If you ever needed a lesson in not listening to reviewers and making your own mind up about a movie, this is it. The Suicide Squad is brought to life by David Ayer in this summer blockbuster. It is 2+ hours of hard hitting FUN, with incredible portrayals of comic book favourites. Will Smith IS Deadshot, Margot Robbie IS Harley Quinn, Adewale Akinnuoye-Agbaje IS Killer Croc, Jai Courtney IS Captain Boomerang... and The Joker??? I WANTED MORE!!! Well the biggest compliment I can pay to Jared Leto is that I didn't think about Heath Ledger once, it was a completely different yet interesting portrayal.
In this fun action flick, the bad guys are sent to take down a greater evil. Critics of the big bad in this movie seem to have completely missed the point. The big bad in this movie is merely a plot device, to help us get to see our protagonists form as a team. If anything the real villain of the piece is the one who forms this team of misfits. Amanda Waller is portrayed DIABOLICALLY by the incredible Viola Davis and the part where she turns on and guns down her own employees is SHOCKING . Complaining about the villain in a movie where the protagonists are bad guys is akin to complaining about the villain in Deadpool... THAT'S NOT THE POINT OF THE MOVIE!
This movie leaves you with a thirst for more of these characters, and some shots such as when Will Smith is stood on top of a car and gunning down henchman after henchman after henchman look like they have just been ripped out of a comic book and put on screen by the wonderfully talented David Ayer.
If you are a comic book fan, or a DC movies fan, heck even if you are just an average movie watcher... watch this movie! It is SO MUCH FUN!!!
UPDATE: Just seen the Extended Edition and I really enjoyed the new scenes. This extended version doesn't change the nature of the movie in the way the Ultimate Cut did for BvS but I found it let's the movie breathe a little and solves some of the editing problems people complained about. I still love the theatrical release but my recommendation is to watch the extended version of this movie!
Watching order
Because there are some issues with watching this, here is the order.
Copying from the site in case it ever goes down, but this info came from here: http://thunderpeel2001.blogspot.com/2010/02/battlestar-galactica-viewing-order.html
It's probably more confusing here on trakt, so go to the above linked site for a better layout.
The Miniseries
Night 1
Night 2
Season 1
1.01 33
1.02 Water
1.03 Bastille Day
1.04 Act of Contrition
1.05 You Can't Go Home Again
1.06 Litmus
1.07 Six Degrees of Separation
1.08 Flesh and Bone
1.09 Tigh Me Up, Tigh Me Down
1.10 The Hand of God
1.11 Colonial Day
1.12 Kobol's Last Gleaming, Part I
1.13 Kobol's Last Gleaming, Part II
Season 2
2.01 Scattered
2.02 Valley of Darkness
2.03 Fragged
2.04 Resistance
2.05 The Farm
2.06 Home, Part I
2.07 Home, Part II
2.08 Final Cut
2.09 Flight of the Phoenix
2.10 Pegasus (56 minute extended version)
2.11 Resurrection Ship, Part I
2.12 Resurrection Ship, Part II
2.13 Epiphanies
2.14 Black Market
2.15 Scar
2.16 Sacrifice
2.17 The Captain's Hand
Razor (101 minute extended version - not the 81 minute broadcast version)
Important note: This was originally broadcast just before Season 4, but chronologically it fits here, telling more of the Pegasus's story. Some people argue it's better to watch after Season 3, as originally broadcast, but it makes most sense to watch it here.
The reason that the placement of Razor is a hotly contested issue among BSG fans is because of a bit of dialogue at the very end (in the last 10 minutes) which sets the tone for Season 4 (barely even a spoiler). Everything else in this TV movie is not a spoiler.
So why place it here, and not where it was originally broadcast, if there's any sort of issue? Because, chronologically, the story is set here, and by the time you reach the end of Season 3, the story of Pegasus will feel like ancient history. Indeed, that was the complaint echoed around the internet from fans after Razor originally aired -- it had nothing to do with what was going on in the story at that time.
As a result of this, most fans agree it's better to watch Razor here. In doing so, you'll appreciate the story more and it will have greater emotionally resonance. In short: I highly recommend that you follow my advice and watch it here.
There is one small caveat, however: In order to deal with the above dialogue issue, and so not to unintentionally alter the tone of Season 3, I have two, very specific instructions that I recommend that you follow for your absolute optimum enjoyment.
I will try not to spoil anything with these instructions, so pay attention. You need to press MUTE on your TV (and/or turn off any subtitles) in the following two moments. Both of these moments occur in the last 10 minutes of the story, so you can relax and enjoy the first 90 mins before you need to worry.
Press MUTE when:
and shortly afterwards:
That's it! That's all you have to worry about. Two very small moments, and even if you don't unmute it, it's not a huge spoiler, it just unintentionally alters the tone of Season 3 if you don't, so do try your best to follow my instructions.
2.18 Downloaded
2.19 Lay Down Your Burdens, Part I
2.20 Lay Down Your Burdens, Part II
The Resistance
A 10 episode web-based series bridging seasons 2 and 3. (25 mins.)
Season 3
3.01 Occupation
3.02 Precipice
3.03 Exodus, Part I
3.04 Exodus, Part II
3.05 Collaborators
3.06 Torn
3.07 A Measure of Salvation
3.08 Hero
3.09 Unfinished Business (70 minute extended version - Note: Not included on Region 2 DVDs, but is included on ALL Bluray releases.)
