Jaw-droppingly intimate and sensitive. Be prepared to be wrecked - the whole theater was shaking with sobs at points.
Beautifully and specifically queer. I've never on screen seen gay sex that felt this much like gay sex. The texture of it. There's a brief, funny, inter-micro-generation terminology convo that if you are LGBTQ of a certain age, you've had. There are two coming out conversations with lines that I swear are plagiarized from my life. There's a delightful subversion, in an early scene, of cruising, that achieves a cocktail of funny and sweet and sad that returns throughout the film (most notably in a moment where a 48-year-old Adam climbs into bed with his parents wearing a 12-year-old's pajamas). The exploration of how things can be so much better than 1987 but still not fine, and the ways the not-okayness of 1987 is still with us, especially in the psyches of folks that were there… so relatable and such a rare and subtle theme.
There is a final twist that, while devastating, does some real damage to Adam's character and, in my opinion, the emotional impact of the movie. Investing incredibly deeply in a fantasy of a relationship with a neighbor that didn’t happen is creepy where imagining you can talk to your dead parents again is sweet and sad. We know early on that the interactions with Adam’s parents aren’t a part of conventional reality and that doesn’t diminish any of their emotional impact, but the romantic relationship being unreal cheapens it.
This last emotional gutting felt unnecessary and unearned to me: it makes me hesitant to recommend the movie, despite how much it affected me, despite the impeccable execution. A friend who saw the movie with me and didn’t personally relate to as many of the queer culture touchpoints felt emotionally manipulated, and I get that. But aside from the last few minutes, my experience of the movie was near-perfect.
No denying that the acting is good, and the dialogue is also pretty decent - June and Serena had some good conversations in this episode. But none of that changes the fact that the writing in this show has deteriorated to bad fanfiction level. The idea that these two characters are even out here in this situation in the first place is absurd. A lot of the scenes this season could have been really great... had they been earned. But the big problem I have with this season, and also a lot of the last one, is that the writers are essentially forcing characters into interesting situations very quickly, without actually taking the time to make those situations come about in a natural and nuanced manner. It's like when the final two seasons of Game of Thrones suddenly started having characters teleporting all over Westeros every episode, when prior to those seasons, it would take a character multiple episodes of traveling to get to those places in the first place. You can't just throw characters into big moments and expect us to care, or think it's good - these things must be built at a steady pace that makes sense.
I love that Serena felt immediately worthless when she found herself in a position of a handmaid. Even when it is herself, she is brainwashed AF, she can't stop believing "God's will" lies and treat herself as shit unconsciously. It's sad how a totalitarian patriarchal theocracy traps your mind. It was funny though watching how Serena met medicine and evolution.
It was also nice how June, as a woman, was forgiving and didn't seek revenge from mother at the cost of a baby (possibly thought about it), but Luke went just directly there. I don't say it wasn't justifiable but I feel like writers put a little nuance there about the way men seeking revenge/power, maybe? After all, Gilead is born because of men who wanted a power game for a bunch of men.
The only problem was I couldn't make sense the flashback scenes. As if Serena and June were besties at first and shared a connection? All those feely glances? I'm OK with Serena bouncing between empathetic and heartless, but I don't remember there was such a friendly vibe between them at S01. The Serena that I know of would feel conflicted after the handmaid's death, but also be outraged by June's glance and would never show June her guilt. I don't mind if writers are trying to push us an alliance (it's still a bit rushed), but it is weird when they try to change the past to support it.
This movie was ... special, I wouldn't call it a masterpiece or a perfect film but this movie is like no other romance movie. Instead of only showing the best parts to make you feel warm feelings, it shows you everything and all in one night. And what is truly special about this movie is that it is realistic, I mean you can imagine that a story like this could indeed be possible, it's about seizing the opportunities as they come instead of just watching life happen and not doing anything. I, myself, feel that there are many moments within my life's history, that if I had acted differently, my life would not be the same, I have so many "What if" moments. And, I watch these kinds of movies, not only to feel good or sad for a short amount of time but also to show me examples of situations where there actually is an opportunity to seize. Not many guys watch as much romance movies as I watch. I do it because it guides me in life. This movie was also special because of the different ideas that the two main characters share, instead of introducing some crazy story to the plot, all they did was, make the characters talk and talk and share ideas about love, about relationships, about death, about everything. If I could write decimals in my ratings, I would give this movie a 7.5/10. Not a 10 because of how little it made me feel but I still liked it nonetheless and it was indeed special in itself.
Loved, loved the whole season - but it's bra-cho-lay, not bra-jaool or brajão or however they're trying to pronounce it. It was painful to hear it lol
Anyway, about the episode. So many little but meaningful moments.
This series grasps that feeling of lacking air that anxiety gives you in a way I've rarely seen: that sitcom beginning was tough.
Also, Carmy's speech at AA, how he briefly looks rightly at you into the camera who slowly gets closer (checking back, probably it's an impression but you get the feeling of being sucked in and in by the story he's telling).
When he says he wanted to hear "good job" from his brother: lately I've been starting to think that lack of validation and approval are some of the biggest sources of many of people's cascade problem, that many come from that in several forms and displays.
Very insightful, very sharing and bonding episode - love it.
I also love that there was no cheap romance involved in the series. You know, it's part of life but it doesn't mean you have to put every part of life in every series. Sometimes there's death, sometimes love, sometimes happiness, sometimes they take different forms and are not all coexisting at the same time.
There's a lot of throat clearing.
The cleaning of The Beef is one of the first quiet moments kitchen side, when the rhythm slows.
Talking to the videogame and getting comfort was actually lovely. Makes you think that there are so many places people seeks peace to. Loved finally seeing Carmy smile and the exchange with his brother
Great series
They're a little harsh finding they were betrayed on arrival. What did they expect ? A banquet ?
A little weird how everyone ignored Margrethe then suddenly it's common knowledge that she's mad ?
Freydis really is a top class manipulator. What she spins on Ivar is crazy, but as he is just a walking (or crawling) inferiority complex with daddy issues, just tell him you like him and he's a god, and he will swallow everything.
Following that, Ivar's dream sequence was short but incredibly good. Revealing on the character when she announces her pregnancy, he's so happy, not only of being a father but mostly because this confirms he is shocking, and his twisted, but sincere love. Credible as we just saw her do what was necessary. Very shockng but still credible when she kills him, as she clearly has ulterior motives. Then the moment she turns into Margrethe, revealing it's a dream, with consequences on the real Margrethe.All that in less than a minute !
