Come on son! Amy Pond, Sarah Connor, Spy Kids Mom, Tina Turner, and Emperor Georgiou, take on the menfolk ala "Shoot Em' Up, and "Smoking Aces" having a baybay. Not meant to be cerebral and over analyzed, but a manifest celebration of feminine badassery. Yes the bad guys were inept, as the only casualty on the female side was clearly the result of a lucky shot, (and a surprising lack of body armor in an otherwise awesomely stocked armory), But, then, even Bruce Lee's opponents surrounded him in a circle and came at him one at a time. Honorable, yes, but madly inefficient.
In any case, this was a fun, entertaining watch, and, Chloe Coleman is a delight as "8 and 3/4" year old Emily, the flashpoint of all this chaos and conflict. Nothing that hasn't been done before, but, still, a nice take on the genre. They could possibly get a sequel out of it if they really wanted to, and, I'd be down for that one also.
@Callum - To paraphrase Dr. Raymond Stantz, "...You never studied"..., Those who are comparing "Gunpowder Milkshake" to the "John Wick" trilogy aren't saying it's a shot for shot comparison, or even a stylistic doppelganger, but, they ARE similar in world building, in that BOTH movies feature an underworld organization, with a hierarchy, rules, and regulations, which if violated, will earn one a visit from one (or in this case several dozen) highly trained, variously skilled, assassins, who will "balance the ledger" with your blood, bowels, and/or a bullet to the dome. What GM did that JW didn't, is to juxtapose the Peckinpah-esque (that's slo-mo, for those in Rio Linda) carnage and bloodletting, with a wry bit of levity, and to break up the somber situations with comedic beats on occasion.
Thus you have bits like the "Rag Doll" sequence, which was IMO hilariously done, yet JUST plausible enough that it could work. (no, stainless steel medical trays won't stop bullets any better than a car door, but that hasn't stopped countless hero's from hiding behind them in EVERY gun driven movie, EVER) But it was FUN, as was the Bowling Alley sequence, or the laundry room escape. In fact, if you look at most of the positive comments, they include the word "FUN".
You see, with what at times feels like the majority of the world being "woke", seemingly pissed off at anyone and everyone not affiliated with their particular "tribe", or insisting that YOU should be equally pissed off, socially stagnated, and intolerant, not to mention the unchecked romper stompering by feral humanoids that has infected cities nationwide like the T-Virus on steroids, sometimes, the remedy (at least for me) is a couple of hours of diversion in the form of some cinematic FUN. There of course is always a place for the cerebral and analytical, but that's not what this movie was going for. With age comes wisdom, and I have wisely learned that just because something does not fit my particular tastes or expectations, doesn't necessarily make it "bad", just not for me.
Watching a movie for the soundtrack is like going to see "Cats" because you're a veterinarian... Just sayin....
The first 1/3 part of the movie is really great and i was thinking, wow that's a great one. The next 1/3 of it was only meh and i started to be stupid. The last 1/3 of it was only awful and stupid. Specially the ending. It's really sad they messed it up.
As Zach Dempsey said, let’s pile on the closure dirt
Started with Hannah and ended with Hannah. I absolutely loved the ending.
This episode was so much crying for me
List of proper order:
https://en.wikipedia.org/wiki/List_of_Sliders_episodes
Just because you got Matthew Broderick and you rip off Ferris Bueller sometimes shot for shot, does not make you Ferris Bueller. Not even post apocalypse Bueller.
Two major components to this review: structure and impact. I will use inline spoiler tags, but note that I do not consider facts about the true events to be spoilers. It's a biopic—we know what happened. But if you don't, be warned that I will "spoil the ending", as it were, and stop reading now.
Now, then.
This is an important story. We all know what happened to the plane, and we all know what usually happens to aircraft whose pilots attempt to do what Sully pulled off. The story of the cra— I mean, forced water landing, itself is amazing. The whole process is so incredible, and this movie captures everything from the initial bird strike through the last boats carrying passengers to shore. I thought the story of the landing itself was done very, very well. This movie is worth watching on the strength of that portrayal alone.
I did have some major objections to the structure, though. They're probably not unlike @LuckyNumber78's complaints…though I'm not coming at this from the perspective of a screenwriter, just as a viewer.
