Not as great as the first two episodes.
There just wasn't a lot of forward movement with characters and plot, and having Lily fake schizophrenia without the audience being clued in was a weird choice. I do like how they figured out that the flames were fake. It was obviously done in a rush, and it was not meant to be viewed repeatedly with the ability to pause, so I buy it.
I was a big fan of The Good Wife and I loved the first two seasons of The Good Fight, but holy hell did it go to shit in the third season.
Let me preface by saying I'm a progressive and a staunch feminist. That being said, I still found season 3 unbearable. It's pandering, plain and simple: while The Good Wife regularly plundered the headlines and wore its politics on its sleeve, it still tried to tell a compelling story and presented its ideas in a nuanced manner. The character of Kurt, for instance, was created specifically to represent a more conservative point of view and present a foil for Diane's progressive views. In so doing, it gave us fantastic character drama.
Well, all that is gone in season 3. Now we get flashes of Eric and Don Junior as Diane throws axes to relieve her utter hatred of the Trump Administration. We get Diane arguing with a Trump-shaped bruise on her husband's shoulder, lamenting "Where did the men go wrong." We get Schoolhouse Rock-like interjections featuring shitty music that wink so hard at the audience that the writers must have sprained their eyelids writing them.
Again, my problem isn't with the show's political views. It's with the inane manner in which they've abandoned all objectivity and nuance to give us a bizarre, one-sided revenge fantasy where Diane rages on and on about Trump's existence. It's entertainment for the liberal echo chamber, not a clever discourse on modern politics.
And meanwhile, the characters have devolved into caricatures. If you liked how The Good Wife featured quasi-realistic courtroom drama, tough luck, the courtroom action no longer makes any damn sense.
And so I'm out. Although the first two seasons made it feel like The Good Wife could go on forever, I guess this is the moment I have to say goodbye. You folks had a good run, but somewhere along the way you bought your own cleverness and forgot to tell a gripping drama.
The best and worst of Hollywood, all in one package: bombastic, over-the-top action scenes, famous actors chewing scenery like it's going out of style, but very little heart and truth in the characters and dialogues. None of the characters are especially sympathetic, except perhaps Hector and Odysseus (played by an underused Sean Bean).
The movie claims to be "inspired by" the Ilad, but it should be noted that it plays fast and loose with the events of the Trojan War as chronicled by the Greek Epics, of which the Iliad is but a small part. It's loosely based on the Epics at best (for instance, the Trojan War was said to have lasted ten years, but here it goes by in the space of a week or two), and it makes no real effort to convey Bronze Age warfare with any accuracy.
This was also peak Brad Pitt, so we get to see his naked ass a few times for good measure.
I love this show! High production values, great acting, and the characters are really compelling and well developed. The show is very Spanish in that it references a lot of Spanish culture and history, so a lot of it went over my head, but the show was still super-enjoyable. Highly recommended.
Julia is a comfy show, albeit not one with as much substance as it would like to claim. The portrayal of Julia feels a little hollow, as she's perpetually disarmingly charming and almost naïve in her pursuits. We never really get to know what makes her tick or what about her drove her to become a TV pioneer. There's also a tendency to put roadblocks in her way that are caricatural at best, and rely a lot on white men being assholes to women. They even did poor Paul dirty for a while, which is really sad considering how supportive and adoring the real-life Paul Child was of his wife.
Ah, but it kind of comes together in the end. And there are plenty of genuine, heartfelt moments that feel earned to make it a pleasant watch. The show kind of wore its welcome in the end, but it was short enough that I didn't mind too much.
This may very well be the quintessential "so bad it's good" movie. It's over the top, cheesy, and filled with moments that will make you gape in disbelief. Plus, it's got a smoking-hot Denise Richards showing just how much she wanted a Hollywood career by giving the best performance she possibly could under the circumstances, and a young Paul Walker who quickly gets replaced by a robot dinosaur once a lion mauls him. It's also got stuff like a T-rex doing charades, so yeah.
Honestly, it's absolutely a B movie, but its plot moves at 100 mph and is never boring. I've watched recent Hollywood blockbusters that held my attention far less.
It's a pretty good start, with decent dramatic writing and solid performances. The inciting event is dramatic and well-done enough. That being said, I don't think the unique setting had a chance to shine in this first episode yet. Still, this looks like they're gonna handle the source material with appropriate heft, so I'm quietly optimistic for it. Slow burn, but that's not necessarily a bad thing.
The idea is cute: a boy of mixed Jewish/Muslim heritage reconciles the two sides of his family with food. Unfortunately, the story is very much paint-by-numbers, and the beats are ultra-predictable. The cultural conflict is also presented in a pretty patronizing way. Additionally, the entire movie rests on Abe's parents being extremely tone-deaf to the interests of their kid, and said kid unabashedly lying to them about going to work for an adult on the other side of town.
Noah Schnapp was pretty good, though, aside from the forced teenager lingo. #FellowKids
A decent film, but it doesn't rival Tarkovsky's 1972 adaptation.
