob connection and mentor through the world of organized crime, and eventually her father himself.
There’s a dual tragedy there. One comes from Jimmy (at least the Jimmy of the film), losing his life out of an unwillingness to play ball and a desire to hold onto something that he feels he built, at the hand of his closest confidante no less. The other comes from Frank seemingly picking the wrong side, or not feeling like he has a choice, and the resulting conflict between his loyalties and his self-imposed duty to follow orders kind of breaking his brain.
The emotional high point of the film comes in Frank’s phone call to Jimmy’s wife Jo, where he’s almost too good to lie to her, but can’t quite face her or himself in having to console her over an act that he himself committed. The piercing understanding of his eldest daughter, and the way she implicitly understands and condemns the evil that her father participated in, levels a damning criticism of what this life gets you, even for people who seem more like dutiful followers than criminal masterminds.
The Irishman wastes a great deal of time in making this point. It indulges in different ways than Scorsese’s glitzier mob movies, hitting familiar beats and giving the audience every possible angle on event when twenty-five percent of that perspective would have done just as well. A more exacting edit, a sharper view toward pace and structure, could have preserved the overarching ideas of the piece, while trimming the heaps of fat that otherwise way this picture down.
Despite that considerable flaw, Scorsese still lured his mafia movie heavyweights back to the set for one last melancholy go-round, and each brings their A-game. If nothing else, The Irishman makes for a satisfying-if-depressing end to the unofficial series of organized crime flicks made under the famed director’s watch.
So many of these familiar faces have more lines on them. So many of the moments that inspired awe or excitement or luridness are rendered in a cold, unflattering light. And so much of the thrill of mob life is stripped away in an admittedly overextended but still hollowing third act where each bit of joy and glory is slowly but surely stripped away from Frank and everyone he knows.
If The Irishman is Scorsese’s final word on this thing he’s chronicled over the course of so many films across so many eras, then this lasting message seems to be, “It was never worth it.” It’s doubtful that this idea will dissuade any idolizers anymore than it dissuaded Frank, but by god, Marty can still try.
kay 1st things 1st...if you can't handle the word motherfucker you should NOT watch this movie.
This movie is AMAZING!!! It's definitely deserved the blockbuster line. This one has it all! Action, humor, great story line, music!! Yes I even dare to say that this soundtrack is close to the Guardians Vol 2 soundtrack! Baby driver is nothing compared to the music they use in this one!
Swearing A LOT!! When I'm going to watch the movie again I'm going to count the amount of times the word "motherfucker" is used...cause it's quite a lot.
Personally I never get tired of hearing Samuel L. Jackson say that word, but some might think it is a bit over the top. Also Ryan Reynolds looks pretty damn hot in this movie...must be the beard and not the Deadpool look XD.
You know those action movies where they race cars through tiny streets, they prefer to do that in Paris a lot too...well get ready for a new city to blow your mind.. Amsterdam is here baby!!! I do hope no bikes were hurt during this movie cause ouch!! Although some scenes are a little over the top it still makes a great movie overall. Even the bad dutch accent is kinda cute in this movie, you can pick out who is Dutch, French and American..so cute XD.
It's kinda sad that this movie is only 118 minutes, you know a movie is good when you're sad it's over. The only thing I wasn't to fond over was the romantic aspect of the movie, it is needed sometimes but as most of the things they overdid that too, but hey if you're madly in love with someone you might not think it's too much.
This movie is a blockbuster for sure and should've been titled THE MOVIE OF THIS SUMMER!!! While it will probably not get any Oscars (Samuel L Jackson should just get one for using motherfucker! And Ryan Reynolds just for looking this hot!) it is definitely a movie you MUST SEE...unless you really can't handle swearing and a good action movie...please do not watch it then.
I give this movie 10 out 10!!!!
A lot of mixed emotions about this tbh. Some storylines have potential, some are just bad.
- I'm glad to see all Gallaghers got screentime. I was especially worried Carl would just be written out of the season as long as he's in military. He's become one of my absolute favorites during the last seasons and I'm so happy to see him doing so well. Now I'm so curious what happened to Kassidy. It actually made me laugh when that guy said he killed her because it was so random and sudden.
- Everyone is so over the Gay Jesus thing. Please, let it end. I can only hope it'll build up to something huge within one or two more episodes. I can't stand another whole season of him having a God complex. And the prison scenes didn't feel real at all.
- I really disliked the Frank storyline.He had too much screentime without anything really happening. Guess I'm glad all the cheating was resolved within the first episode, but it just felt weirdly pointless and completely unrealistic.
- Glad to see Lip still keeps his shit together and stays sober. I find it cute to see him taking care of the little girl Xan. I just hope it won't pull him down. And I'm wondering where the storyline with her friend will be going. She's supposed to be 10 and the guy was what? 15 at least? I can imagine either Lip will totally overreact even though they're just friends or that guy will actually have bad intentions.