Specifically, the most insulting sequence in the entire film to me was the beginning, which seems like it's throwing us right into the narrative, but turns out to be a just a dream (if it wasn't given away already by the aircraft trying to fly through Manhattan, grazing skyscrapers on its way to a fiery crash). That put me in a pretty skeptical mood for the rest of the film, and for good reason—lots of sequences turn out to be Sully's daydreams/hallucinations/imagination. They were not managed well, in my opinion. That's not to say I object to their use; just that they weren't done well in this film.
The whole temporal flow of the film is pretty unhinged, actually. Though it technically follows a single event from start to finish (the NTSB investigation), even that continuity is disrupted in places. The film retreads certain events, and includes a few others, for no discernible dramatic purpose. And even when it does buckle down and get on with settling the NTSB investigation once and for all, the climax reeks of half-assed attempts to make it "Hollywood suspenseful" that just fall flat. (I mean most of the final NTSB hearing, if you're wondering, where evidence like the report on the left engine shows up at the last minute.)
To be quite honest, I waffled between a 5 and a 6 on this one, not because I didn't find the film compelling, but because it doesn't work structurally. I get that there's an element of metaphor in how the film is laid out, and I appreciate it, but for a film like this it's really not in the story's best interest to keep the audience guessing at what's real. I finally decided on a 6, but only because the true story deserves more than a 5.
I'll miss you, Unbreakable Kimmy Schmidt and Titus and Lillian and and all of you.♥️
P.S.: Except Mimi
If the point of this movie was to confuse the watchers and setup a second movie than they succeeded. What was the point of this movie? Was this supposed to be a Jigsaw (SAW) clone, if so than they should spend some time researching the SAW formula. The bigest question I have after this movie is "Why".
Damn. That last scene literally sent goosebumps through my entire body. Holy shit! It definitely stays with you. What a beautiful, hauntingly heart wrenching episode. All of them were really, really good so far, but this was exceptional.
FIFTY HUNDRED OUT OF TEN STARS.
This was my first contact with a SciFi show and my favorite as a kid. I had an Eagle model and build myself a Comlock and a Stun Gun out of Lego. I must have been 8 or 9 years old.
The production value, thanks to the Andersons, was really good. It looked absolutly believable. Yeah, the science isn´t waterproof but this was the 70s. You got away with a lot. The second season was not as good as the first (I remember some really ridiculous space monsters). They tried to americanise it by implementing tons of changes that just didn´t work out with the established facts of the first season. And those changes were also not explained during the shows second year. It became a different show.
All things considered this show is called a classic for a reason. As a fan of sci-fi you should have watched this at least once.
IMHO The original series was superior. However saying that this was a good attempt at a reboot and enjoyable to watch. There were some nice nods to the original series ( including a brief play of the original theme tune at one moment). The handling of the Tripitaka question was interesting as well.
However if you get the chance definitely check out the original https://trakt.tv/shows/monkey as its fun to watch.
Also for more stories on the exploits of The Monkey King I recommend checking out "A Korean Odyssey" (https://trakt.tv/shows/a-korean-odyssey) which is a more modern remake.
Does absolutely no justice to the old animated cartoon from back in the day
Super disappointing!
"We are still talking about cars, right?" Right at the moment I was thinking that the conversation sounded an awful lot like it was about iPhones! That was pretty great. But oh, the kerning of "first" on that pamphlet… Ew.
Apropos of having Eda stop at a pharmacy on the way back in time, when does that place Misako's purchase? It was probably small enough that she paid cash, but would the transaction timestamp show her buying something while she was provably somewhere else if she used a card?
Naito really struck me in certain scenes as a Japanese version of Marcus Kane (Henry Ian Cusick, The 100), for some reason. There was something about his facial structure & hairstyle that connected the two in my head.
Nice to see Eda-san is a good salesman, equally willing to dissuade his customer from purchasing as he is to encourage it if he believes the purchase wouldn't be in their best interest. That's true customer service!
He also keeps getting more creative with trying to make the time travel experience feel more special. Each time Eda comes up with another idea to try and make the whole experience feel properly commercial, it gets funnier. This latest thing with the safety video is hilarious, as thought he's trying to make it feel like an airplane.