Whatever the justification I'm pretty sure Haemund could have handled it better than just stabbing his replacement on the altar.
And the future queen just goes and sleep with Bjorn ? Does she realize what is at stake ? What could happen if she was found out ? Won't they verify she's a virgin by the way ? Couldn't she have waited a bit to do that ?
Wait, what ? Bjorn is back ? He was just fleeing in the middle of a sandstorm, and poof now he's back.
Meaning:
- they survived the storm
- did not lose each other (though where's Sindric)
- were not chased or caught up afterwards (we still don't know why they wanted to kill them)
- were somehow able to get out of the desert back to the ships
- they were just three, so it's not even clear they used their own ships by the way, so were their other guys just waiting
- then they joined the other ships they had abandoned entering the sea
- and they get back
- without bringing anything (how does the rest of the expedition takes that ?)
That's a hell of an ellipsis ! And not clear how many months have passed. What was the point of all that then ?
Astrid's pregnant, lol, no idea who the father is. Not sure it's important anyway.
Floki's people are disappointed, well yeah, they're not high as he was.
Bjorn gets a new girl. "My son wants to sleep with your daughter", wow, I thought diplomacy was a little classier than that. Poor Torvi, though she immediately gets jumped by the brother. That's a little weird, but sure.
Ain't Alfred a little too full of himself (and as high as Floki) ?
Until this episode the 5th season lacked a certain spark for me, at least compared to the previous ones.
It is quite obvious that the space left by Ragnar, Rollo etc. that driven the early seasons and set the tone to the whole show, was getting more evident (despite the Seer telling the contrary to Lagertha in this episode) now that those storylines plots and sub-plots are completely behind.
But with this episode things are finally opening towards new angles and developments, mainly with Astrid change of position and obviously Bjorn finally in the Mediterranean introducing few interesting characters and situations. But there is alot more going on!
I have the feeling that this episode ,though at first glance lacking any real key events, represent a pivotal moment for almost all the main characters: the brotherhood triangle between Ivar, Hvitserk and Ubbe after a long stall, is now entering a new more interesting stage, Lagerta coming to terms with the shifting powers in Kattegat, the Floki physical and inner trip coming to a conclusion, Harald and Halfdan brothers fully taking their own different paths, Heahmund and Athelwulf alliance cracking under different ambitions and motivations.
Basically in a quite subtle and smart way, 'The Plan' is (ironically) bringing to the show exactly what the title suggests: the foundations plans on which all next storylines will develop.
Many things that don't make sense:
– How does one live with a huge hole on his chest? Is he inmortal?
– How does one survive a high altitude fall into the sand, with no protection? He is inmortal.
– Why would Obadiah want Tony Stark murdered? After his kidnapping and change of heart, sure, but before? He is the golden goose... even Obadiah admits it so!
– Also, why would he keep the incriminating video messages on the company server? For a criminal mastermind, he's pretty dumb :joy:
– Why is Tony breathless and weak when the chest thingie is off? The magnet is supposed to stop the sharpnel inside his body from reaching the heart... it's not powering the heart itself!
– By the way, how does a magnet near the heart stop sharpnel from reaching the heart? Doesn't the magnet attract the metal? Closer to the heart?
– Isn't there anything else in the human body that could get pierced by sharpnel and kill you? Lungs, liver, stomach, arteries... :rolling_eyes:
– Why does the generator run out of power? 20%, 15%... it's a generator, not a batery!
Anyway, good movie, fun to watch without thinking too much... and great start for the Marvel Universe, who would have thought all that was to come after this? :nerd: (Not Terrence Howard, that's for sure :zany_face::joy:)
I heard about this film some months ago but I didn't expect it to be released in here. When I heard that it would be I knew right away that I had to have the chance to watch it at the big screen because it looked visually appealing and the different story caught my attention too.
The Congress is presented to us as a futuristic story about Robin Wright, the actress that plays herself. The cinema industry is not easy we all know that aging is not a good thing in Hollywood. The parts start to get smaller and start to be less and less. Beauty almost always wins in a world that sells beauty and youth for all eternity. The new Hollywood era in The Congress is exactly the non existence of actors. All actors are scanned into a computer, then the computer does all of the rest. They just have to sign a contract saying that they are "property" of a movie company. But this film is not just that. From that point, we jump into 20 years ahead where people are be able to chose to live in the real world or in an animated world that offers them the freedom of being whatever they want to be with a total different perception of what the world once was before.
The whole concept of this film is very innovative. The combination of live-action and animation is absolutely very well made. Visually is great, very colorful and imaginative. Creepy sometimes but beautiful at the same time. Definitely an unique film.
A lot of moral questions are presented to us like, what is freedom afterall? Why humans are so superficial and selfish? What about human consciousness? It's very deep and we need to find all of the hidden messages beneath what we are watching.
It is definitely a film that will make you think about a lot of powerful issues that exist in this world. It looks amazing and all of the themes addressed are very important but I think sometimes might be a bit confusing and overcomplicated. That's why I can't give it the 5 stars and I also don't know if I can recommend it to any one. I just can speak for myself and for me it was definitely worth watching! I think that it's a film that need to be experienced because is much harder to explain.
I am going to assume that anyone reading this already knows that the film is about a couple going through the divorce process (if you didn't know this you find out right at the beginning). Halfway through the film I asked myself why the film wasn't called "Divorce Story" as the story is really about the difficulty that families face when a relationship falls apart. After mulling this over for a day or so I think I realized the answer. The film isn't about divorce as much as it is about relationships. In the film the couple doesn't seem to have problems that couldn't be worked out. In the opening sequence we see that there is actually a lot that they like about each other. As the film plays on we see that there is a fair amount of baggage that each of them has.
And that's where the heart of the film is. Much of the baggage are things that the characters have carried around in silence and thus they were allowed to grow and mutate internally. The film isn't so much a cautionary tale about divorce as it is a cautionary tale about relationships. The key to the film was said by Alan Alda's character in the middle of the film: after all of this is said and done you're still going to have to work this out between the two of you. So yes, the repressed feelings ended up being spoken by lawyers at the cost of hundreds of dollars an hour. And yes, when it was all said and done they did have to learn how to get along. But the real problem is that they had not learned to talk to each other years before and they were just starting to learn how to do it when the dust settled. What if they had learned how to do so years before?
