The longer you wait, the more it’s going to feel like committing a whole murder. I think your arm just called it too early because it wasn’t the arm of a paramedic." Following on from such a high-calibre, clever and hilarious premiere was always going to be difficult, and yet this show somehow manages to maintain its reputation as a free-flowing, bad-mouthed torrent of burps, insults and wild diversions. Rickmancing the Stone is a comparably low-key episode than usual, but it balances both the ramifications of Jerry's departure from the family and a new world (parody of Mad Max) with skill. Indeed, all the characters have certainly changed, although Morty continues to exhibit long bouts of undignified distress. Summer is the character who has changed most of all - maturity has hit her full in the face as she attempts to compensate for the loss of her father by shacking up with a bucket-headed, bare-bottomed nihilist with a vanity problem. Rick, concurrently, seems to be the most stressed of the trio as he attempts to keep his daughter happy with robotic replicants of her children and himself, whilst attempting to acquire a natural source of power inside glowing-green minerals. In brief, a typically bonkers episode of Rick and Morty with many a dark twist.
Despite being ejected from his home and his family, Jerry plays a big role in the episode, as the catalyst for the numerous feelings his family exhibits. He has never quite been in tune with Grandpa Rick's unconventional way of life, but in this Universe at least, that's what being Jerry constitutes. Father figure or not, he is still the nincompoop who dared to ask a Meeseeks to improve his golf - sheesh. However, despite Summer's sudden meandering into a post-apocalyptic society, when she returns to her own dimension, she has thought to give her father a visit - even if it is to teach him a lesson in moving on. Character-building aside, I am interested in the ghostly voice that seems to be following Jerry around the place, every now and then whispering 'LOSER'. Our role model and searcher of Szechuan sauce, Rick himself, was on top form as usual. Disregard for the societies he joins continues to be a staple in his life diary. The concept of a society powered (and controlled) by a naturally-occurring mineral is intriguing, but this is not the most original part of the episode, and neither is it the story under the spotlight. Whilst he does love to compliment Summer for her rapid progression into psychopath, he does feel slightly burdened in knowing that his daughter will not be pleased to see her daughter with a penchant for violence. His laughable attempts to convince her of her children's safety is hilarious. Never have there been truer words spoken by a robot than that of Morty's replicant as he attempts to spill out his unwavering love of living a real life. This is Rick and Morty at its darkest. Summer's transformation can only be described as sudden as she impulsively joins a band of ragtag warriors who have nothing better to do than drive around an endless desert in their underwear. One of the funniest scenes is the leader of Death Stalkers unmasking to reveal an impromptu moustache. If there's one thing that writers team of Rick and Morty are good at is making the smallest detail explode with laughs. Later in the episode, the parallels with real life are uncanny as Summer has married her new lover and is living in a nice suburban house with a council that has great thought for its recycling. However, divorce is imminent as her marriage has reached the point where bucket-head is mesmerised by the television and hasn't moved all day. Quite suddenly, Summer decides to get a divorce, and simply escapes the dimension with her grandpa and brother while stealing his only source of power. In my opinion, Morty's story is the most meaningful as he grows a close relationship with...wait for it...an arm. A heavily-muscular arm at that. In the darkest turn of the episode, a reawakened arm, infused by Rick into Morty, intends to exact revenge on the soldiers and King who massacred his family. The metaphorical message here is that the arm represents Summer and Morty as they independently act regardless of their ties with the family. As his new companion attempts to strangle the (rather hateful) man who gave the order for his family's death, Morty realises that by constantly leaving the house, they are merely making things worse and causing their family cohesion to be irreparable. Rick's gizmos are there to save the day once again as they return home with a new power source, but there's something amiss here that I suspect the writers are hinting at, but not telling us as of yet. This was a rather isolated adventure with a subtle lesson for Morty and Summer - and Summer quickly learned from her mistakes. The question now is: will they continue to join Rick on his adventures through the multitude of dimensions, or have they finally learnt and understood its imminent danger? It will probably be the former. 8/10
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I trust the eyes of an honest man more than I trust what everybody knows." Another busy episode of Thrones, another plethora of deceit, strategy and revenge. Season 7 has really upped the conflict beyond any previous season, and it seems Queen Cersei is currently winning the game of thrones. Despite being entirely outnumbered, and outmatched when you consider three dragons, she has already foiled two of Queen Daenerys' plots and killed one of her opponent's commanders. It seems, so far, that the Targaryen army has yet to make a mark on Westeros. Daenerys' kind heart may be her downfall if she can't find at least one foothold on the mainland and her war could very wel be null and void.