I do wonder whether the restriction Eda mentioned—that the driver of the taxi can only repeat their previous actions, without changing them—is a regulation or a physical law. Strictly speaking, is he able to change his actions but forbidden from doing so, or is he bound by universal forces to repeat the same actions regardless of will? It would be an interesting subject to explore, but I doubt the drama will touch on that again in the three remaining episodes.
Average rating based on all episodes: 7.9
This show deserves that and more. It's great in all kinds of little ways. I actually tried to watch the show as slowly as possible to prolong the experience. That there was only one season is such a shame!
Looking back at my ratings, there was only one episode out of the ten that didn't quite live up to expectations. Achieving 90% "Good" or better episodes is an achievement for any show, no matter its genre or country of origin.
The big thing with Time Taxi (also known as Great Selection Taxi in English, or Suteki na Sentaxi in Japanese) is that the individual episodes aren't necessarily meant to be memorable on their own. They all contribute to the experience of the show as a whole, building on what's come before to enhance (or twist) the overall effect.
Eda-san's incremental attempts to "enhance" the time-slip experience are hilarious. They get more and more ridiculous as the season progresses, and it's all because he's driving the latest Sentaxi model that eliminated the time-slip noise from the previous generations.
I also really liked how we gradually got to know more about the other characters that hang around at Café Choice. The show didn't try to introduce everyone right at the beginning. We found out who was who at the appropriate moments.
Fair warning for certain viewers: There's a considerable amount of "fourth wall" obliteration. If you dislike characters talking directly to the audience, this show will annoy you. Personally, I think breaking the fourth wall is great when done appropriately, and it is so done here. A tongue-in-cheek comedy like this (which it is—a 「ドラマ」or "drama" in Japanese television terms is a type of program, not a story genre) is perfect for that sort of aside.
(Cross-posted from season 1 for visibility, since additional seasons aren't likely to happen.)
Messed me up in the best ways. Unreal film, needs to be watched with zero spoilers to have full impact.
Suddenly there's a plan that Saul gave to Carrie and she played right along with it? Either I haven't been paying nearly as much attention as I thought, or they missed inserting some clue. Unless the clue was Virgil's line about Carrie's mom on the phone, which I took at…well, not exactly face value…but to mean that he was cluing her in that the call was being monitored and she should GTFO. Maybe instead, it was a hint that it was all an operation and to just play along.
Somehow I can't be mad that I feel like I missed something. A show like this can't be obvious all the time—it's about a CIA agent, ffs.
Huh. Y'all can skip this one
Holy shit what a great way to open the season. This episode manages to hit my nerdy blockbuster spots so well.
It also really dissected the toxic parts of our current nerd culture climate. Also it's an episode with a good ending too! Amazingly well-done episode.
Random person: "Do you always get teary eyed on Snapes death scene ?"
Me: "Always..."
With a different cast, this premise could make up for a nice thriller. However, this isn't Capricorn One, and I couldn't shake my sense of disbelief: the cameras and tape recorders they show on frame, are all from different ages (the wrong ones), so is the clothing, vehicles, and the vocabulary is American-contemporary. There are a few sequences that are good, and made me keep watching, but the ending is a complete letdown. One tidbit: the front projection screen technique wasn't first used or developed by Stanley Kubrick. It has been around since 1949 and it was extensively used in the early 60's, so it's unlikely that bright film students (as the protagonist are meant to be) that love international cinema wouldn't be aware of it.
How can I not love a show that does a tribute to one of my fave movies of all time?
The beginning is a hilarious tribute to Ferris Beuler's Day Off. The episode is a bit different than the others since Brian is in the woods throughout.
I see nothing wrong with a change in scenery though.
Shows don't often get more out of me than a nose exhale, but the Ghost reference "Anybody got e pottery wheel?" literally had me laughing out loud, and unexpectedly, so did "Ninja please!" Great episode in my book
The film isn't particularly great but it did build up a sense of mystery... until the end when it explains everything in heavy exposition. A mishmash of genres, Clinical is never quite sure what kind of film it wants to be. Badly in need of therapy.
So much more than a love story in space (lazy critics), this is a visually beautiful space epic. Its Gravity meets Titanic meets Silent Running. Recommended.
"We have no idea how to write a coherent story so we just do another time-skip and be done with it." - Helix Writer's Room
One of the best reality shows on TV
