Jesus. This is as bad as Suicide Squad honestly. Harley Quinn was way better in that movie, and here it's just all over the place, with rough story-telling, bad acting from pretty much everyone (the cop and Ewan McGregor especially), the same dumb exposition, and marketed as if Deadpool and Deadpool 2 were the style they went for. I wasted my money so you can save it.
Of course Logan has to win. It's fucking reality. I really like this, and that now all the children are together. When I saw Tom talking with Greg I knew he wasn't gonna go against Logan with all the respect he had won (and that Logan was waiting for the children to fuck 'em). That's why he said "make a deal with the devil". And it all comes from character's shaping the show. Tom's whole arc was for that finale, you can't write his last decision in any other way.
Next season is gonna be great.
Not only the VIPs are gross, they can't fucking act.
The thing with the last season of Barry, despite being a good one, it's that I think the series has said more meaningful and done more creative in previous seasons. While there's a interesting take there at the end, I think it really lacked a bit more to say about everything else.
A good finale. I guess I did wanted a bit more of black and white in this show. The portrayals are great, the satire is good, but I think it needed just a bit less, just a bit less, of gray areas. Like, don't give any triumphant tone to a finale where all the rich people get away with everything.
Just to clarify, I think it's a great way to end, in a sour note, just make that sour note a bit more obvious (focus, soundtrack, etc), and not end with the liberating tone of the white kid going for his dream.
One of the best episodes, solely because it's another subtle look into Michael. He doesn't really grieves Ed Truck, but he is afraid that he will die alone, without anyone ever remembering him.
I think that finally all the inconsistency that this movie had does not matter. It doesn't matter that some villains are there and others are not, that the spell does not make sense, nothing deserves to be explained. And it is not necessary. Perhaps the only thing that matters is that the power that Marvel has to hoard every movie theather, and that in Peru, for example, they have violated their seat separation protocols, that they are charging more to see this movie, even in its third week, without being possible to have discounts on tickets (when even movies in their first week of release have). You might say that all this is external to the film, of course. But if Spiderman: No Way Home references things external to this movie all the time (not just the past Spiderman movies, but even the meta commentary on those movies, which comes from how silly they are to every line from Jaime Foxx about how he is more comfortable in this one). When the film takes us out of its narrative with all this, I think it is allowed that I too can get out of it to think about all this external that I have commented.
This is just one side, of course, and I'm sure I'm being mean or a smartass, sure. Even without all this, the movie should at least be entertaining. Of course, for some, that are so tired and I understand it, entertainment equals quality, "I had fun, ergo it's good." OK. But understand that there are thousands of ways to entertain yourself with a movie, to have fun. It happens with bad movies, The Room, for example, but it happens with the experience of going to the cinema as well (I think of the scene in which Jerry Seinfeld wants to go to see Planet 9 From Outer Space, but not alone, because otherwise it would not be entertaining ). I'm not asking Seinfeld to rate the film, but we are on Rate Your Music, we have to rate. I understand that some have fun with mediocre films, I think that to a greater or lesser extent we have all found ways to do it, but there are some that we can separate that: I surely entertained myself, maybe hate-watching Spiderman: No Way Home, and although I know what to expect with hese films, I think one of the highest grossing films of all time should have at least a clean script (I really wouldn't ask for more than that). I can't lower my standards, and that's okay, I'm not making my life miserable, I'm having fun in my own way (don't pity me poor me). But this fun, at least for me (and that is what many fail to understand) is beyond the fact that the film seems coherent to me.
Even so I found my way of making my experience watching Spiderman: No Way Home interesting, maybe egocentrical, and entertaining. This movie is by no means fun. The first two were okay, fine. Now they say this is stupid or that it embraces stupidity. Okay, but at the same time they are trying to sell us a conflicting Spiderman, who instead of going to chase the Green Goblin, prefers to tell the public that he wants to kill him. A Spiderman that almost acknowledges that he is in a film and knowing what's gonna happen next (he ask is Dr. Octopus knows him, because he called him by name, but everybody knows he is Peter Parker; he doesn't think there are new villains, he thinks something weird is going on). The downside this time around is that the show feels overly plastic, and that wouldn't be a problem if the movie wasn't trying to sell us the Spiderman drama.