The significant event of the episode that will be talked about thoroughly is Jon's meeting with Daenerys. A pivotal meeting in the history of Thrones as they both are unaware that they are related. Nevertheless, their meeting is still signficant considering the fact that these two main characters have experienced their own versions of hell and pulled through and now they're exchanging words to possibly form an alliance against the oncoming storm. Unfortunately, negotiations aren't proceeding as planned. Understandably, Jon will not bend the knee because his people named him King in the North and it would be disrespectful to their loyalty. On the opposite perspective, Daenerys struggles to believe the White Walkers and army of the dead exist and could not hope to allow Jon Snow to rule in the North as King during her reign. It's a predicament that lasts the whole episode, with some wonderful exchanges between Tyrion and Jon, then Daenerys and Jon that could lead to some history-defining alliances. At the moment, however, we can settle for simply allowing Jon to take Dragonglass to the North with him to forge as weapons against the Night King's army, but the question remains of what Daenerys would want in return. The most notable segment of the episode though is Tyrion, as usual, played with unparalleled dexterity by Peter Dinklage, who continues to show that whilst his strategies may sometimes be unsuccessful, his logical mind will always will out as he persuades his Queen to make allowances for Jon. Cersei must be feeling elated at the moment, considering the amount of suffering she's causing. Her new ally, Euron Greyjoy, has proven himself an invaluable sea commander and with the delivery of Ellaria Sand and her daughter, she could not have hoped for a better soulmate. In fact, whilst their tastes may differ, Cersei and Euron and both equally bonkers and definitely deserve each other. What happens to Yara is left unsaid, but suffice to say it will not be a pleasant time with her uncle. For Cersei, revenge (or justice in her eyes) is on the rise. Now with Ellaria and a Sand Snake locked up in her dungeon, she decides to milk the moment. Despite all the stupid things that Ellaria has done since Oberyn's death, you can't help feel gutted for the suffering she's experiencing now. Watching her daughter die from the poison on Cersei's lips may be sweet justice for the Lioness, but it will be hell for the Viper's paramour. This episode was good at reminding us that entire houses can so easily be decimated as long as those ruthless characters still exist. Cersei exudes herself as someone with ultimate power and almost invincibility. The finest example of her confidence is the fact that she's willing to show the world that she's still sleeping with her brother. Having Tycho Nestoris come to King's Landing is an interesting turn of events, and it keeps the audience in line with all the ways of the world even over in the Iron Bank of Braavos. Naturally, the bank is desperate for their money and it seems Nestoris, despite his heavy questioning, believes Cersei and House Lannister to be the best chance of receiving it. Whatever mathematics has helped him come to this conclusion is non-existent, but it's an interesting proposition considering the amount of promises that have been made in the past, including financing Stannis' army in the North before it was thoroughly dispatched by Ramsay Bolton. Speaking of the North, Sansa is showing her capabilities as a ruler as she works with Yohn Royce and Maester Wolkan to ensure that there are enough provisions for everyone coming to defend Winterfell. Littlefinger, meanwhile, continues to influence her with his notions of how he anticipates his next step without knowing his foes'. In truth, it's a good lesson, but Sansa's too wise to trust his wise words anymore. This interaction is thankfully interrupted by the arrival of a special someone. These Stark reunions are getting more and more frequent as we reach the endpoint of Game of Thrones, however, this one might appear meaningful at first glance, but after further examination, Bran is a changed person. His Three-Eyed-Raven status has given him a power beyond men, and to Sansa's dismay, it has turned him into a blank-faced wordsworth who every now and then tells a story about something he's seen. It just happened that the story he chose for Sansa was one that she has been hoping to forget. The final scenes for The Queen's Justice help to depict the progression of the war. Grey Worm and the Unsullied, now arriving at Casterly Rock, have been given instructions by a well-informed Lannister about how to infiltrate the seemingly impregnable fortress once constructed by Tywin Lannister himself. The siege that ensues may be short, but this is important to show the distinct lack of Lannister men guarding