So this movie premiered in Poland today and I just got home from the theater. I have two things to say: this is hands down the best installment in the Thor trilogy and it also definitely ranks somewhere in the top 5 MCU movies for me.
This movie was a wild ride from start to finish. The story was a ton of fun and so many things happened along the way, keeping you engaged at all times. While I do love slow movies that allow their scenes to breathe, the crazy pace of this one worked in its favor. There wasn't as much action as I had expected, but we did get some cool fights and general destruction. In the typical Marvel fashion, there were a lot of jokes and most of them were really, really hilarious. Some of the MCU movies try way too hard to be funny and I end up feeling annoyed at how many quips they cram in there, but in Ragnarok, the humor definitely worked. My personal favorites were the "Get help" scene, Thor's story about Loki turning into a snake and Bruce falling onto the Rainbow Bridge (especially Fenrir's reaction). Those had me laughing uncontrollably. And on the other end of the spectrum, there was quite a lot of emotional weight to both Odin's demise and the fall of Asgard. The movie struck a good balance between the two, keeping things exciting and light-hearted most of the time, but not being afraid to go a little deeper when the situation called for it.
As for the acting, Chris Hemsworth seemed to be really enjoying himself and while I'd often found Thor to be the blandest Avenger in the past, he had a lot more personality and charisma to him here. He was extremely likable and funny, but he was also the hero you rooted for throughout the movie. Cate Blanchett didn't get to do much as Hela, to my disappointment. She looked incredible and she did the best she could with what she was given, but in the end, the Goddess of Death didn't do much in terms of breaking the tradition of one-dimensional, evil-for-the-sake-of-it MCU villains. But she did at least seem to relish and enjoy her evilness. Tessa Thompson stole the movie for me. She was amazing as Valkyrie. She had wonderful chemistry with Thor and I like the idea of the two of them together, she's a much better love interest for him than Jane, but she was by no means reduced to that role here (thankfully!). She was a fully-fledged character with her own arc and personality. She was brash, badass and absolutely deadly in a fight while still having a more vulnerable, softer side and dealing with horrible trauma. She reminded me of Jessica Jones in that way. Watching her go from a drunken scavenger back to a mighty warrior ready to fight for her home and her king was a pleasure. I absolutely loved her and I hope to see more of her in the future MCU movies. Tom Hiddleston delivered as always, Mark Ruffalo was a great addition and Bruce's partnership with Thor was fantastic, and the supporting cast was also very good.
The soundtrack. Man, the soundtrack. 11/10, totally buying it. One of the best I've heard in a while.
The cinematography was gorgeous. So many colors, so many beautiful shots (the one with the Valkyries bathed in light riding towards Hela who was surrounded by darker colors? Holy shit, that looked like a baroque painting. Absolutely stunning). It was a pleasure to watch. The special effects were simply outstanding as well. Fenris/Fenrir was magnificent and let's just say I want ten angry, giant wolves immediately.
I had high hopes for this movie. The first Thor was pretty good, the second was meh (perfectly adequate, but painfully forgettable), but there was a lot of hype around this one and I really wanted it to be great. And it was! I had a blast watching it and I'd definitely see it again. Every standalone hero trilogy in the MCU so far has had at least one fantastic installment. Iron Man had the first one. Captain America had The Winter Soldier. Now, Ragnarok joins the circle. I'm very happy that it turned out as well as it did.
God, I love this show! What an episode: entertaining, funny as hell, bonding and sweet. And finally we got to see Luci doing something supernatural like getting shot and surviving. I've really missed this in last episodes.
"I thought since I'll never likely penetrate you, I'd commemorate the one time you penetrated me", lmao. That was absolutely brilliant.
I loved the flashbacks with Candy and how they just befriended so quickly. I loved the "Candy Morningstar" episode but knowing what happened in Las Vegas before just made me realized how meaningful that episode was.
The ending scene with everyone passed out in the penthouse was great. Btw, Dan's random and casual appearance with a drill was so good. He's a sweetheart. The bonding between Chloe and Luci is lovely. I loved the scene about lying when Chloe was in bed. It was great to see Lucifer being so honest. That hug at the end.
Chloe imitating Lucifer's accent was so good, lmao. "I'm Lucifer Morningstar. I can play the piano and I'm a fancy British man", lol.
We got Lucifer singing again! Nothing will ever top his version of Sinnerman but I loved it. Tom Ellis' voice is just glory.
Hamlet! And love, Will? Lol. I really really loved it. And that Hitler comment, that was great.
Ella's t-shirt! I want it! I loved to see her working with Lucifer on a case. Although her backstory in Vegas was kind of obvious to me, I did enjoy it. And what's up with the voices she hears? Does she have schizophrenia or something? It's definitely a red herring but what if those voices are addressing to a previous life? Or what if she's an angel and she doesn't realize? Let's see.
Anyways, enjoyable episode even though it wasn't connected to this season's plot.