This version benefits from a much cleaner emotional arc. The characters make more sense, and the relationship between Kelvin and Rheya is much easier to grasp. Emotionally, the story makes more sense and is more rewarding. Still a haunting meditation on memory, grief, and loss.
What it lacks from the 1972 version, though, is this sense of utter alienness and dread. The planet Solaris feels a much smaller concern here, and the world itself is distant, not really a looming presence in the story. That was the one thing that made Tarkovsky's version so powerful, and it was truer to Stanislaw Lem's novel because of it.
I give up. Everyone here is raving about this episode, but that's more a statement on how terrible the previous episode was. Honestly, though, this episode had all the flaws that made the previous one so bad.
I could go on and on about why this is terrible, but it all boils down to the fact that the creators seem to care less about this show than the fans. Take, for instance, the moment when the Doctor and Tesla bond over being inventors. It was the most generic, uninspired tripe you could imagine, and fifteen minutes of googling about the psychology of inventors by the scripwriter would have have made this moment pop. But no such luck because the writer obviously didn't care.
It's even worse when you compare this episode with Vincent and the Doctor, with which it shares a lot of themes, albeit in science rather than art. All they had to do was follow the blueprint, but no. This episode could have been extraordinary; instead it's just extraordinarily bad.
A lot of people here seem to hate Trish... I don't, but I still hate this episode. The problem isn't that it's Trish-centric... It's that it's so goddamn boring and pointless. Pretty much everything we see here can be inferred from the first episode, or when it can't, it doesn't add anything at all to the story. There's no dramatic tension to it. NONE.
A 100% skippable episode. Incidentally, this is Krysten Ritter's directorial debut... Big oops there. Better luck next time!
Weakest of a great season. The drug scenes went on too long, and when it transitioned into that whole catfish society nonsense, it just felt weird in a bad way. The emotional core is good, but the episode was a crap way to explore it that broke the usual tone of the series.
Others here have already addressed a lot of the issues I had with this episode, but I just wanna say:
This episode made me feel how I felt watching some classic Doctor Who episodes that were bad, but which I felt I had to get through to get to the good parts. I've never felt like this in the modern era (except perhaps a few bad episodes in Capaldi's first series), but this... The previous Chibnall series were bad, but this just takes the cake.
And can I say? I really don't care for Whittaker's Doctor. I've been watching some clips with the previous modern Doctors, and they all had that magical energy about them, like they were excited about life and wanted to take us on a grand tour of all time and space. Whittaker has nothing of this energy. The writing's largely to blame, but there is something about her performance, too, that lacks a certain depth and quality. I was hoping that, like Capaldi, she would find her footing after a season or two, but her character is actually regressing as we head out into her last appearance.
I like to think that in a few years, when RTD has steered the ship right again, I'll be thinking back to this episode as another one of the dark periods of Who fandom.
Wow, this has to be my favorite Psych episode to date. It has high stakes from the moment the episode starts, and it puts Shawn in genuine danger, which rarely ever happens on the show. All that, plus we get Lassiter and Henry teaming up, and Henry even gets to flex some of that detective muscle.
Yeah, this is a great one!
This episode is starting to lose some of the good will the first two episodes built. 99% of the conflict in this episode was completely contrived, from United Earth not ever talking to Wen, to Burnham AGAIN doing something without telling Saru.
I also wish future-future Earth didn't feel so much like Federation Earth. The crew of the Discovery should be the equivalent of a 12th-century Viking ship landing in modern-day New York Harbor. Instead all we get is a big tree.
Season one (the heist in the Spanish Royal Mint) is superb television. Tense, full of action and character drama, and exciting plot twists at every turn. Sure, it's sometimes over the top or unbelievable, but it never stops being fun, and all the characters are fantastic and flawed and crazy.
Season two is utter crap and shouldn't have been made.
Note on episodes: the episodes listed here on Trakt.tv are for the original play order from Spanish TV. Netflix recut the episodes from season one and broke them down into two seasons or parts. The 15 episodes listed on Trakt.tv constitute the first two parts available on Netflix, made up of 13+9 episodes. These two parts are sometimes called "seasons," too, just to add to the confusion.
In other words:
Season 1 (15 episodes) on Trakt.tv = Seasons 1 (13 episodes) + 2 (9 episodes) on Netflix (aka parts 1+2)
Season 2 (16 episodes) on Trakt.tv = Seasons 3 (8 episodes) + 4 (8 episodes) on Netflix (aka parts 3+4)
Amazing show. I'm not a fan of rotoscope animation, but the writing and an amazing main character more than make up for it. Smart, meaningful, funny, poignant... A fantastical portrait of a mind unraveling. Highly recommended.
I do NOT get why this movie gets so much love.
I get that it's not meant to be a historical movie. It's a revenge exploitation flick set in WWII, and the bad guys being the target of revenge here are the Nazis. I get that. At the same time, there's something so utterly morally corrupt about creating an unrealistic fantasy where badass Jews torture Nazis. It's the kind of thinking that has led to America using torture on captives: ultimate evil requires an equal response. It's so much against the ethos of the survivors of the Holocaust that it's embarrassing to watch. It's misguided revenge porn.