the castle and how many Unsullied have died in the process. Now that their ships have been destroyed thanks to the Greyjoy fleet, their only way out is inland towards King's Landing. As I've already mentioned, Queen Cersei and her advisers have already anticipated this attack, and have instead taken their army to Highgarden to end the Tyrell reign. Lady Olenna awaits her fate in the castle with as much resilience as she's always possessed. Her exchange with Jaime is perhaps the core of the episode, with vast consequences. In her final moments, Lady Olenna succeeds scolding Jaime for continuing to follow his sister and insults him by revealing that she was culprit who poisoned his son Joffrey. Merciful though he had been, Jaime will feel bitter following the last words spoken by the head of the Tyrell family. Despite her death, her untempered spirit and unrivalled ferocity will live out for many ages as the Queen of Thorns. This was a dialogue-heavy episode, akin to some of the early episodes of Game of Thrones, giving us the power plays and discussions that the rulers of the land have to parley for their rightful ownership or survival. The only disappointment, I suppose, was how quickly Sam was able to cure Ser Jorah Mormont. Indeed, he should be proud of his achievement, but if curing greyscale was so easy, I believe more practised hands would have done much the same countless time before. Nevertheless, it's great to see one of our heroes getting to live another day. As usual, Davos Seaworth is the man of the hour as he once again shows his aptitude in negotiation and at least convinces Daenerys of Jon Snow's true intentions. The Targaryen-Stark alliance could be the chance for change in Westeros, but with Cersei making waves on the mainland and winning battles, it might not amount to anything in the end. 9/10 Men my age dictate this war. Why should we be allowed to send our children to fight it?" Claustrophobic, thunderous and profound are the three words that crop up after watching Christopher Nolan's Dunkirk. Suffice to say, watching this film in iMax is your best option to receive the full compliment of cinema experience. The film sets out to absorb you into its hostile environment and join its characters, and it very nearly succeeds. The care taken to every practical shot is breathtaking and the story is conceived in a way that allows you to follow a multitude of characters and witness their harrowing time in hell as they just strive to survive.
Already, by the beginning of the movie, Christopher Nolan has shown that this will be an unconventional film, by splitting it into three factions (The Mole, The Sea and the Air). This gives us the full perspective of war we can possibly get for this frightening event. The Mole introduces us to Tommy and a group of soldiers he teams up with as they attempt to use any means necessary to cross the channel. The Sea follows a fisherman and two of his sons as they answer the call for help over in France to help bring soldiers home. The Air covers three spitfire pilots who are the last hope for the military on the beach as they attempt to pick off any German planes attempting to sink escaping vessels. This disjointed storytelling was a clever way to compile the overall plot and ensured that we understood the full extension of the evacuation whilst not being too sidetracked by separate events. In some cases, certain occurrences happened three times just to reassure us of the linearity. The production is perhaps the most important asset of this film - pertaining to the sound, imagery, music and scale. All these components have been so painstakingly put together that it is impossible to criticise the final product. For the sound, you will experience ear-splitting bouts of gunfire that was incredibly uncomfortable to hear in the cinema - plus the extra sounds of planes, boats and rushing water to add to the compendium of unnerving noises. Nolan demonstrates his skill with a camera as he seriously considers each shot to be necessary for portraying the horrific events. The first scenes are some of the finest examples of this as you see Tommy find himself on the beach of Dunkirk overlooking his comrades lined up to escape France. This landscape shot will go down as an iconic representation of one of the darkest days of man as 400,000 men attempt to just survive. Hans Zimmer's music as with many of his recent soundtracks for Nolan, including Interstellar and Inception, is a relentless, haunting toll in the background. The fact that it plays constantly throughout the movie makes sure we're always watching the unfolding action, but it's the masterstroke at the end as the music suddenly kicks out to silence that really hits home the power of this disastrous event. The music was symbolic of the soldiers' presence at death's door until the very end