It is wonderful to see A-list hollywood actors doing adult dramas again. Adam Driver has really been on a role with some fantastic films (including the criminally unseen Paterson). This wasn't the most entertaining Baumbach movie that I've seen but it may be the most intelligent (and in some ways, the most important). The writing and acting are superb.
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What an amazing movie! Finally something decent to watch on this theme!
I must admit, the first hour is a bit "what a nonsense movie, what's the point?" But then, the true message buried under the storyline reveals to us and the pieces start to compose, we start to get the message and learn from it! I must say that this particular movie got me to think and think again to, in the end, have a moment of reflection about life, about what we do, or don't do, with it! How sorry we can feel from not doing something or the regrets we may carry for the rest of our life's if we don't take the chances, if we don't dare do dream, to feel, to live, to love and to let someone love us back!
Some people will totally miss the point of this movie, of that message buried underneath but those who can see it and understand it, those are the enlightened ones, those who are already stepping out of the shadow and opening their eyes to the cold truth of life! There no second chance, there's no time to cry for the past or to feel afraid of the uncertain future, there's only the moment, this precise moment and the ones who forget to live it, shall never know what living is!
Would like to also make note for the brilliant, excellent sound track of this movie, it's just amazing and well placed! Loved this movie, really did and again, the first hour may get a bit "boring" but just wait for the rest, just wait for the whole point of this movie and then reflect about the message and in the end, I would like to leave a question to anyone who reads this review and have watched this movie: "do you have any regrets? Do you live your life as you always pictured it? Is your life worth living? Because, you know, time traveling only happens on this movie and therefore... Stop, think, reorganize, prioterize your goals and your ambitions and then... Let's start working on it shall we?"
Enjoy the movie folks ;)
I can't believe that after two seasons this stupid "Whisperer War" is still going on. It's boring, played out just as slowly as the "Savior War" if not slower, and it's taken the show nowhere fast. Beyond the whole "Why would these people follow two crazed idiots who constantly kill their own people?" question, you also need to realize timeline wise how long this is all supposed to be. The war with Negan lasted just over three weeks in the story, this new war has gone over well past a year, how long is it going to drag on? Why have the "Good guys" not just put on whisperer masks and killed them off already? Why after Beta keeps killing people do they not shoot him instead of an undead Gamma? Ugh. Enough already. Then instead of ending the season they blame the corona virus for not doing post-production until the days before it airs? Enough's enough, let this show die it's slow death before it turns into a walker too.
Now that this season is finally over a year and a half after it started, I can say with confidence this was the worst season the show ever produced. They tried to blame covid first for a long delay to post produce their original finale, then put out absolutely horrifyingly bad episodes that they called "Extra episodes" which fanboys of the show defend being so bad because they were shot during covid, which is a problem no other shows or movies have had. The problem here isn't covid, it's that the show didn't end when it should have and now the writer's are out of ideas and the characters that you once cared about are empty vessels dragging the show along.
I can't believe this show I once loved is such a drag now.
Oh jeez, the series was great but they really should have toned it down a bit with the cringy fairytale ending.
By the end eeeverybody has to take their turn and declare their unconditional adoration for the Mary-Sue of the series:
- Townes (despite years of no contact and overall lack of relevancy at this point in the story?)
- the grizzled russian chess veteran (despite playing her only once?)
- Billy (despite him rightfully telling her to fuck off previously)
- Beltik (despite her previously refusing his help and him being some random Kentucky store manager and a washed up ex-regional champion way over his head at this point)
- the twins, for some reason - what are they even doing in Billy's basement offering advice in a game way above their level? (do they even know any of the other people in that room? Who invited them? Why does the US chess champion have to rely on phoned in advice from some random friends while playing for the world title in the first place?)
- Borgov (who is inexplicably happy for her despite the fact that his loss is a huge upset not just for him, but the entire cold-war era soviet bloc)
- throw in some random old men on the street in Moscow beacuse why not
By the end I was surprised her adoptive father didn't chip in and call her in Russia to admit teary eyed that he was wrong and Beth is "the greatest person that ever lived" or something.
It's a slower episode than usual, but I liked it because it showed the Alexadrians dealing with the harsh reality instead of the fantasy bubble they've been living in. The problem is that a whole episode that focused basically on characters that I personally don't care that much yet was a bit boring.
Aaron is the one I'm most interested when it comes from characters from Alexandria. Apart from him I like that new doctor Denise, Deanna and her son (because they are so naive about everything) and Jessie and her kids.
As a filler episode I think it worked because there was development in the new characters, specially the teenager kid that came to his sense and apparently isn't rebelling anymore against everybody and did the right thing without being obnoxious or annoying.
I loved seeing Aaron and Maggie bonding, it was a very sweet moment and I wanted to see him interacting with more people of the group. But I could go without the pregnancy storyline for Maggie... we saw that already with Lori, not really something interesting to watch.
Jessie has had a good development since last season, but honestly I think that the timing is off getting her and Rick romantically involved right now.
Altough I'm german I rarely check out german TV shows. The last one was Deutschland 83 and that was like two years ago. Germany just hasn't figured TV out yet but that's another discussion.
When I heard Netflix was producing a german show I just had to check it out because Netflix has a great track record so far and Germany does have talent infront and behind the camera. But overall I think this show just fell flat. Good, but nothing great.
Fantastic visuals that are shot very beatifull, the actors IMO are mostly great and the music/score can be beautiful but often gets obnoxious. But unfortunetly there are too many characters that are hard to keep track off which distracts from the story.
The story is already confusing enough even without trying to keep up with the many characters over different decades and it heavily sets up future seasons without answering a lot of questions about this one and just left me unsatisfied at the end.
Still worth watching tough IMO and very bingeable similarly to Stranger Things.
But if you do watch it then choose the subbed version. I checked out the dub really quick and it sounded horrible. And also don't browse your phone as you might do on other shows. You're going to miss so much important shit.
EDIT after Season 2:
I'm not actually sure what just happened and what I think about it. But the one thing I'm sure of is that the casting in this show is absolutely phenomenal. The actors look so much like their younger counterparts that I'm not fully convinced they aren't actually related.
Plus the cinematography is still fantastic and the music monatages are really beautiful (and they got rid of those obnoxious sound effects).
And altough the story is still very confusing I found it more easier to follow and more engaging than Season 1 because I now know all the charcters and their background. And it seems that the writers had this all planned out and aren't just making shit up as they go.