And this is my way of having fun, you can't accuse me of being no fun. Okay, you can accuse me of being a cynical fuck, yes. But this is fun. And it's also depressing, of course. Is laughing to avoid crying.
If I want to say something good... well, maybe at least we have Daredevil on the MCU (but they are definitely not gonna reach the series highs, hell, not even the lows... How the fuck can you introduce him and get rid of him right away, there is a trial that we needed a lot more of, that should've been its own half an hour. And even when introduced you just skip all the good parts, how can Daredevil catching that ball be in screen for just a instant, don't you know how to zoom in, make momentum, fuck).
Okay, maybe it is good that Spiderman is kind of restarted now. I'll keep on wanting a better film out of this Spiderman. And I'll have fun while doing it.
The least I was expecting from Eternals (2021) was the two conflicting visions: the one from Chloé Zhao and the one from Marvel, but this movie is mostly just the usual Marvel flick. Ben Stiller could direct this at it will still be the same movie... Well, maybe at least would be funnily ridiculous.
Eternals (2021) replaces sci-fi mumbo jumbo with existential mumbo jumbo. It is certainly not the first Marvel film that deals with "deep" topics, just the one that does it the most boringly. It's mostly filled with the most common places about "existentialism" in film.
In comparison with Jack Kirby's The Eternals (1976-1977) —which I read in preparation for this, but don't think it has condition my view of the movie—, while this "Zhao's Eternals" has a "serious" tone filled with dull and plastic dialogues, full of exposition; Kirby's nonsensical, fantastical, yet light, style, suceeds in having dialogue that actually feels human, and thus, gets compelling characters.
In the decisive scene, Ken goes after Shiv, and Roman follows because he knows what his brother is capable of. If Kendall really had shown he was a person, Shiv probably would've voted for him. Even if he didn't went after her, she probably would've. At the end, Tom keeps Greg close, because he respect what piece of shit he learned to be, and maybe also because he can still have him around to abuse. God knows he needs one in the new position he's in.
A pretty good series, well directed, really focused, and with a fun cast. The best part? Every episode barely last 30 minutes!
What a banger to start a series. Might be my favourite thing Taika Waititi has ever done. Well paced, well framed, enough good timed jokes, and a well rounded cast.
And thus begins the tale of Costanza, lord of the idiots.
Overall, I think it might be the best episode. It was pretty well written, showcasing Asta's tell when she hugs The Alien and the kid using the phone as a GPS to track the base. Now the only problem is that I don't know how will Alan Tudyk appear in the next season. I guess, we are not gonna The Alien's planet yet, and he'll go back to earth. And, I'll be honest, I actually thought that Harry could've killed the town doctor, but didn't think so because no one in the town really seem to know him before the alien came.
They should've applied the majority rule just then.
Not only Wanda is rewriting reality to stop Vision, she's actually rewriting reality to give a chance to Vision to explain things to ourselves!
In one reality, gimmicks are getting tiresome. And in the other, characters are just not accomplishing anything. They are just pretty much given information and we are getting that as exposition. The story is really advancing in a unsuccesful way. This is pretty much a game for us, where we are given clues (but never succesful plot points the script), and we are developing our own theories to create buzz for the series. In its intent to not reveal anything, and be completely unpredictable, no resolution will give WandaVision a sense of accomplishment. It will be just another event in the Marvel's calendar.
The show can be entertaining, but you can't say it isn't stupid.
At the end, Squid Game amounts to a thin commentary on capitalism and a bunch of the oldest cliches in "intense" stories. It's partly the audience fault to rely on big plot twists.