3.10 The Passage
3.11 The Eye of Jupiter
3.12 Rapture
3.13 Taking a Break From All Your Worries
3.14 The Woman King
3.15 A Day in the Life
3.16 Dirty Hands
3.17 Maelstrom
3.18 The Son Also Rises
3.19 Crossroads, Part I
3.20 Crossroads, Part II
Razor: Yes, this again. (Well this is where Razor was originally broadcast, after all.) Remember the last 10 minutes where I told you to MUTE two small moments? Well, guess what, now is when you get to go back and hear what was said. Watch the last 10 minutes of Razor here.
Season 4
4.01 He That Believeth In Me
4.02 Six of One
4.03 The Ties That Bind
4.04 Escape Velocity
4.05 The Road Less Traveled
4.06 Faith
4.07 Guess What's Coming to Dinner?
4.08 Sine Qua Non
4.09 The Hub
4.10 Revelations
Season 4 Continued (aka "Season 4.5" or "The Final Season")
4.11 Sometimes a Great Notion
The Face of the Enemy
A 10 episode web-based series (although it plays together like an intense mini-episode). (36 mins.)
4.12 A Disquiet Follows My Soul (53 minute extended version - only on Bluray releases)
4.13 The Oath
4.14 Blood on the Scales
4.15 No Exit
The Plan (DVD/Bluray movie)
A stand-alone movie that shows (approximately) the first two seasons from the Cylons' perspective. (You finally get to see "The Plan", mentioned all those times in the opening sequence!) Although The Plan was originally released after the show had finished, it is generally agreed that it should be watched here, so that everything is all tied up when you do reach the end.
4.16 Deadlock
4.17 Someone to Watch Over Me
4.18 Islanded In a Stream of Stars (62 minute extended version - only on BluRay releases and Region 1 DVDs)
4.19 Daybreak (150 minute extended version - only on BluRay releases and Region 1 DVDs)
The Plan : This is where this DVD/Bluray movie was originally released (after the show had finished). It seems universally agreed that it's preferable to watch this after No Exit, instead of after you've finished the entire series, but there's no harm in waiting until now.
Then Caprica the series: http://trakt.tv/show/caprica
Nothing to say really besides: that’s how you do it!
This has without a doubt the most impressive stunts of the franchise, and it really knows how to use its characters and challenge them. There’s a lot of propulsive energy, lush cinematography and great editing. Lorne Balfe does a great Hans Zimmer impression, and Chris McQuarrie does a great Chris Nolan impression. Alright maybe I’m oversimplifying there, because I have to commend McQuarrie for doing another stylistic reinvention of the franchise, the cinematography and general feel aren’t just that of Rogue Nation 2.0. I’m not even sure if the constant evolution of this franchise comes from a place of creative ambition or commercial opportunity, but at least it keeps the films fresh. Some of its core elements will always remain the same, however. For example, the plot’s once again just a vehicle for all the juicy stuff. You could call it out for being generic or basic, but they find so much creativity and fun in these tropes that it becomes very entertaining (intrigue, the mask sequences, the craziness and constantly rising intensity). Sure, there’s a very predictable twist at the end of the second act, but more often than not, it managed to surprise me. Henry Cavill is a great new addition, bringing back Rebecca Ferguson was the best choice they could’ve made, and Pegg & Rhames remain the reliable anchors that add some heart & humour. It’s all exceptional stuff, it could very well go down as the best action franchise in history if the next films stick the landing.
9/10
This year, like every year before, the cruel and mighty gods of television descended to Earth to feast on the poorly-rated or otherwise unfortunate shows and banish them to eternity of damnation in the land of cancellation. As they made their way from network to network, shows old and new, dramas and comedies alike cowered in fear, uncertain of their fate. Only those few that had already been blessed with a renewal stood tall amidst the chaos and bloodshed.
At last, the gods knocked on the door of a small cottage on the outskirts of ABC, ready to devour another victim. Agents of SHIELD opened, a wicked grin on its face and a cup of wine in its hand, looked the gods straight in the eyes and said, "Not today, bitches".
In other words, AoS has been officially renewed for a 22-episode season 5, and if you can hear someone screaming outside your window, it's probably me failing to contain my excitement and joy. I've spent the last two months filled with anxiety, and now I feel like I can breathe again. Unfortunately, the show isn't coming back until mid-season because Inhumans are set to air in its timeslot in the fall, and it's moving to Friday at 9 PM, but honestly, I'm not going to complain. I'm just happy we're getting more episodes.
This was a little weird. I don't know why. The pacing was kind of awkward, maybe? Aida's death was a bit underwhelming and I feel like they rushed everything too much. But I still liked it. We got some awesome moments, like Jemma shooting Aida (* Mushu from Mulan voice * My little baby, off to destroy people), YoYo being ready to die with Mack in the Framework (if you're suffering and you know it, clap your hands), Daisy's speech at the end (she's shaping up to be a great leader). Overall, they wrapped up all loose ends, Aida's a pile of ash, the Darkhold is gone, Radcliffe's dead (that was a pretty amazing scene too, I can't believe they just cut him off in the middle of his big speech, what even). Daisy and Robbie had a major case of heart eyes going on and I really hope he returns next season. The whole team together in the diner was cute as well. And I guess the US government was so fed up with SHIELD that they just fucking launched them into space. I'm totally down for it. I can't wait for all the inevitable references to Guardians of the Galaxy.