Changed my rating from 8 to 9.
EDIT after my first rewatch just before S3 is released.
Changing my rating again. This time to a 10. After S1 I thought it was good but confusing show (8), after S2 I thought it was great and really well thought out one (9). Now after rewatching both seasons for the first time I think the show is fucking masterpiece. (10). Once you can watch it without being confused and actually knowing what is happening your just in awe throughout all of it.
If they stick the landing with season 3 it could be up there with the best ever.
EDIT after Season 3
Masterpiece. Simple as that.
Writing. Directing. Cinematography. Casting. Acting. Soundtrack. Everything is perfect.
I'm going to miss the beautiful music montages at the end.
I'm sure the writers had a second name for the show and it was: "what the actual F is going on. I don't understand shit". That wasn't too commercial and they stuck with "Dark".
My sister asked me yesterday why the show is called Dark. Well, I guess we just found out.
My stomach actually hurts. This was by far the saddest and best episode of Dark. I loved it more than words can describe, but it got really dark.
I love how the more you watch, the more tragic their lives get. I rememeber thinking nothing could be more tragic than Mikkel's. Then, Ulrich's. But Katharina's life is so freaking tragic. That poor thing got killed by her own mother who then went back home to abuse her at a young age. And the same day she's killed, Mikkel returns to the same home she's been living in for God knows how long. Seriously, that scene with the broken window and Mikkel looking at it got to me the most. Well, that and Ulrich waiting for Katharina at the entrance. Two really powerful scenes. I'm heartbroken just thinking about him standing there waiting for her to rescue him and see their son again.
Also, that scene in season two, when they're at the lake and Bartosz's telling the story of a lady who downed in the lake to scare Martha, he was talking about Katharina! That's just messed up. So Bartosz scared Martha with a tale about Martha's mum pulling her down in the lake. This episode made one of the happiest scene on the whole show look even darker.
The scene of Helene abusing young Katharina was brutal. She's abused by her mother, doesn't want to have kids because she'll end up like her mother, has three kids, her husband cheats on her with Hannah, who also sleeps with her son and who she's named after, then her son Mikkel goes missing, she ends up neglecting her other kids, her husband also goes missing and is trapped in an asylum, she goes back to save him and ends up being murdered by her own mother without seeing her son.
Also, the trailer scene with Elizabeth and Peter was beautifully shot. It felt like a nightmare. And the fact that she's deaf made it 10 times worse. I got the feeling that Elizabeth was gonna end up killing Peter and that it was gonna be the cause of her change from sweet girl to a badass in the future. But I guess I was wrong although, if she hadn't picked up that pocket knife, Peter wouldn't have probably died.
By looking at the paper where young Noah wrote I realized it looks like he was saying that Charlotte and Elizabeth were at the caves, which is technically true.
Also, who was that guy at the RV? At first, I thought it was Erik's dad, but I'm inclined to believe that it was just a random guy.
And what's the deal with H. G. Tannhaus' son? He spoke about two women who seemed delivering him Charlotte. I bet they were adult Elizabeth and Charlotte, who went back to the past sent by Adam to kidnap young Charlotte and deliver her to Tannhaus.
Now, our Jonas getting killed was shocking but as previous events have shown, this Jonas' only purpose was to sleep with Alt-Martha, get her pregnant and so create the whole family tree. So there were, in fact, two Jonas. Like Schrödiger Jonas. Two different decisions at the same moment created two different versions of Jonas. So, since adult Jonas is the one that ends up being Adam, our Jonas was sort of a time remnant (in The Flash terms), someone who exists with just one purpose. Sort of like a Meeseeks type of thing. You exist with one purpose and once that purpose is completed, you disappear. And suddenly, Jonas' transformation into Adam starts to make sense.
Also, that last shot of Jonas on the floor with the family trees definitely looked like wings.
I love the mirroring this season. In our world, Adam killed Martha. And now, Martha kills Jonas. The irony. Also, there were waaaay too many Marthas in that room.
In another show, I wouldn't give it much thought but this is Dark so, what did Alt-Martha want to say to Jonas in the morning when they woke up? She stopped herself from talking. I'm sure it means something.
I couldn't help but laughing when Charlotte and Peter were talking and they said "She's not deaf, you know" in front of Elizabeth.
The journey the Saint Christopher's locket has been on is amazing. So it started with Egon Tiedemann, who gave it to Hannah/Katharina, who gave it to young Helene, who lost it in the lake to be found years later by Jonas and Martha repaired it and gave it to Jonas who then gave it to Alt-Martha. That's quite a journey it's been on.
"Die Dinge des Herzens kann man nicht erklären. Es macht, was es will"
This show is just perfect and messed up. I feel like if someone had better sex educated everyone in Winden, none of this would've happened.
This is so messed up right now. Jonas is his own great great great great great grandfather.
So, Jonas and Alt-Martha have the cleft lip guy, who gets with Agnes and have Tronte, who gets with Jana and has Ulrich, who gets with Katharina and has Mikkel, who gets with Hannah and has Jonas.
Also, Tronte gets with Claudia and have Regina, who gets with Alexander and has Bartosz.
But before that, Hannah gets with Egon and has Silja, who gets with Bartosz and has Agnes and Noah.
Noah gets with Elizabeth and has Charlotte, who gets with Peter and has Elizabeth and Franziska, who gets with Magnus.
So, trying to make everything less of a mess. Jonas and Martha are literally responsible of creating everyone in Winden. At this point, there cant3be any happy ending to this mess of a family tree. Probably, the whole Winden and its inhabitants will just delete themselves from existence.
However, at this point I think I'll just be happy if Jonas takes a damn shower and washes his hands.
I love that we finally got some clarity as to who the trio are. I also loved the fact that he said he had no name. He's the son of Jonas and Martha, Adam and Eve. So I'm guessing he must be Cain? No idea. But the reveal at the end, although I thought about it during the first episode when he burn the place to the ground and the reaction shot was that of the pictures of Jonas and Martha, but it was a very nice reveal.
I loved the whole Helene-Hannah scenes. So it turns out that Katharina was named after Hannah. Not only did she sleep with her husband and son, but she's also responsible for her name. Lol. And I also loved that scene because the fact that Helene was getting an abortion explains why she got so angry at Katharina for having sex with Ulrich. Seriously, this show is so well thought that I'm quite surprised it doesn't get more marketing.