when they are finally safe. Last, but not least, the scale of the movie is unprecedented, with Nolan relying on practical effects to portray the evacuation instead of the usual CGI that filmmakers rely on these days. In consequence, the film seems very pure in its depiction - nothing seems out of place and everything is big, big, big. From the size of the warships to the real-life spitfires, everything is genuinely awe-inspiring. If it wasn't for the acting and the final emotional injection into the script, the film would not be complete. Fortunately, neither is a problem. They are both wholly present and are examples that transform this picture into a masterpiece, and will hopefully be a stronghold for Dunkirk in the Oscars. Fionn Whitehead may be a newcomer, but his contribution in the film is absolute - he carries the emotion as a lone survivor who is as desperate and instinctive as his comrades - any means necessary to escape death. He is joined by Aneurin Barnard and Harry Styles who are just as passionate in their portrayal. The conditions of their filmmaking helps to mould their characterisation even more. Kenneth Branagh and James D'Arcy are both inspirational leaders who are the driving force of the evacuation and the constantly keep up morale simply be being in the presence of their men. The morality of the Commander's decision to stay behind and help the French soldiers is heartfelt and very moving. Tom Hardy's role may be minimal, but he has an heroic turn as the spitfire pilot, Farrier. The soldier's contribution to the evacuation is pivotal in the army's survival. The final shot of his plane on fire is a monument for the movie and his capture by the Germans shows that some soldiers sacrificed a lot in the effort. Finally, you have Mark Rylance, Cillian Murphy, Tom Glynn-Carney and Barry Keoghan on the small fishing boat heading south. The drama around Murphy's character and his question of either cowardice or trauma is perhaps the most emotional in the film. The death of Mr. Dawson's son George, is an example of how war can be dangerous for more than just the bullets and explosions, but for the psychological transformations that occur in a soldier's mind. When Peter lies about George's condition to the soldier afterwards, it is the defining moment that decides whether the soldier will carry on fighting or be so caught in grief for the death that he caused that he would be completely incapacitated or even worse, suicidal. As the film juxtaposes from the French coast and back to Britain, the location may have changed, but the overall dejection in the soldiers' hearts is ever present as they believe wholeheartedly that they have failed the nation. But, the final message is as clear as it should be. In Chruchill's speech, Britain's leader saw the Dunkirk evacuation as a resounding success and the determination and accomplishment achieved in the event was carried forward as inspiration for the next step in the war. Nolan ends on a bittersweet moment in which the surviving soldiers are relieved in their survival, but sorrowful for their losses. It doesn't matter what comes next in the war according to this film, as this is portrayal of how men can overcome the gaping jaws of hell - not just Britain - but any resilient person on the planet. The only questions remain - why was it necessary in the first place? Why is war a part of Human nature? Was it all worth it? 10/10 You're a dragon. Be a dragon." Game of Thrones is progressing nicely with one of its busiest episodes yet. Apart from one major battle at the end, the clashes are still at a minimum, but you can easily tell that the atmosphere of the show has changed. With so many enemies is such close proximity, the danger levels and the excitement levels are at an all-time high. And Cersei's right at the heart of the danger, causing trouble where there need not be. Whilst I feel the writers may be speeding up the plot progression, it is equally necessary considering the high stakes involved in these wars to come - the smaller frays don't matter anymore, it's only the big picture that is of any importance.