Oh, and a round of applause for Mallory Jansen and John Hannah. I wish them both all the best. Their performances were incredible and they contributed to making this season great.
Well, that's it for now. See you all whenever season 5 premieres!
Another great episode. Probably one of my favourites of the entire show, to be honest.
I couldn't stop cracking up for the first 5 minutes. The scene with The Machine experiencing a facial recognition error was shown at New York Comic Con last October. I watched it on YouTube months ago, and I thought it was pure gold, but I was sure it was just a fun, little bonus. I never expected it to be an actual scene from an actual episode, but I'm so glad it is. The cast's impressions of each other were hilarious. Amy Acker's Reese and Finch were particularly on point. We also got Root in bunny slippers and her and Finch redecorating the subway. It was nice to have some happy stuff before things got serious again.
The Machine going crazy was really sad for me, especially when Harold realised that she was suffering, reliving her deaths over and over. His speech about things not being black and white and about people doing their best really touched me. Harold was a different man when he created The Machine, and since then he's had to learn that good and bad aren't always mutually exclusive, which is exactly what The Machine needed to understand in this episode. I love how they draw parallels between The Machine and her human agents.
How great is the relationship between Root and Harold? They've come so far. She kidnapped him when they first met, and now they're working together, fighting against Samaritan together, living together, and he's willing to sacrifice The Machine if he has to choose between her and Root? I'm in tears. And Bear likes Root too!
Of course that random guy we saw in the middle of the episode wasn't random. I really should've seen it coming.
The ending was amazing as well. Team Machine on a picnic? That's some fanfiction shit right there, and I love it. I know it won't last, but they deserve some peace and quiet every once in a while.
Far and away the best episode Agents of Shield has ever produced. The only episode that can give it a run for its money is last season's spotlight episode on how May earned her nickname. There's a lesson there -- centering an episode on an individual story, particularly one that centers around one of the better actors in the cast, gives the show a focus that is often lacking when trying to juggle multiple intersecting plotlines at once.
This was a hell of a showcase for Elizabeth Henstridge. The production design team helped. (Production design as a plus in 'Agents of Shield"? I"m as surprised as you are.) The blue tint was a cheap way to sell the alienness of the world, but it totally worked, and the dessert topography really sold the desolateness of the environment and contributed to the sense of hopelessness in that world.
But Henstridge is what made the episode work. She sold the isolation, the small moments of crestfallen loneliness and discouragement, the little joys of success and friendship, the simple humanity of a survival story. Her burp, her wistfulness when she says "My dad would like you," and her conversations with an imaginary Fitz (a nice nod toward Fitz doing the same routine last season) all made her feel like a three-dimensional person in an extreme situation. There's a sense that this is Marvel's take on 'Castaway' or even 'Last Man on Earth', and doing this kind of laser-focused narrative requires a lot of the actors involved. These types of stories are, by necessity, character pieces; Henstridge was more than up to the challenge, and it deepened my appreciation for Simmons.
The actor who played Will was pretty good as well, and while his story could have felt too cliche, it worked in the context of the episode as a whole. Really, this felt like a well-structured science fiction short story as much as it did an episode of an ongoing series, and that's not a knock. Knowing Fitz and Simmons's relationship helped give certain moments more weight and significance, but it could almost work as a standalone piece. That's how strong and self-contained this was.
There was also a legitimate sense of menace from the planet. The zomibe-like astronaut, the tentacle creature, and the dust storms all suggested something frightening and alien about this world. It prompted so many great emotional moments from the two characters stuck on it. Doing an episode like this, so unlike AoS's usual M.O., was something of a gamble, but it paid off like gangbusters here.
I'm very pleased to say that I really loved this! As much as I enjoyed the premiere, it didn't fully feel like a Doctor Who episode to me. This one, however, absolutely did. I think it captured the essence of the show perfectly.
Something that Chibnall does very skillfully is create an engaging mystery that really draws you in. I was on the edge of my seat for a big part of the episode, waiting to find out what happened to the population of the planet. And what do you know, it looks like the Stenza are going to be a recurring theme this season! I'm curious to see how that will play out. And what - or who - could the timeless child be?
One of the strongest points of this season is the cinematography. Some of the wide shots that we got in this episode looked like they belonged in a Star Wars movie. And the music is excellent as well. It's kind of subtler than what I've gotten used to with Doctor Who, but it's lovely. The new composer is doing a great job.
Another strong point is obviously the acting. While I do think that Jodie, just like every Doctor, will need a few episodes to fully come into her own, I love everything she's given us so far. The quick wit, the quirks, the boundless energy, the enthusiasm and the charm that she brings to the role - it's all exactly right. And I'll be honest, the emotional moments in this episode really got me. Her face when she saw the hologram of the Ghost Monument and realized it was the TARDIS! And the reunion was so soft and gentle and wonderful! I actually cried happy tears when she said "You've done yourself up! Very nice". I adore Thirteen. And the companions are growing on me too. I like the interactions between the three of them and the Doctor. I can't wait to see these individual dynamics develop over the course of the season.
The opening credits are awesome. I've never seen the classic series, but the theme has a very retro vibe to it and I like the color scheme. It looks like a kaleidoscope. I dig it.
And finally, the TARDIS! She's redecorated all right! The interior looks more organic, kind of like Nine's and Ten's were. I liked the sleek, mechanical designs of the Moffat era, but this one is so appropriately alien. The biscuit dispenser is a cute little touch, especially considering that they put it there as a gift to Jodie and packed it with her favorite custard creams.