The whole Egon-Hannah-Doris stuff. Man, Doris was a little bit unfair with that divorce. And the fact that they made Egon a tragic characters. Damn, he was supposed to be just happy.
I think this has been enough for today. I'm gonna relax for now to be able to face new connections tomorrow. I'm sure that, if I watched any more episodes right now, I'll end up with a bigger headache.
"Was wir wissen is ein Tropfen. Was wir nicht wissen, ein Ozean"
Truer words have never been spoken.
So, Adam is playing Alt-young Martha and Alt-old Martha is playing middle aged Jonas. I don't know if it's poetic justice or just funny that both old Jonas and Martha are playing their opposite young selves.
So, as far as I'm concerned, Adam made Martha travel back to the past to give himself the cesium to open the portal.
So, after all, Jonas isn't breaking any loop because he traveling to alternate world is the key that sets everything in motion, and so, starts the loop. Even if that Jonas did something different in his time, like trying to stop Adam instead of staying with Martha.
I'm confused with one thing, though. How did original end-of-season-2 Jonas survive the apocalipse if an alternate Martha didn't show up? Did Adam save him? At one point, I think I'm just too confused or overthinking it too much.
I seriously love the parallels. Everything is the same, yet so different. I loved Jonas and Bartosz's fight. It literally looked like it was the same as I nseason 1. Hannah's sniff-hug to find out that Ulrich is cheating on her. Hannah blackmailing Alexander and making him kill Charlotte instead. I loved Margus wearing a skeleton t-shirt, similar to Mikkel's. Was that a coincide? Or were they trying to say that Magnus will suffer a similar fate to Mikkel?
I've been wondering since the beginning that, if Mikkel didn't go back, and thus, Ulrich didn't either, who hit Helge u til he lost his eye? And then, I was thinking maybe Magnus' t-shirt was a red-herring. But since Helge said "It was you", I'm guessing that Ulrich went back in time to kill young Helge to prevent him from killing Mads.
I also loved that this episode showed me that, no matter the universe, Hannah being a bitch is a constant. Damn me for thi king otherwise. I loved the parallel between Katharina and Hannah and that good old sniff/hug.
Also, the generation lip-scarred trio is driving me nuts. Like, I really look forward to their scenes. I also love their mirrored scars. On the left side when they're in Jonas' timeline and on the right side when they're in Martha's. I have no idea who they're but I'm guessing they're the Noah of alternate World.
What's confusing me about the trio is that they just keep throwing lines from other episodes. In the first episode, he said the same sentence that Noah said to Helge. And, in this episode, he said the same sentence that Clausen said to Alexander. This is driving me crazy.
Also, that guy at the church was Alternate Benni.
Peter is a complete mistery to me. I'm worried that we haven't still seen any of his younger selves or older selves. I'm getting ready for the big surprise.
While watching...
Jonas could of warned them before bringing Martha 2.0 in the room. He let them get their hopes up. lol
Gotta love the intro!!!
What the hell?? Where is Ines and Mikkel? Did I forget something?
Who is this iccabod crane looking dude? haha
Wholly shit Katerina did not care that was a younger version of Hannah. haha she put her right in her place.
I can’t believe he let Regina out of the car in the middle of the road. not safe at all with every one going missing. lol
Whoa this Is crazy. Katerina seeing old ulrich. Damn man Ulrich has been through some shit. Hope to see Hannah get what’s coming to her from Katerina herself. lol
Man who are these time chumps just killing folks?! I don’t like this at all!!
Shit who is Claudia’s father? And then old tronte shows up. I guess he has to be the daddy. lol
I remember thinking in season one when Elisabeth got dropped off at school how odd/sweet it was that the she took her mom’s head and pressed it up against her’s. I thought Charlotte should of done that to Elisabeth. Now in the future, it’s Charlotte who takes her mom’s head and presses it against her’s. What a cool moment to realize. I bet someone made a meme about it already on tvtime. Lol
I love the montages!! Yayyyy
This show's something else. There's so much to unpack each episode and I'm 100% sure that, if someone had seen my face during this episode would've been worried about me.
Am I the only one who paused for like 10 minutes when the family tree appeared and was like, wtf does all of this mean? I've always struggled with generations, family trees and guessing who's who. No matter the language. Even in my native one. And so I needed to make sure I understood all the connections before moving onto the ending.
Another show would've just saved the family tree for later in the season but not Dark. I can't believe that they gave us the whole family tree from two different worlds and it's just episode 2!!! This show is on a whole norther level.
I always suspected that Agnes' husband was important somehow, but he's the key to everything. Holy Molly! If we know who Tronte's father is... Damn, this show!
So, let's summarize my thoughts 'cause otherwise I'll drive myself nuts. Noah's father is Bartosz together with a Silja, who, I'm guessing, is the girl from the future. So that means that Bartosz was killed by his own son and had an affair with Martha, who's Turan out to be his second cousin twice removed (or something) and his own great grand daughter in alternate world. Seriously, my head hurts.
I remember that I was always curious to know who Tronte's dad was and in my recent re-watch of the season, I remember Agnes saying that Tronte's dad was a priest. So, I'm guessing, maybe Peter? I don't know. Maybe I'm reading too much into it.
One of the bits I'm loving the most is the generation trio. I'm both mesmerized and terrified by them. It's so weird to explain.
Ulrich and Katharina. My heart hurts. It was really touching and it hurt me more than I expected. Old Ulrich actor is AMAZING. You can see the pain in his eyes. I still remember the day when I thought it was just the same actor with make-up on. This is seriously one of my favorite scenes on the show.
I've always been against adults terrifying children or just even pushing them, but when Katharina pushed young Hannah against the wall and told her to keep her hands off of Ulrich and Mikkel I was like, there you go girl!!!
And that poor Claudia's secretary! Did anyone else think she was pregnant? Poor girl. I loved the scene when she told Tronte that everything started with that white-haired woman and her dog. Like, go Gretchen! She definitely has a part to play.
And the father of the year award was to Tronte. I can't believe how messed up this show is. In order to save Regina, Claudia has to ask Tronte to kill their daughter in order to push Claudia to be more focused and save everyone.
Also, how the hell did Tronte survive the apocalypse? He wasn't even in the bunker. And young Noah talking to Elizabeth. Something tells me that Elizabeth would be the one killing her father. This is one relationship I'm looking forward to getting to know more about.