Alliances are being forged left, right and centre as Daenerys not only ensnares Melisandre in her flock of supporters, but now calls for Jon Snow to bend the knee. Being a forward-thinking warrior, Jon is quick to decide to leave Winterfell and travel to Dragonstone, but there are reservations that threaten to dismantle his alliances in the North, seeing as he is the King of the divided factions. There's now the interesting factor that Sansa is in control of Winterfell and Littlefinger watches over proceedings with her. She may have Brienne by her side, but the question remains whether Sansa can remain as strong as her new self to keep the conniving cretin at bay without being influenced to make rash decisions against her brother's wishes. Daenerys' alliance is a vast one and, thanks to Tyrion's strategic skill, they are all agreed on a new plan set out to lay siege to King's Landing. Desperately trying to avert a rule like her father, Daenerys has opted to be calm and collective when 'conquering' the Seven Kingdoms. She does not want bloodshed at every corner, she wants to earn the loyalty of the people by being the best ruler she can be. The plan set out is an exciting one, seeing as Yara Greyjoy and Ellaria Sand must work together to travel from the South, whilst the army of the Unsullied along with Grey Worm attempt to take the home of the Lannisters - Casterly Rock. It's incredibly satisfying to think that Tyrion has planned the demise of his own family's seat and it could be falling down at any moment. In the capital, Cersei is planning to win back the noble houses surrounding Highgarden following Olenna Tyrell's allegiance to the Mother of Dragons. One of her subjects, Randall Tarly, rightly points out that it may be difficult to face up against dragons considering their strength and ferocity. As always though, Qyburn may have a plan. The scene in the dungeon of dragons is stylishly filmed, with that eerie shot Balerion the Dread's hollow skull appearing from the shadows. Cersei may have tricks up her sleeve after all. Jaime, meanwhile, attempts to gain the loyalty of Randall Tarly, one of the most feared and respected Lords of the Seven Kingdoms. His backing could be key to protecting his sister's reign, whether he wants to or not. In Oldtown, Samwell has started making his own way, finding favour in the Archmaester. However, he has already started disobeying his mentor in an effort to save the son of his former Lord Commander. Ser Jorah Mormont is a great character and it's sad to see him suffering and possibly on the brink of losing his mind due to greyscale - but Tarly appears to be here for the rescue. Also, in the Riverlands, Arya has two reunions. The first is with an old traveling companion, Hot Pie, who has previously crossed paths with Brienne and Podrick. The second is with her closest friend, Nymeria - the Direwolf she was forced to give up back in Season One because it had attacked Joffrey. Whilst the reunion may not be complete as Arya realises that she was never one to like company on her journeys - it's nice to know that Nymeria has found her and will hopefully seek to protect her in any coming danger. This week's episode is all about the final scene though as Euron Greyjoy makes his first move that could be the life-bringing spark of the final war. As the Greyjoy fleet escorts Ellaria Sand to Sunspear, he ambushes them - presumably, in the Narrow Sea - and attempts to capture the leaders. Wonderfully shot by director Mark Mylod, the sea battle is a fiery maelstrom of death as Euron demonstrates his durability as an experienced warrior. He successfully dispatches two Sand Snakes in the turmoil and ridicules his nephew. The Dornish people may not be the most-loved characters on the show, but you can't help wondering whether they've suffered enough now. Indeed, as we should have expected, Ellaria Sand was the gift Euron was talking about - ultimate vengeance for the death of Myrcella. It's a definitive final scene that reminds us of the brutality of this show once more. And, once again, Theon has regressed back into his broken identity, unable to see the indignity in his cowardice. There's a lot to take in in this spiralling hour of drama, but with that final scene, proceedings are starting to tie together as the prominent pieces of the board start colliding together. Daenerys is going to find it much harder to conquer the Seven Kingdoms than she first believed - it may take the supreme wrath of the dragons to finally do it. But, suffice to say, her possible alliance with Jon Snow could be the deciding factor and according to the next time trailer, we're already getting it next week. 9/10 We're not the like the people south of the Twins. And we're not like the people north of the Twins. In the Citadel, we lead different lives, for different reasons. We are this world's memory, Samwell Tarly. Without us, men would be little better than dogs. Don't remember any meal but the last. Can't see forward to any but the next. Every time you leave the house and shut the door, they howl like you're gone forever." Game of Thrones has returned - and with it comes winter! Everything about this episode seems darker, colder and unfamiliar. The environments are changing for the worst and all our favourite characters are forced to adapt with it. The creators clearly made a good decision when pushing the filming later to provide that extra feeling of danger. They also remind us of the true enemy beyond the wall as the White Walkers and their horde of undead march ever closer to the Wall.