Overall, I thought this was a really great episode. Now that we have the TARDIS back, I'm excited to see what adventures await us.
To be honest, I'm not really feeling this whole story arc. I don't know, maybe it's just Teen Wolf fatigue (I think we can all agree that the show is long past its season 3 prime). But season 6B has mostly pissed me off so far. The idea that the citizens of Beacon Hills find out about the supernatural and rise up against them is so annoying. If I were Scott, I'd be like "LOL, bye, you bunch of ungrateful bitches, hope you'll enjoy dying at the hands of the next monster that comes along without me here to stop it" and get the fuck out of there. And don't even get me started on other issues, like: why the fuck did they decide to introduce all those new kids like Nolan and Sydney? I couldn't care less about them. Why are they bringing back old characters at the last possible minute? Also, the fact that Gerard is the main villain again bores me. Scott should've killed that old geezer a long time ago. Lastly, I know Dylan O'Brien is like famous now and doing big movies (which he totally deserves, but that's not the point), but leaving the show just before the finish line kind of feels like a dick move. Stiles has been such an integral part of this thing since day one. It's not the same without him. Plus, as a Stydia shipper, I feel absolutely robbed. They just got together, for fuck's sake. And while I do enjoy Scott and Malia (definitely the highlight of season 6B), the rest is just a big mess, which will probably leave a bad taste in my mouth long after the show ends. But alas, one more to go.
ominous chanting: CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT CAT
I can't believe this. Catherine Jane Grant came back and single-handedly saved this show. I've missed her humor. I've missed her inspirational speeches. I've missed her being a mentor to Kara and guiding her. What I wouldn't give for her to be a regular again.
Good episode overall. I liked the whole team working together (we really should get more of that next season and less of whatever the hell we got in most of this year's episodes). I'm slowly realizing that I kind of hate season 2. Yeah, okay, it's had its share of good or even great episodes, it introduced Maggie and Lena, and Alex's coming out storyline was spectacular. But it also murdered Kara's character development and focused too much on Mon-El (he had the third largest amount of screentime this season, only behind Kara and Alex, and he got more screentime than Maggie and James COMBINED) and his shitty, toxic relationship with Kara. But what did I expect, really? This is the CW. They love their arrogant selfish white boys and hate their female protagonists. I don't know why I thought they'd treat Kara with respect and allow her to grow. And the sad thing is, I will keep watching because I still care too much about some of the characters.
Can Rhea just fucking die already? And Lillian Luthor too? Honestly, they should just lock them up in a room together and let them kill each other.
Well, Superman is here. Looks like we're getting a Super fight next episode. I can already see all the property damage.
The writers of Mixology set themselves up with a fantastic premise (and a series deadline) from the get-go. One night, one bar, one group of friends, 13 episodes. It almost sounds impossible, doesn't it? Yet Mixology comes out with flying colors and a sting in my heart that makes me want more, much more of this show, despite knowing that there isn't a way in which Mixology could live on, story-wise.
Adorkable Tom, confident Maya, sexy Ron, friendly Cal, Dominic the player, smart Jessica, innocent Liv, cute Kacey, and the brilliant brilliant brilliant (yes, thrice) Bruce, make up this group of friends and strangers. Each episode focuses on one particular relationship, while gravitating around others, setting them up for the next instalment.
Some pairings don't make sense at first, leading you to question the sanity of the two characters involved, but they either dwindle inevitably like you expected them to or move forward in a weird and enchanting way that forces you to reconsider your stance.
Mixology is light and funny, without a single weak link, but with many strong ones that elicit different feelings. You'll root for Tom, fall for Ron, want to slap some sense into Liv, admire Maya, and enjoy every single one of the other characters. You'll enjoy Bruce's comedic relief, his theories, the names he has for every single situation or action.
The show keeps you on your toes, wondering where things will really head, who will end up with whom and how. It's a mating game, but despite the original goal being simple pleasure, Mixology turns out to be more about humanity, friendships, love, and connection. The final resolution is satisfying and true to each character's nature.
If only there was a way to have more, more Mixes and more Ologies!
first, since the show never gives any kind of message in this way: for anyone who's ambivalent to or already has negative opinions or therapy, please know that finding a safe, ethical therapist who knows just how important the doctor-patient relationship truly is can be difficult but is also highly rewarding. i've been in therapy a number of years and during stressful times i may go once a week, while most of the time i'm happy to go every month or two months. i take medication for anxiety and obsessive-compulsive disorder but therapy is what gave me the ability to actually live and thrive—medication was also necessary, but simply allows me to function. the shrink next door and the real events behind it are horrifying, but trust me when i say that they are not representative of all therapy, and that if you ever think you might need to talk to a professional, to please look into your options. it's not just for people who have mental illnesses and it's not just for people with trauma. everyone, truly, can benefit from it.
onto the review:
not a terrible watch, but i do think the investigative podcast into the story was the right format for this kind of thing. it wasn't enjoyable to watch as a piece of entertainment. it's very sad and disappointing, much like the real story is.
i will say that the end, with the epilogue text, was my least favorite aspect of the series. ending on the note "marty has never returned to therapy" is troubling—i don't expect the man to ever feel safe doing so. but the message isn't a clear one. you can't tell whether they're saying this because they want you to be mistrustful of therapeutic processes or because they want to illustrate the damage that can be done by an unethical therapist. that lack of clarity is irresponsible, as people can be put off of the idea of therapy very easily, despite it being an incredibly valuable and important tool. it seems a little silly to say, but i think that this show would have benefited from the pre or post credit call to action that a lot of netflix shows have implemented regarding traumatic subject matter. even as someone who has a very positive relationship with therapy, watching this (and listening to the podcast) was difficult.