[6.9/10] This is a “Calm Before the Storm” type episode, which is usually the sort of episode I really like. Something about characters speaking frankly with one another, letting things slip they might not otherwise when they realize it might be their last night together. It provides a good excuse of shows to slow down, take stock, and do some solid character work before the major fireworks begin.
The problem with this episode is the same problem TWD always has -- it means that this episode is basically nothing but one-on-one conversations, and by the time we get to the back half of “Morning Star”, that is just exhausting. Few of these conversations are particularly well written. Most of them have the same cheesy dialogue and faux-profound statements that are the show’s stock and trade. And stacking them one right on top of the other leaves the episode feeling undifferentiated and same-y. Worse yet, there’s very few stories in this episode, just little snippets of character relationships, some developed some not, stitched together into an ungainly Frankenstein monster (or skinsuit, if you will).
But let’s talk about the two that at least try to connect with or otherwise pay off stories.
Eugene is really the only character who has an arc or a full story in this episode. I like the show continuing with his CB radio girlfriend. His mini-plot also has a good setup and payoff, in the form of Eugen being unable to find the record he wants to play for Stephanie, refusing to sing it in the alternative, but then unleashing the tune from his own golden throat as a sign of vulnerability when he fears he’s scared her off. I still think something bad is coming from all of this, but that’s solid, meat and potatoes budding relationship writing, and it works.
I just don’t know why the show decides to inject Rosita into it. I suppose it’s to interject more conflict there, but there’s something that feels too cheesy about the crush who spurned Eugene being the one who potentially messes up his courtship with the woman who’s helping him get over it. There’s also something gross about her trying to prove that he loves Stephanie by telling her to kiss him. It’s a well-shot scene, but it’s weird and their whole deal has a dumb teen drama vibe that I wish the show would just jettison.
The other major interaction that works in this one is Carol’s and Ezekiel’s. Why does it do so much better than other major scenes? Well, because for one, those two actors are some of the show’s best, and for another, because they have a history together that the audience has witnessed for many seasons, and for a third, because the changes they’ve been through since they broke up give their renewed intimacy and admissions meaning. The two always had an endearing rapport, and having them give it one last meal together is heartening and a little sad at the same time.
(By the way, here’s a prediction for the next episode: I’d bet good money that Ezekiel dies. He has a meaningful goodbye with Carol; he gets a feature scene with Daryl, and the only other character he has any real significant connection to is Jerry. Between the upcoming battle and his cancer, I imagine he goes out like a hero in the next one.)
Those are all things missing from the other, myriad conversations that take place in the shadow of an impending Whisperer attack here. Either they involve subpar performers, or they feature characters and relationships the audience hasn’t seen or had nearly the time to invest in, or they’re repetitions of things the audience already knows just to remind us that certain characters exist. I’m sure some of the stuff discussed concerning Mary’s nephew, or Judith wanting to fight, or Lydia’s deal with her mom will come back in some way shape or form, but it all comes off very sudden and miscalibrated.
I’ve also stopped caring about whatever Alpha and Negan’s deal is. I assume that at some point Negan will turn on the Whisperers and reveal that he was on the good guys’ side all along. But until then, their vibe just doesn't work and isn’t interesting.
But I’ll say this much for “Morning Star” -- when it finally dispenses with the unconvincing conversations and just digs into the battle, it’s a hell of a ride! The electrified line seems more there for coolness than practicality, but I can’t complain! The Whisperers launching containers of accelerant on our heroes and then lighting fires is scary in the best way. And the Hilltoppers doing the Spartan Phalanx stuff again, this time against live foes, is still, as Negan might say, “some cool shit.”
The problem is that it takes an awful long stretch of mind-numbing colloquies before we get to that good stuff. The Hilltopper vs. Whisperer battle is a promising one. It’s just sad to see TWD wasting the chance to develop its characters beforehand on weak writing and an otherwise exhausting episode.
Another great episode in this season. I know some people complain that there isn't enough action but I feel like the story doesn't always need the blood and gore to maintain a strong story, in fact, these in depth episodes make me bond with characters more and they make them more relatable. I think a lot of people (including myself) suspected that Dante wasn't a good guy. He appeared somewhat out of the blue in this season and they focused a lot on him, now finally we have confirmation and I gotta say, it makes him cooler in my opinion. At first he was just an annoying character that got too much screentime but now we know he is there for a reason. Poor Siddiq, I believe he could've gotten out of there alive if he had kept him cool, he didn't. I like that Dante felt somewhat bad for killing him. He kind of lulled him to sleep. I like that they went full circle with this episode. From 'open your eyes' to 'close your eyes'.
Even though I suspected Dante to be a whisperer spy, the clicking of the tongue followed by Siddiq's flashbacks still got to me. I actually think the way his story was told, the trauma, him dealing with it and his ultimate death was told very beautifully. tragic of course but again without the gore. They could have shown a lot there, with all the head chopping being done in that shed, but they didn't. Good choice.
It was kinda nice episode... I think. As I wrote before, people seems to get annoyed by what they're reffing to as "filler" episode, but I think "fillers" are someway important for the vibe of this kind of story. It's about routine survival now. They're living in the same place for 7 years. They have known hunting grounds. Agriculture schedule. Jobs. Borders. Nothing like the beginning of the show.
Saying that, here are couple of things seems wrong this one:
• Aaron. Dude, what are your intentions?
• Rosita. Dude, what are your intentions?
• Gabriel.
• How come the water flows one way and water wheels spin the same way? I mean, if the stream runs :arrow_right: than the wheel should turn:arrows_counterclockwise:, not like this:arrows_clockwise:.
• A sign for pointing out that there are non drinkable water but there's no way to know if the handle is in the right configuration. Eugene, you lazy.
• Lydia didn't recognized Dante, who must be really trustable to Alpha if she sent him to spy, but knowing who the old walker guard is? Suspicious.
• Carol got a cheap shot from Lydia? Spec Ops Carol? Double suspicious.
And for what Lydia got so upset about. I smell a secret plan.
Pretty good stuff:
• The old walker guard (guard of guardians?) fooled me for a moment with those sandwich tears. To the point I asked myself if I feel sorry for him. Spit second later, I was proven wrong.
• Dog is getting older. He has buts of white fur on his face. Nice touch.