Ah, but if only the story that was being told was better. As it is, it's not so much a story as much as a sequence of masturbatory dialogues where Tarantino gets to feel clever about himself. People talk and talk and talk, and although there is an overlying sense of tension, it's so predictable every time it becomes tedious. There's just so many times we can watch a Nazi being passive aggressive with an undercover Jew before the shtick becomes boring, and each of these last so damn long... You get twenty whole minutes of a Nazi talking racist shit until the inevitable violence happens and Tarantino gets his money shot. We're talking porn-levels of sophistication, here, except it's about murdering evil Nazis.
It's well-directed for sure, and Christoph Waltz and Mélanie Laurent do an amazing job, but man, that script is a big pile of self-indulgent crap. And I say this as someone who loves early Tarantino.
Well, that was fun! I liked season 11 well enough, but this was still a clear improvement. Had a great sense of fun, what with the spy nonsense, plus the alien mystery was interesting and unpredictable. A strong start to the new season.
I particularly liked the Doctor in a tux ("Name's Doctor. The Doctor.") and the unexpected appearance of the Master, although I wish the mysterious aliens were not simply one of his plots. Yeah, if the season keeps up this sense of fun, we're in for a cool ride.
After watching season one, I can say this show is pretty great. I wish the show was more believable, but watching Eve at work, especially when she interacts with the bad guy, is really irresistible. Bit on the light side, but really fun, for sure.
I'm probably in the minority on this, but I enjoy the Villanelle scenes a lot less than I do Eve. She's just over-the-top psycho, and she's not even a decent assassin at that. If this were the real world, she'd get caught after one hit and no one at MI6 would break a sweat catching her. Although I admit, she's great to watch when she gets close to Eve.
I know Black Mirror is all about grim futurism, but goddamn, that episode went hard at it. Too hard, in my opinion: instead of making us think about the perils and moral implications of technology, this episode was a weird horror vengeance porn with some really dark behavior that would never for one second be considered a good idea in the real world.
I mean, episodes like "White Christmas" had their existential horror, absolutely; but this just felt mean-spirited.
"USS Callister" was amazing and "Hang the DJ" was cute, but the rest of this season has been very disappointing.
Lovely episode. I wasn't sure about it throughout, but the ending redeemed it all.
Familiar story that didn't need scifi to be told. The ending was dumb, unsatisfying and over the top.
I'm glad this is how they decided to end the show. No big dramatic turn, no death or anything silly like that... Just a feel-good slice of life as we say goodbye to beloved characters. We know there'll be other trials in their lives, but we also know that, somehow, they're gonna be okay.
Stone and Crenn were robbed. They clearly had the superior dishes (that forest floor one was out of this world), but the point of this episode was to give a boost to Samuelsson because he got his butt handed to him over the course of his episode.
Seriously... Every one of Samuelsson's takes on medieval food was so out of left field. "Medieval food was all about being soft"?!
(Yes, I take Iron Chef way too seriously.)
This was... fine, I guess? I think I would have preferred more of a "Death of Stalin" treatment than outright satire, because when you see characters like the POTUS act like outright idiots, it takes away some of the bite. Although, the idea that they could have averted disaster but decided not to because there was a business opportunity was really excellent.
I thought the central moment of the "Don't Look Up" political movement, was sadly poorly executed. I think maybe because the idea was WAY too outrageous. It's one thing to hurt yourself and your country because you feel it will hurt the other side more, but it's another to, like, not look up at the sky.
Ultimately, with this film, either the satire doesn't land, or it lands with a crowd that already believes in climate change, and thus, people for whom the satire is facile. It also avoided very clearly exploring political lines (for instance, by making the POTUS some kind of female Clinton but with Trump-like nepotism) so it lost a lot of its verisimilitude by trying to not take political sides.
I don't know if there's a better way to explore this idea. Perhaps this was the best story possible for this exact idea.
After a very hit-and-miss season, this finale was nearly flawless and redeems even the poorer episodes. (Okay, maybe not that Dumb Thor one.) An unexpected coming-together of previous episodes gives us action on a cosmic scale never seen before in the MCU, including action moments that put your most over-the-top anime face-offs to shame. Really neat stuff.
Alison Brie was good as Planetina, but nothing about this episode felt surprising or new. Just a run-of-the-mill R&M episode, I guess... I can't think of a single element that I find memorable. Hmm, maybe the fight scene.
This movie features the most ludicrous and absurd scientific concepts and the most pointless and annoying human characters in recent memory. That makes it the Godzilla movie that's the most faithful to the spirit of the Japanese originals, and I say that as a huge kaiju nerd.
Lots of satisfying fights makes this one an easy recommendation for Godzilla fans, though I have to admit I still highly prefer the rubber suit and the original Godzilla attack music. Something about the over-expressive Godzilla face and the small, beady eyes makes this one kind of disappointing to watch, though I love the way he moves.
My favorite episode so far. There was something so poignant and touching about Sam and the girls getting a break from the drama back home, just chilling out with a sweet couple. The ghost story was unexpected but was done nicely.