i don't know what to say, other than i love this goddamn movie. i can truly say that my experience was enhanced by the fact that i'm not straight, as i definitely feel like this was a movie made for people who are struggling/have struggled with coming out. that's not to say it can't be enjoyed by a wide demographic of people (as it obviously can and has been), but i definitely feel like they got the "gay high school experience" down to a t in a way that it makes it all the more enjoyable if you've been through it. all of simon's mannerisms are incredibly relatable, and the dialogue is especially touching and well written (i cried buckets). their tagline, "everyone deserves a great love story" pretty much sums up my feelings, and not to be dramatic (too late), but it's a rom-com that i can really connect with on a deeper level and for that i'm grateful.
in addition to literally everybody, i encourage any lgbt+ people to see this if you're struggling with your identity or the fear of what others will think, or even the fear that you'll never find anybody to love or that loves you. this is truly a movie that you watch and think, "this guy gets it".
Flipping through channels, this caught my attention even though I knew I never wanted to watch this version or Wes Craven's original. The assault and revenge subject matter is about the least appealing thing I can imagine watching. Give me malevolent aliens from space, marauding monsters from middle Earth or supernatural beings bent on haunting innocents anytime. But movies that feature such person-on-person cruelty are nothing I am interested in seeing. Inexplicably though, I watched this 2009 remake from start to finish.
Who is the audience for this? The assault of the young woman is horrible. The revenge of the woman's parents on the assaulters is over-the-top. Ask yourself...why would they shove one of the bad guy's hands in a garbage disposal before they slam him in the top of the head with a claw hammer?!? Later, the father (who's a doctor) surgically paralyzes one of the other scumbags and then puts his head in a microwave until it explodes. I don't know why a person would take revenge so "creatively". It changes the mood of the movie from disgust against the assaulters to clouding the motivations of the parents beyond the revenge of their daughter.
I'm starting to question myself actually. Why I would spend anytime with this sort of movie at all? And worse, I believe I've seen movies with even more senseless violence. Not pleased with myself for sitting through this.
Wow, seriously? Revealing that Superman & Lois is not set on Earth-Prime and they are not connected at all to the Superman & Lois from the old Earth-38 only at the Season 2 finale?
I don't know about other fans but I strongly prefer this was revealed in Season 1 instead of toying your fans around. That was very disappointing and deceptive … and that too late of a revelation and at the wrong time as well, killed two entire seasons.
At this point, you have to convince me (and maybe other people too) why I should watch Season 3. I want to continue watching but the way you approached the revelation was too devastating. It is understandable why it ended this way but again, it's better if it was revealed early in Season 1. You know, setting expectations. Because if our expectations are not correct and the shoe drops, the whole thing turns into … na da. That's like watching 10 seasons of a show only to have it end where the character woke up and it was all just a ****** dream.
Wow … seriously. Sorry for the actors, you did great but your show runner did not.
Very interesting start, a good setup, having the main character as a psychologist is quite a change for a scifi/alien movie, the creature looks great and original, the fx are pretty good level. There seems to be all the ingredients for a great movie.
However, once you're past the revelation of what's actually happening, it's completely fucked up by the fact that not a single action by any character makes any sense. It's completely ridiculous, and the only thing in your mind for the second half of the movie is "What ? Why the fuck are you doing this ? Are you insane ?"
For starters, yeah the choice of a psychologist is interesting, and makes total sense with the setup of the story. However, once you know what is going on for real, that's utterly stupid. What is she going to do ? Talk the creature into getting out of the body ? And how are either of them going to survive ? In Arrival,they had linguists, that was original, and it made sense. Here less, but it would still make more sense than a psychologist. A biologist ? A chemist ? A zoologist ? A specialist on parasitism or symbiosis ? That would have helped.
Then there's the stupid addition of a useless love story. She's a top qualified psychologist, and yet after 3 days and 2 discussions, she just fall madly in love with her patient (emphasis on the madly given what she does after that) ?
Then there's the other scientist guy, feeling threatened by her presence even if they are not in the same field and do not have the same job. He doesn't even want to talk to her so they can progress in their work, yet at some point he has a total change of heart and is also willing to die to help them escape ??
Even if these actions already make no sense with nothing in the balance, they are incredibly insane when put in context. So the cosmonaut here is more or less in prison, ok. He is not badly treated, he's basically just not allowed to leave. On the other hand, he's inhabited by an unknown alien creature that goes out of his body without his control and eats humans, maybe that's a good reason to keep him locked in ?
It could be considered cruel that he doesn't know what's happening, but he even reveals that he has been lying since the beginning and is fully aware of it and having memories of the creature's action. Not only the fact that he lies is bad, by doing so he also conceals extremely important information for the study of the creature. It also reveals a very dangerous mindset that should trigger all sorts of red alarms for a psychologist.
So maybe wanting to help him is nice, but to do what ? They want to go to Moscow ? With the creature inside him ? Seriously ? And then what ? Leave the creature be ? Or just hold the guy in a less secured place in the middle of a huge city instead of a military base in the middle of nowhere ? It's even pointed out explicitly that we know nothing of the creature. That it could be just an infant form and the adult could be huge. We don't even know if it could reproduce. Or as it learns to stay out of the host longer and longer, if it would not just leave it at term and leave him to die. The danger is incredibly HUGE and childishly simple to understand. And yet none of these high level scholars seem able to grasp it ?