As a manga reader, I really don't mind if they change the plot. I just wanted an adaptation that stands by its own. Sadly, the patches show. It started with two chapters with little development and two montages of daily life in the same place, and now we have all the exposition crammed into one episode that makes this a bloated development. And even then the direction of this episode was really off: it didn't really picked up where the tension should arise, when a scene should change its focus, when a speech should be cut short and even left a void where some soundtrack was an obvious fit.
Curb was always having cool callbacks. Kinda wished for a more hard-hitting and less pleasing finale, but at the end you just get it.
This is quite engaging, and one of the most creative developments to a protagonist vs antagonist roles I've seen in years, two sides of the same coin (sometimes it reminds me of One Piece and the relationship between Luffy and One Piece's Blackneard). I really do hope we get to see their clash this season.
Wow, this was fucking nasty.
Probably my most watched Seinfeld episode: everything about it is just so amazing. The way the script flows seamlesly from one conversation to another, how the little inconveniences drives the characters mad (George being my favourite), and the overall claustrophobic vibe of the episode makes it one of my favourites.
Someone said that it was like watching a Twilight Zone episode and, honestly, I think that's what makes it even better.
This show is pretty easy to read, so I don't know why people think Chucky's portrayed as an anti-hero. The anti-hero is clearly Jake. We know Chucky's manipulating him: we as an audience know he killed the maid, so we know he's full of bullshit. Chucky's justifies killing Jake's father, but he beats Jake. We know Chucky's not an anti-hero but want to pass as that for Jake. The creator has put everything clear for us to know, so don't misread this show.
All in all, a fairly good episode, with some nab, really small, at social commentary, with all about the maid and Lexi's family interactions.
Finally another satire to watch, and this one is a delight. Hopefully it gets uncomfortable and darker as it goes along.
PD: And I'm thinking that body is not gonna be what they are clearly hinting.
Actually the best episode so far, pretty subtle, but so revealing, as we learn more about Whitney, we see clear how the couple is unable to connect to anyone that struggles, and see Whitney unable to reconcile geniune recognition just becuase it comes from someone complex that disturbs its own imposed values.
Devastating and gut-wrenching, not because of the actual death, but for the atmosphere of the Roy's siblings as they go thru the news, while not really working like proper human people. A feelt that can't come easily, because of the complex relationship with Logan and the economic implications at play. Again we are reminded that Shiv, Kendall and Roman (the one who actually steals this season) really can't feel love as easy as it should be, and, that actually ensues a lot of comedy here.
Perfect storytelling in 30 minutes. The world needs more of this.
Two great concepts that I didn't know about: the Middling and Stage Four Wisdom. Larry's ultralucid.
A series that almost only serves to set up more movies. You just can't get anything meaningful out of it, if you are thinking this is the place for that. If you wanna, scratch your head (not in a good way) and just consume while eating, then... well, you can obviously do better.
This is the kind of series for people that want mindblowing unearned stuff.
Yes. It gets worse as it goes. Honestly, maybe even the worst of the whole series. No fucking sense whatsoever. How did the Loki knew Loki was gonna appear there? Why didn't they knew that about the woman Loki? How in such a small world the mayority of people are Loki? A question: Do the TVA catch the odd Loki when he borns as an alligator, with a different face? Or just when something big happens in their timeline? Having a differente face or being an alligator ain't different enough?
I guess this all could be nitpick, but when you have so little or relevant or affecting in a series, these question are the only things that pop up. (Also, maybe the worst part is that this is 40 minutes. Series like Barry and Silicon Valley have proved that you can have a great series with 30 minutes. This is pointless, Loki is just a movie cut like a series.)
This must be the best episode of One Piece. The direction in this episode was superb. Honestly, the animation (see all those movements on Garp and Buggy, for example), the little details (Kurohige coming out of the dark, the Koby sweat following the sea). It was that good that it made me feel the sorrow for Sabo. Megumi Ishitani really did a great job directing this.