In truth, this is an incredibly busy episode, filled with reintroduction, rediscovery and revenge. From the beginning to the end, there's a sense of chaos that is linked entirely to the characters' desperation. As Cersei points out, she has enemies everywhere, surrounding her from all sides. Everyone's desperate to find their enemies and start taking revenge. The most obvious example of this is depicted in the cold opening before the titles. What is seemingly a resurrected Walder Frey hosts a second feast for the prominent members of his family under the pretence of celebrating their continued survival. Of course, this is merely Arya Stark wearing Walder's face in order to ultimately complete the avenging of the Red Wedding. It's an awesome way to start the season and gives those gearing for the Starks (which I hope is everyone) the satisfaction that we so deserve after all the suffering. In the North, Jon Snow is starting his plans for the defence of his new kingdom as King in the North. Now that most of his disparate factions are all in agreement about the oncoming storm, loyalty is strong amongst the leaders. Sending the Wildlings to Eastwatch-by-the-Sea will be an interesting development in the story and will probably be the early warning that Westeros needs. However, it's not all simple and easy, as Sansa has her doubts. Whilst there's definitely a family bond between her and Jon, she still has reservations towards his leadership and the decisions he's making. This could turn things complicated later in the series. Sophie Turner has really transformed for me though - there's a sense of maturity in her acting ability now that is astonishing and it goes hand-in-hand with Sansa's savvy mind. One of the most interesting scenes of the premiere involved Sandor and his new reluctant friends, Beric Dondarrion and Thoros of Myr. The writers take us back to the Riverland house with the farmer and his daughter whom he stole from back in Season Four. It's evident that whatever the Septon did to Sandor, and whatever thoughts he possessed in the wake of his near-death experience, the younger Clegane has changed for the better. Seeing the decomposed bodies of the father and daughter struck a guilt in him that persuaded him to bury their bodies. Seeing Thoros accompany him with the burial was a nice touch and gives us a fleeting sense that they will become close friends. This seems even more viable coupled with the fact that Thoros helped Sandor see into the flames just like so many others have done before him. What he saw could be hinting at Tormund Giantsbane's new destination in the North and he could be in real danger. Oldtown becomes a new location on the iconic map as Samwell Tarly begins his service at the Citadel. His scenes concerning his duties as a bookkeeper and lavatory cleaner may be humorous, but it shines a grim light on the trials and tribulations of maesters. Most of them are in old age due to their long years of service to perhaps a Lord or a Lady across Westeros. But, it's the introduction of the Archmaester that satisfies me the most as Jim Broadbent gives us a taste of his deceptive wisdom. It's a defining scene in the premiere as Sam attempts to complete the task he was sent down to the Citadel for. The Archmaester is clearly incredibly perceptive, but points out that a maester's job is to be doubtful. Nevertheless, Sam makes two worthwhile discoveries already - that Dragonstone could be the key to a miser's hoard of dragonglass, and there's a mysterious man in Oldtown with greyscale wondering whether Daenerys Targaryen has come to Westeros. We feel for Jaime in King's Landing as it becomes apparent that Cersei is indeed lost in her own madness. She attempts an alliance with Euron Greyjoy, but seems more content to mock him rather than join him. Euron himself is proving to be a curious character with a penchant for murder, not dissimilar to the new Queen of the Seven Kingdoms. They would make an ideal match, but the question remains, do they have enough forces to oppress all their enemies, or are they just sitting ducks. As meanwhile, just off the coastline to the East in the Narrow Sea, Daenerys has made her first landing on home soil, in the great castle of Dragonstone. Jeremy Podeswa creates a wonderful spectacle of her arrival as no words are exchanged during their long walk to the keep. As this is her ancestral home, there's great history and meaning in her arrival here, and that's why it's a defining moment in the series. This could be Daenerys' first step to conquering Westeros. The premiere is a rather quiet episode in its own right, but is necessary for bringing us into a whole new era of this epic show. There's a sense of grandeur in every shot, especially with the final Dragonstone sequence. With Bran now back south of the Wall, everyone's seems to be closer and isolated, but the scale and scope of the series is still far-reaching. Undoubtedly, all the opposing factions will start colliding and as per usual for this show, things will turn bloody. Winter is finally here. 8/10 The rich, the powerful, like Stark, they don't care about us! The world's changed boys, time we change too!" A superhero movie that competently balances the vastly expanding superhero world, while also showing a different side to the genre. Tom Holland's version of Spider-Man is hilarious, quick-thinking and packed with entertainment. There's no let-up to the jokes, it has to be said, the script rattles them off in quick succession, but they are no detriment to the flow and development of the overall story. Whilst there are missteps as in most movies, the tone and charisma of every character on screen will keep you interested.