And what about the actual escape ? They already know his life is in danger when the creature is out. Yet they try it. Knowing fully that a lot of soldiers will be killed. And when she finally realizes he can't live without the creature, instead of doing a U-turn and bringing him back to the creature, she just stops the car, and even gets him out of it, what ? trying to get to Moscow by foot ? What the actual fuck ???
There are also included unrelated scenes with the kid, meant to make believe that's the guy's kid when it's actually her as a kid. These serves absolutely no purpose in the story, or character development. There are just here for the "fool you, that was not what you though it was", but they are totally useless.
So great start, good concept, great realization, good fx, great actors, but shitty movie that really turns into irritatingly stupid nonsense.
So much to enjoy here. It feels like the show has found its groove, and if the rest of the season is going to be like this then we are really in for a treat.
[8.5/10] What I like about speculative fiction and other imaginative stories is that so often, they’re better at getting to the human condition than their down-to-earth brethren. The Good Place is a high concept story about people trapped in the afterlife with champagne-bringing ants and magically appearing and exploding motorcycles and impossible spa days. But it’s also about self-improvement and feeling useful and dealing with complicated, sometimes unfair emotions, something this series can capture in a way that’s much harder without the sort of bizarre setups at play.
That’s why my favorite story in this one is Eleanor’s. I found myself spending much of the episode asking -- why is Eleanor so dead set on stressing out Chidi. It seemed to come from a good place (no pun intended) of believing that he needs to be put into pressure-filled situations to bring out the best and most “help your fellow man” ethical in him, but she seemed to be going overboard for reasons that were opaque to me.
The episode lays it out explicitly -- she did it because she’s angry at Chidi, angry at him for leaving her and getting to enjoy this blissful new life in paradise, even though she knows he did it for a good reason and that the current bliss is not his fault. But not only is she dealing with these complex emotions; she’s had the person who she would go to deal with them ripped away from her, which just makes her all the more frustrated, on top of her guilt for feeling that way. It’s a complicated cocktail of conflicted feelings, one that are so achingly human, and hard to articulate without the handles of mind-wipes and out there magical scenarios.
But they’re also somehow truer and more affecting that way. The turn in the episode is Eleanor breaking down when she realizes what she’s putting the man she loves through. It’s a great performance from Kristen Bell, and it’s what help makes her sympathetic here. It ends in a great pep talk from Michael, one of understanding and empathy, and it ultimately helps us understand Eleanor, and what she’s going through as a person, much better. Truly great.
On top of that, it’s just a funny episode. Chidi and Jason is a pairing we don’t get especially often, and so the dynamic of Jason’s general recklessness and impulsiveness mixed with Chidi’s usual anxiety and cautiousness leads to a lot of great comedy between the two. Chidi trying to cover for and restrain Jason is a laugh every time. And Jason by himself is superb here, between his thinking every time someone needs his help, it must be to open a jar, and his repeat motorcycle explosion.
But the B-story is nearly as good. I like Tahani’s plot and epiphany here especially. Her efforts to ply John with the exclusive celebrity treatment he was denied in life make for some amusing back and forth between them. But when she tries to turn their friendship and pivot toward self-improvement, he’s resistant. The great thing about that is 1. John has an unexpectedly legitimate point that while she was living it up with fortune and fame, he worked his behind off (albeit in a kind of shady industry) to build something on his own, and 2. Tahani is right that despite being on opposite ends of the spectrum, they were both made unhappy by their obsession with fame and exclusivity.
The result is a little tidy, but I like Tahani reaching John through her understanding that obsession with status leaves you lonely and unfulfilled. And while it’s a little convenient, that being the thing that spurs John to apologize for his mean comments is a nice touch. Plus I love Janet as Tahani’s supportive girlfriend.
Overall, this is The Good Place at its best, taking the fantastical and ridiculous and finding the real, human truth underneath it, that’s harder to uncover in more staid circumstances.
Gotta aplaud the genius marketing move by Netflx but the movie itself is pretty meh and most likely would have bombed in theaters (especially without the Cloverfield branding).
Looking at it as a standalone movie it's a standard and generic space station horror movie verging on being bad with really badly written dialogue.
But I really like how it ties together (altough rather loosely) the other two Cloverfield movies (who I think were both absolutely fantastic) and sets up future installments with unlimited story options (I hope they stay with the monster angle tough. The fourth and upcoming 'Overlord' heavily hints at somethin supernatural a la demons involved). Altough it very much feels like they made (or bought) a standard sci-fi movie and just slapped on everything Cloverfield related with reshoots.
So if you want to watch a simple standalone sci-fi movie you can just skip this one unless you're a big sci-fi fan as it does have decent actor performances, great CGI and cinematography but wonky writing.
But if you're like me and have been reading countless forums and theories about the Cloverfield monsters and aliens and their origins then definitely watch this. But be prepared to leave with more questions than you came in with (as was almost to be expected with JJ involved).
Oh, it's so good to finally know what happened to Fitz. And I squealed with joy when I saw Hunter again. It's been so long! I've missed my dumb English son. It's absolutely hilarious to me that Fitz managed to communicate with him by insulting his favorite soccer team in a magazine. I guess it's canon that at some point in the past they decided it would be their emergency line of communication. It's so British. I'm a little disappointed Bobbi wasn't there as well, but I guess Adrianne is too busy these days working on The Orville. Good for her, she deserves it. I still miss Agent Morse though.
