Docma

Gonna appreciate this show's commitment to utter madness with how bizarre the development of this storylines are and being so unapologetically bleak when it comes to this sort of big dramatic showdowns.
Here, embodying how we consume superheroes through a mass media reveal of the old glories translating into almost apocalyptic nonsense that is in line with the new wave of introspective and grim “superheroism” narrative of the last years.

The simplest argument to defeat a moral nihilist is to fucking kill them.

There’s no happy ending. Even after the case is close, there’s sense of relief and despair that doesn’t cut the other in anyway. The police will always terrorize the black community, and the legal system will find always ways to continue these atrocities.
But history is marching and while spaces like Mangrove existed, there will always be a community that will extend his arms to fight for their rights.

Nothingness itself. Also, good Lord, Robert Rodriguez is such a terrible director. No gravitas, just pure quick cut and lazy stage. Occasionally there will be a wide shot, but there’s so little grace here in regard to this naturalistic landscape in contrast to the more exotic place of this galaxy and so little difference in the way it approaches them that there’s little to no rhythm.

Makes the 9/11 parallels of Zack Snyder’s Man Of Steel look less exploitative.

Starts interesting only to give up, try to fix some flaws in the third and fourth season yet still fall in pure neoliberalist garbage. The best thing will always be Korra's trying to piece herself after years of isolation and finding balance with herself. Everything else, especially the romance subplots, is a failure.
Watch this video (and the others from the series by the same user) for a more concrete opinion: https://youtu.be/ModX151Ipgs

Even at this stage of his career, Rian Johnson was already collecting a lot of backlash because of his idiosyncrasies. Wasting the time of the audience to make an art piece about the mortality of a deranged man and his relationship with his student based in the worst aspects of the American Dream. Fascinating.

The combination of Claire Denis and Barry Jenkins that I didn’t know McQueen had inside this whole time. Completely abandons the oppressive nature of his previous works (Hunger, 12 Years as Slave, Mangrove) for something more free of narrative all together. In some aspects, it wants us to embrace the party not only as a study of bodies in motion, but as extension of actual protest that we never see. Sexism, discrimination, cultural heritage, all of its there, but its so hidden in the background that you understand why McQueen choose this as the second episode. After the tour de force of Mangrove, it’s necessary that these spaces are worthy to be preserved and remember, because they are the reason why this community has survived even the worst of nightmares presented by a society that marginalized them constantly.
The dance scene with Kung Fu Fighting in the background is one of the most tender and beautiful moments of the year, and a prove that the man that has created such angry films is capable of something so small yet potent in equal manners.

I think i know what are my problems with Sam Levinson as a director and screenwriter: he doesn't have faith in the material that he has in hands.
He can't just leat a scene play straight. He needs to move the camera to get the attention of the audience, make a transition that makes little to no sense to what is happening on screen or go to exploitative points to speak about the hedonistic nature of its characters and be call realistic by critics and audiences alike.
For one inspiring choice that he makes, there are other 5 that are just impossible for me to tolerate.

The equivalent to the episode Fly from Breaking Bad.

Looking at two characters representation of slow moral decay, while playing within one location to show a bigger and sad picture of their reality.
We really are watching Saul Goodman being born, and he seems more stupid and tragically inevitable. A product of the American Dream.

Fuck the establishment, fuck da police.

Never being this hyped for a superhero show in a long time that the simple idea of building towards this being one of the most provocative hours of tv becomes sidelined for uniting every single narrative thread of The Boys into a ticking bomb where every single character has completely destroy the status quo of the show to such an extreme degree while managing to create a satisfying, even in itself quite ironic view of, superhero showdown where the bare essentials of fragile urge of masculine hierarchical dominance unites psychosexual frivolity, contemporary racial performative activism and post-9/11 disillusionment.

A character cries about the death of his family thanks to the police state perpetrated by the symbol of America only to find himself into a superhero orgy followed by a literal massacre perpetrated by said symbol the next scene.
That’s the embodiment of this show.

Nate is a superhero villain. Anyone calling this shit realistic is insane.

Not surprising that the best episode of this season are the one not directed by Levinson and that actually plays well with the contradictions in which his characters are place, more or less asking what their agency means in regard to how the authorities handle the abuse of someone who doesn’t know she’s abuse and the gender dynamics of these relationships. It’s not good, but having a woman direct these last two episodes really give Levinson’s material a room to breath that he’s incapable to bring in the others.

Better gay representation than Love, Simon.

Not gonna comeback for the second season.
Very simplistic, tries so hard to say anything regarding this context, but fails in the process.
By this point and after seen how awful TROS was, I’m gonna look aside to any future Star Wars media (for now).

Two former traditionalists’ journey through trauma and the bias of the old times being destroyed in the process. It might never end (hell, episodes and a movie already trade part of that thematic ground), but there’s always something to learn and remember, someone there, and they shouldn’t be left behind.
Finally something meditative after avoiding to speak about both the victim and the abuser.

A combination of the best thematic aspects and the most abstract ones of Inland Empire and Fire Walk With Me, combined with some of the most beautiful mythology that any other show wishes to develop in one episode. Brakhage, Deren, Menken, and probably more artist in one of the most audacious sequences that Lynch has ever pull off. Incredible that this even exist.

“I’m awake”

Like the shot of the gun coming out to see a man desperate to find a way out of his new personal hell, we perceive the absurdity in which Walt and Jesse slowly keep pushing themselves towards. Starting with a sense of normalcy, of manhood and patriarchal structures of American chivalry and the new western where the DEA are the sheriffs and the drug dealers are the new outlaw cowboy, between family boundaries and our own relation with law enforcement with their compliment by the media itself that slowly shows to be nothing, but pure showmanship that will inevitably destroy everyone and everything while capital transpose both a necessity and a way to clean oneself from their own participation in those relations.
In the end, Walt recover something from him, but, as the show will unravel, something is slowly dying inside him.

For now, the entire storyline with the kids is like “what if Jojo Rabbit was actually good and daring?”

Scorsese appears out of nowhere and a character likes Kundun. Good show.

Undeniably, the weakest of the Small Axe's films so far.
Yet, the filmmaking of McQueen is still on point when it comes to portray the community and the alienation of Alex in these black spaces, and the presence of music in this chapter makes Small Axe a symphony of finding out your identity in the middle of an oppressive system and how the culture around you molds and helps you to handle it.

:asterisk_symbol::asterisk_symbol:I wanna join the force.
What? You gonna be a jedi or something?:asterisk_symbol::asterisk_symbol:
lol

More straightforward that the previous two. From all its questioning one the possibility to change an institution that is base on the fear and exploitation of black people, the fact that it rejects what could have been another Blackkkklansman where it’s character stays natives till the end, with here Logan completely changes his views and the last exchange with his father being one asking for the abolition of that system and rebuild into something better beyond the roots of the police is what proof the maturity of McQueen as a filmmmaker.
Last, but not least, John Boyega giving one of the best performances of the year and finally proving itself to be one of the our most promising actors of our time.

Highlights this entire show as both a nihilistic joke in the image making of this genre piece, and an encapsulation of Refn's entire body of work, always understanding the potential that the fiction in which this characters are placed. This last two episode molding Yahritza and Virgo as figures, guardian angels and characters from explotaition films that revalue the good aspects of the genre, while realizing in the segments Diana the value in the mundane and the uncertainty of the outcome of the war that we never see.

Carlton is actually hot. Wtf?

Be my mother, Gina Carano.

Rian Johnson is a genius.

All about lonely men and the people that they let down.