Okay, so I really like what they've done since Rick is gone. The story actually felt jolted forward with new arcs and the whisperers (well basically Alpha) are scary mothaf*ckers HOWEVER... this episode was riddiculous.
I realized that the whisperers might just be THE easiest to beat of all the big bads that they already fought. I mean, they walk soooo slow, let Carol take a shot at 'em. She'd burn them to the ground before they can pull a knife.
They lured Beta and gang to this building, one of you gets stabbed with a stick... Daryl has a mortal combat style fight with a man who seems to have superhuman strenght and is about twice his size and he manages to 'win' that fight and they learned absolutely nothing from previous fights so they don't double check to see if the giant bear of a man is dead... Oh man...
I like the lighthearted side of the show that seems to be coming all from Kingdom. I mean 'when have you all last seen a movie?'. I'm actually all for having some of that silly stuff added to the show, plus, when Carol smiles she looks so harmless.
I hope the new Highwaymen are going to stick around, I felt a vibe between the leader and Tara and I want to see more of Tara, she is one of those fun characters.
9.5/10. There are times when I feel jaded as a viewer. When it seems like despite the breadth of films out there, that I know most of the tricks, to where while I can appreciate a film's achievements in sort of a detached way, when I can even be engaged and invested in something, it doesn't necessarily reach me in the way that movies did when I first started watching them. The scope of appreciation has widened, but the emotional resonance feels muted, because I can't help but see the strings.
And then a film like Room comes along.
And Jack sees the expanse of sky for the first time. And Joy hugs her parents after not seeing them for seven years. And Robert can't even look at his grandson. And Nancy tells her daughter that she's not the only one whose life was destroyed. And Joy tells her mother that if she hadn't been taught to be nice, she might never have gone with Nick. And there's a supreme, heartbreaking look of guilt on her face when a reporter asks if she should have given her son up while in captivity. And Jack walks in on his mother's suicide attempt. And Nancy hears her grandson say "I love you." And Jack sees a real live dog, and makes a real live friend, and cuts his hair to give his mother his strength.
And I wince and I laugh and I cry and I gasp at this beautiful, devastating, intimate, life-affirming film. This is why we make movies. I love popcorn films, with the fights and flashes and epic feel, and I love the big dramas, with their scope and their sense of grandness and the talent on display, and I love those classic film comedies that mix the absurd and the irreverent and the memorable into a single hilarious package. But the films like Room simultaneously so small and so personal, yet so powerful and affecting, have a special place. These are, as Robert Ebert once put it, the empathy machine that is film working at peak efficiency, taking us into the lives of people who have suffered and been unfathomably wronged, and carries us with them as they carve out a way forward.
I didn't know I wanted a film that feels like a cross between Oldboy, Life Is Beautiful, and Boyhood, and yet the elements Room shares with each--the sense of isolation, the loving way in which a parent tries to distract their child from a continuing tragedy, the slice-of-life, impressionistic depiction of a young boy's innocence--come together to form something absolutely tremendous.
That last facet of the film, the fact that it filters the entire experience through young Jack's eyes, is a stroke of brilliance. There's a matter of factness, a certain directness or even blitheness to the way children experience the world. Using Jack as the lens through which Room tells its story renders those events not only realer, but plainer, imbuing them with the unvarnished perception of childhood. The way the film is able to get into Jack's head, to allow the audience to view these horrors and steps to recovery through his eyes, is its greatest strength and most impressive achievement.
By the same token, Brie Larson as Joy deserves all the accolades she's received for her performance here. While still a prisoner, she carries herself with such an air of both utter resignation and quiet resolve, someone who's been beaten into submission but carries on with whatever she has left. And once she returns home, the guilt that consumes her, the anger that she has for the world that kept turning without her, are palpable in every moment without fading into overwroughtness.
The film can essentially be divided into those two halves. The first is the story of Jack and Joy in Room, of the way that Joy makes unbearable circumstances livable for her son, the way that she copes and shields Jack from the horror around him, and how Jack strains and struggles to understand the idea of the world beyond those four walls, to where he can, eventually, help the two of them escape. The second half is far less intense, but still endlessly intriguing and affecting. It's a quiet domestic story about how people recover from that sort of trauma, both Joy who feels the opposite of survivor's guilt and second guesses herself, and Jack who is exposed to a big scary world, the depth and breadth of which is entirely alien to him.
But throughout both halves, there is such a pure emotional truth in each moment, from the simple joys that Jack enjoys within the home he doesn't realize is a prison, to his anger and resistance at having that fantasy shattered, to Joy's dispirited but resolute attempts to keep him happy and healthy, to the realistic, painful difficulties parents and children face when rebuilding a family seven years after a tragedy, to the wonder and fear a small boy has for what lies beyond the garden gate, and the unmitigated joy at every step taken toward some cobbled-together normalcy. Room is a beautiful, heart-wrenching, intensely personal film, that takes an unflinching yet uplifting look at how people cope and come back from the worst that our world has to offer.
A bit slow, but I got the point of it.
If the intention of this episode was to explain to us how's everyone are grieving for Rick, then I'll say it kinda moved the plot forward.
Not being a hypocrite, the contradiction between this episode and other so called "fillers" (I don't except this name and keep reading and see the explanation. I'll just say - if you think TWD has fillers, you haven't seen DBZ) is with the way the story is delivered. When you want to show the dissonance between different states and conditions or locations so you pulling away mid action it's understandable and sometimes realistic. But when you're doing a buildup for some time, a cliffhanger for the end of an episodes and clifhander before the opening theme, just to completely ignore all that... I don't know. That's just teasing someone for rating (which, depends on the show, can be completely legit). Worked in me though.
Questions in need of Answers:
• Did Rosita really heard this voices saying those things, or because she freaked out from hearing talking walkers she started to imagin sh¡t up? Our network purchase the rights to deliver the show with built-in subtitles so it I didn't have the "did I just heard that?" effect.
• Hey Tara, weren't you with Keith? Where are your cool pink sunglasses?
• Did they just "Maggie left, and she took Hershel with her" us? WTF They just farewelled Lauren Chohen like that?
• For f@cks sake I thought that I'm gonna see another Sheeva scene with Dog, I had to stand up watching it. Plus, Daryl must have really liked the new God of War playing that pronoun game.
• "I don't know, buddy..." - Jesus to Aaron. What kind of platonic relationship is this? I swear I was thinking of Simba and Nala when he jumped on him.