I'm not saying Fitz telling those military guys "They were abducted by aliens" should become a meme, but... oh wait, that's exactly what I'm saying.
I feel so bad for Polly. First she lost her husband because of his Terrigenesis, now her daughter is practically out of her reach as well. Also, I can't believe that they brought this seemingly random family from season 3 for this episode.
Enoch observing humanity for 30,000 years kind of reminds me of those creepy bald dudes on Fringe.
So if I understand correctly, Lance and Bobbi spent the rest of their lives knowing the world was going to end. Did they survive it? Did they die in the Lighthouse? Thinking about it breaks my heart.
That little Han/Leia moment with Fitz and Hunter made me cackle and warmed my heart at the same time. This is such an underappreciated brOTP.
I can't wait for the next episode. It's a shame that we have to wait two weeks for it. Oh well. Happy Holidays, I guess?
[8.1/10] Most of us have someone we would do almost anything for, a person who is so vital and important to our lives and our well-being that we would make any sacrifice to save or keep them. Thankfully, when you’re not a secret agent in a comic book universe, those sorts of sacrifices tend to be fairly prosaic. But when you’re an Agent of Shield, they mean turning a gun on an old man, nearly freezing to death on a superjet, or choosing to stay in a digital reality rather than a real one.
These are the sorts of unusual choices our heroes are forced to make in an episode that provides a major turning point in the “Agents of Hydra” arc that has, so far, proved to be one of the show’s best ever. When Daisy uncovers a “back door” to send anyone in the Framework back to the real world (assuming they have a body in the real world to go back to), a number of big decisions have to be made about who goes through it, and how willing and able they are to do so.
But “Farewell, Cruel World” also gives us our first look at Yo-Yo and company since they helped strap Daisy and Simmons into the Framework. I’ll admit, it’s not always the best-acted series of scenes, but the adventures of the Shield B-team serves two purposes.
The first is that it adds a sense of urgency to our heroes escaping from The Framework. The Shield jet needs to refuel, the people flying it are freezing, and Ivanoff is liable to attack at any minute once the cloaking goes down. That means it’s all the more vital that Daisy and Simmons complete their mission before it’s too late.
But more than that, it shows that there’s something in the real world for the good guys, especially Mack, to come back to. Yo-Yo is willing to put her life on the line to save her friends, particularly the man she loves, and it makes his decision at the end of the episode all the more poignant.
Yo-Yo’s not the only one in the episode willing to go to extremes for the man she loves. Simmons gets pretty hardcore when she discovers that Fitz’s dad (who we learn is named Alistair) is alive and shows up to FitzDad’s house brandishing a gun, in the hope that a hostage situation will get Fitz to talk to her. I love when Agents of Shield let’s Simmons be a badass like this. There’s a great quality they’ve shown in both sides of FitzSimmons that, for the most part, they’re still better as lab techs than they are as field agents, but that when one or the other is threatened, they find their inner hero and go to work.
Of course, things go more than a bit awry. FitzDad tells his son “the fugitive” is in his house rather than play along. In a hilarious moment he throws a phone at Simmons, and in the ensuing scuffle, Simmons shoots Alistair. Meanwhile, Radcliffe has become a turncoat at the promise that Aida’s new organic body machine could be used for him as well, and he agrees to take Fitz to the backdoor to stop the good guys.
It leads to a harrowing moment where Simmons faces Fitz and tells him to snap out of it, that she loves him. Fitz’s response is to put a gun to her head and declare that she means nothing to him, that he is there to take vengeance on the person who killed the man who’s always been there for him. It is an unnerving scene, with the tension only broken by Radcliffe revealing that it was all a feint on his part, and that his cooperation was a ruse to get Fitz to the backdoor, and he makes good on his intentions to send “The Doctor” back to the real world whether he wants to or not.
It’s a striking story because of its effect on the four characters at the center of it. Whatever his other faults, Alistair is willing to put his life on the line to further his son’s ends. Simmons will take a hostage, face down a bullet, just for the chance to plead to the most important person in her life to wake up. Radcliffe will likewise put himself in harms way to save Fitz, and tells Fitz that this was all Radcliffe’s own fault, not his, showing a similar fatherly affection. And Fitz himself wakes up, aghast at the blood on his hands, both real and digital, shed in the name of his affection for “Ophelia,” and cannot help but wonder if he his a bad person. It is a charged series of scenes, one that shows how those sorts of strong feelings pull people in the same direction, albeit to different ends.
(Oh, and there’s a subplot about Coulson convincing May to take a “leap of faith” that’s pretty undercooked, but gets by well enough on the chemistry between the actors and the sense that they too have a connection that persists in any universe.)
Still, the most affecting moment in the episode belongs to Mack. When Daisy figures out how to quake the portal to the real world open, she herds her compatriots in one at a time. (And she quietly explains to Trip that it’s not a place where he can follow – and Trip’s humorous asides about everything not only make me wish he could come back, but that he would have never left.) But Mack refuses, even after Coulson’s trip through the wormhole reveals that they’re living in a world of pixels.
He refuses because this is where his daughter lives. Because whatever substance this reality is made of, it’s the one where there is a little girl whom he loves with all of his heart. Henry Simmons sells the hell out of the moment, both the shock of the reveal that this really is a place of ones and zeroes, but the emotional turmoil at the prospect of leaving young Hope behind. He won’t do it. He can’t do it. And as much as that pains Daisy, as much as she tears up and tells him there’s people on the other side who love him very much, she understands.
(As an aside, I’ll bet you dollars to donuts that they find a way to bring Hope to the real world using Aida’s crazy body-making machine.)
She has to understand. If there’s one thing that the characters of Agents of Shield have done, through good stories and bad, it’s put themselves on the line for the people they love. If you love someone, the notion of abandoning them, even with questions as to what’s real, is unthinkable. Mack will stay where Hope is. Yo-Yo will fly freezing in vulnerable in the hopes that he’ll return. And Simmons will face a brutal version of the man she loves to try to get him to snap out of it. It’s a powerful idea as our heroes return to the real world, reeling from what they saw, what they were, in the artificial one.
(Oh yeah, and Aida can teleport people now…so that’s a thing. More Darkhold powers? Matrix within a matrix? Scooby Doo villain-esque trick? Who knows!)
I enjoyed this movie. It's subtle. I found it to be beautiful and thought provoking. How does one deal with waking up to find that they and their lover are the only two people left in the world? There comes a time in many young people’s lives when they begin to question the meaning of life and their place in the world as they attempt to reconcile their religious upbringing with the reality of the world. This can be a very stressful time both emotionally and psychologically resulting in a possible existential crisis. The young man, Riley, has apparently previously dealt with such matters as he takes a somewhat surprisingly Zen-like approach to their situation thus avoiding such crisis or perhaps he is just not given to such thoughts. After all, why spend time contemplating things for which there are no answers? Unfortunately for the young woman, Jenai, finding themselves in the most bizarre and inexplicable situation imaginable seems to bring her to question, quite possibly for the first time, God’s will, even the very existence of God, and the validity of everything she’s been taught. We watch her struggle with a deep existential crisis for which their present situation obviously only exacerbates. Riley loves the stark beauty of Iceland and seems genuinely content to live out his days there. Jenai, on the other hand, appears to feel trapped as they are now essentially stranded in a strange land far from home (they appear to be American). She misses her home, her family, and her book that she describes as more of a log book than a journal. Riley makes constant attempts to help Jenai through her crisis. He attempts to show her the beauty of their new world and how they can have a wonderful life there together. "We have the world at our feet." They stop at a random cabin on a lake in the woods for a relaxing retreat outside the city. There they come across an old man who has gone without food and water for too long. He had gone there to die. They, of course, give him food and water and share his cabin with him that evening. Jenai discusses the philosophical issues of their situation with him by the fire in the hearth. The old man passes away in his sleep and is found dead in the morning. Surely if there is one then there could be others. They make a renewed search driven by Jenai but find no one else. Electricity and Internet service is still available. Jenai holds on to hope that there is someone back at home. She keeps her computer on and monitors it daily for any messages or other signs of humanity out there. As Riley makes continued attempts to help Jenai come to accept their situation, she seems to improve, but then when a message notification sounds on her computer, it apparently becomes 'the straw that broke the camel’s back'. In this movie, as in life, there are no answers. Perhaps it is best to accept things as they come rather than try to reason in vain as to why.
I liked it better when the four DC shows aired on four different nights, but whatever. I guess the people at the CW wanted to boost the ratings by airing Legends after The Flash.
I can't believe that they made an episode about the Legends trying to convince George Lucas to become a movie director. That is so wild. I love it. And there were so many awesome references to Star Wars, like "You're our only hope" and the trash compactor.
Rip forgot who he is and to be honest, I hope he won't remember anytime soon. I like the team as it is.
Every now and again I randomly remember that Arthur Darvill played Rory Williams on Doctor Who. Apparently, he was destined to play characters travelling through time and space on a ship.
It was such a small moment, but I love the trope of a super intense scene with people running or fighting cutting to a shot of someone riding in an elevator with soft music in the background. It always makes me laugh, no matter how many times I've seen it.
"- I have an idea.
- So this would be a new milestone for you then."
Professor Stein went in and took no prisoners, huh? How did Mick manage to recover from such a savage burn?
While the first Horrible Bosses was a breath of fresh air, this one is more of a breath of air from the city dump. The plot is muddled and not fully coherent. It could have definitely used a few more revisions to even out the rough spots. It has what I like to call "The Hangover Syndrome". Where Hollywood finds a formula that works and the drives that formula into the ground while making as much money as possible. It simply feels like a rehashing of the original with a few tweaks, in order to try to differentiate itself enough to justify making another movie. The comedy isn't anything sharp or new, and isn't funny enough to distract you from the horrible story. If you're going to make a sequel with a similar plot than your comedy needs to be even better than the original. The original cast is fine, and seem to have a good comedic chemistry together. Jennifer Aniston's character felt more like a cameo, along with Kevin Spacey and Jamie Foxx; which is a disappointment considering the great job they did in the last movie. Now for the newcomers. This is possibly my least favorite character that Chris Pines has ever played. He's not comedic at all, and his character gets increasingly annoying over the span of the movie. Christopher Waltz did alright, but his role was very minor. It was great to see a cameo from Keegan-Michael Key, but again it was a very minor role. In conclusion, sequels are almost never good and this one definitely fits the bill. Skip it at all costs.
Imteresting start for season 2. Now on an island.
(via TV Blaze for WP)