• Good one Rosita. "I left Eugene in a barn, we have to take him!"; "It's getting dark soon, he'll be safe untill tomorrow";" Oh, O.K. so if the fact the the walkers talked isn't important I'll just pass out now".
• Did Saddiq really wanted, like he had an urge, to play the flute he only tried for a week before, in the middle of the freakin' noise sensitive zombie apocalypse?. Wonders he didn't finish Med-school.
• Isn't the age difference between Henry and Enid (in the show) is like at least 5 years for Enid's favor, who's at least 18 y.o?
• Is Henry the son of Dolf Lundgren?
• Is Nadia Hilker's Magna the hottest character in the show right now, with or without the fact that TWD's usa hasn't had any winter since season 1? (she's also very attractive outside the show).
• Does this new group are all slingshot sharpshooters?
• Will they keep Dan Fogler's Luke? the car doors blockade giggle made me "Ha!" and "oh, no no no" at the same second.
• Did the only deaf survivor in TWD world has a sixth sense now? Yeah, feeling not even 2 dozens walkers walking on GRASS through the floor's vibrations is totally legit. Not mention spooky feelings from the bushes.
As always, I'm all complaints but still dig it.
Dog?
Here Dog!
DOOOOOOG!
Swerve swerve swerve. I can't say I'm surprised, it's what Westworld is known for however this felt less organic then before and more like we were intentionally lead down the wrong path just to have the big revelation in the end that we were wrong. Problem is none of it was surprising or inspiring, it didn't make you go "oh what???" like in season 1 when we found out William was the man in black, it just made you go oh whatever...
Maeve switched sides, saw that coming. Dolores wanted to save humanity now? Please... There's a man in black robot? Already knew that, don't care what comes from it. Don't believe Dolores is really dead, don't care if she isn't, don't believe William is either, don't care if he isn't. William didn't end up saving anything, Hale is a bitch again. The only real emotional part of the episode was seeing Bernard visit Arnold's family and that still wasn't even that spectacular. Bernard has the key... to what exactly? Everyone got their catch phrase in. This episode just showed the show's gone on too long and the story is all over the place. To think it's going to keep going feels more like a chore then something to be excited for. With any mercy they end this thing with a 3 or 4 episode arch in season 4 and be done with it.
Alas Westworld, this pain is all I have left of you.
Thank you, Rick! Thank you, Andrew Lincoln!
I'm in a state of shock. This episode hit me right in the feels. And then, when my feels were already punched, Hershel appeared and it broke me. The scene with Shane was simply perfect. Good lord, do I miss him! And he even screwed with Rick saying Judith was his daughter and then the whole, naw, she doesn't have your nose. I burst out laughing. And then Sasha appeared. I was low key expecting Lori on my screen, tbh.
I knew it was the end but by heart was bouncing when he was at the bridge. I haven't been so glued go the screen in a very long time. Probably, the best episode of TWD in years.
The scene with Maggie and Negan was outstanding.Im digging these shadow shots. When he broke and begged for Maggie to kill him I was expecting a smirk on his face at he end. I thought he was playing Maggie so that he could live. When he described how he killed Glenn I realized I got PTSD from that episode.
Poor Michone. Watching her breaking when he saw Rick dead was heartbreaking. And don't get me started with Daryl. When he cries, I cry. No exceptions. It hit me like a train.
The real question I've never seen anyone asking, who the heck leaves a crate of dynamite on a wooden bridge in construction?
That Space Junk song at the end just hit me off guard. I was just listening to it and all I could think of was "Hey, you. Dumbass. You in the tank. You cozy in there?" I miss Glenn.
Did anyone else catch that voice saying "Where's your wound?" At first I thought it was Morgan mirroring season 1, but then the voice changed.
Now, after that time jump of like 7 years or so, they better give me a good damn reason for making me believe Rick would leave his family for so many years. Also, Judith freaking Grimes being a young badass and getting perfect headshots was far-fetched.
I saw the preview for next episodes and when I saw Carol with that hair, all I could think of was, she's Jamie Lee Curtis, and "What do your elf eyes see?"
There are plenty of reviews of this film, so here are a few spoiler free heartfelt words of my own, which I hope will help those decide to watch this movie, without worry...
It has been 24 hours since watching the 'Blade Runner' sequel and I still have the same feeling of utter joy as I did walking out of the cinema yesterday. I was so happy that I actually cried, because after 35 years I had finally found my perfect score 10/10 movie. When you see a film that affects you so emotionally that you have tears rolling down your cheeks, then I believe you are witnessing something very special indeed.
True, I am probably biased. The original 1982 'Blade Runner' is my second favourite film of all time - a cult classic that made Ridley Scott in to one of the most respected film makers alive today. The sheer wealth of ideas, the photography, the visual special effects, the sets, the tension, the story, the music and the acting all come together with a passion that, for me, was film making at its' finest.
Hence, when I heard that a sequel was planned, my heart sank. Please, leave it alone, I thought. However, my reservations were slowly pushed away when I heard that most of the team that made the original were on-board to make the sequel. Then, after it was announced that Denis Villeneuve was directing, my confidence grew even more. Alright, let me keep my fingers crossed and believe... which was literally how I was in the cinema yesterday. The lights went down, the music started and...
...within 2 minutes I had goose bumps on my arms and I knew it was going to be fine.
I am here to tell you now that this movie delivers on every level. The pedestal was very high indeed and everyone involved with this sequel should be extremely proud with what they have achieved.
'Blade Runner 2049' is respectful, powerful and smart. The director knew he had a tall order and he manages to bring his style to the next level, creating a science fiction masterpiece.
There were moments when I did not blink for fear of missing something, moments when I was gripping my hand with tension, moments of utter wonder at the visuals, moments of shock and moments of surprise. I was pulled in to this movie like no other I have seen and the 3 hours it lasted was no hardship at all for me... in fact, I didn't want it to end.
Granted, I was sitting in the best seat in the one of the best cinema's in the UK with IMAX and it really helped to literally immerse you in the film. The quality of the picture was simply stunning and the sound was ground shaking without any distortion... and 'Blade Runner 2049' deserves the best possible screen and audio you can buy.
This movie has been crafted with love and skill.
This movie was worth the 35 years wait.
This movie is the sequel we all wanted and hoped for.
This movie is a perfect 10/10 for me and I hope that you all enjoy it as much as I did and will do, again and again.
"I always told you. You're special. Your history isn't over yet. There's still a page left."