The continuity references within the Marvel Universe are extensive, with appearances from some fan favourites and a few cool references to those not in the limelight this time around. Having Tony Stark, Happy Hogan and Pepper Potts was a great decision, giving fans a chance to catch-up with those characters that have perhaps fallen out of view. Plus, there were some hilarious cameos of Captain America as he narrates pre-recorded school videos for the benefit of school discipline. New cast members were brilliant additions as well, with the collection of Peter's school friends giving us a flavour of high school drama in the middle of an action movie. Standouts included Ned and Michelle of course. Ned may seem like the stereotypical nerd sidekick, but his presence seems far more thanks to an inspired performance from Jacob Balaton. Zendaya was equally commendable for a quirky and eclectic performance - there are hints of a future relationship kindling for her and Parker. For the villain, Michael Keaton doesn't fail to scare us with the elusive and technologically adept Vulture. The story itself is simplistic - an impoverished man stumbles across alien technology and decides to use it to make a fortune whilst disrupting the rich. Peter Parker discovers the danger he poses by selling powerful weapons to criminals and vows to stop him, by disobeying Stark and Hogan's orders of course. The success of the story is based on how the writers were able to balance between Peter's real school life and his good samaritan lifestyle. The transformations were brilliant, and the significance of the suit that he wears at different points throughout the movie was used in a thoughtful way. It strays from a powerful statement Tony Stark made about Peter's misuse of the suit. Also, Spider-Man's final decision to not get publicity for his role was a humanely powerful decision to make and will hopefully resonate within viewers minds as a life lesson - especially the younger audience. The big twist around Vulture and his identity as Adrian Toomes was unexpected. The fact that we never see him and Liz together in the same scene until that fateful night when Peter finds him answering the door to her house is a big surprise. The element of family and its effect on Adrian's decisions was a big factor, I suppose, in his decision to initially keep clear of Pete once he'd learnt of his true identity as Spider-Man. But, that was quickly negated anyway thanks to Peter's lack of control. Regardless, there's a lot of morality and characters making brave decision in the movie that will really make you think, and that's a bi positive. Visually, as usual, Marvel is at the top of its game in terms of budget and detail. Scenes at the Washington monument and the final confrontation on the plane in the sky are two fine examples of the incredible power of CGI these days. Everything looks crisp and genuine, and the visual mastery makes everything seem ten times more exciting. Even though, at times, Spider-Man long-shots do lose his integrity, they hinder the movie whatsoever, it's just slightly distracting. Above all though, Spider-Man is a very funny blockbuster with a lot of heart and a confident cast. Superhero films continue to surprise me with their grandeur and visual capabilities. Stories have sometimes been a problem, but Marvel are especially demonstrating that there's an improvement in progress. and they are concentrating more on the thematic value of a movie, instead of just getting from the beginning to the end. Throughout Spider-Man: Homecoming, there are a lot of little scenes to take in, with numerous references to the real world, physics, pop culture and a stylish collection of music for the soundtrack. Highly recommended for the family. 8/10 My family...the family you demonised and excommunicated, has fought and died for generations for this country. We do this thing for Wallachia and her people. We don't have to know you all. We do it anyway. And it's not the dying that frightens us. It's never having stood up and fought for you. I am Trevor Belmont, of the House of Belmont, and dying has never frightened me." Another Netflix series to binge-watch, and this one seems much easier than normal. Maybe, because it only has four episodes. Or maybe because it is a really good season. If there's one criticism, it's that the four episodes only feel like setup for a series with a lot of potential. The characters are already envisioned and there's quite a lot of back story already covered, but you can tell that there's still a lot more to learn and see in this incredible new world of demons and angels.
The opening story concentrates on Vlad Dracula himself where he meets an aspiring Doctor searching for his help in his monstrous castle. They marry and become the healers of the country and Vlad learns to respect Human beings in her presence. Unfortunately, due to the miraculous ways in which Lisa Tepes treats her patients, the Church claims her to be witch with unnatural powers. They order her to be executed by burning at the stake. Unbeknownst to them, this is a big mistake, as Vlad learns that the only Human being he has ever liked, and more than that, loved, has been taken from him to be killed by religious fanatics. He unleashes his wrath on the world by promising them one year to prepare for hell. Of course, one year later, he does as promised and the country of Wallachia is under siege from his demons. The story may be told fast-paced, but it gives a quick overview of the premise of Trevor Belmont's story and it gives us a clear perspective of who the opposing forces are - Dracula and the Church. The story slows down immediately to give us a chance to meet Trevor, a forgotten member of an old family that fought beasts in Wallachia to protect its people. Richard Armitage was an interesting choice for the role, but by the end of the four episodes, I've grown used to his understated exhaustion as it undeniably shows the character's attitude to the world. He has been scorned by the Church, ignored by the people and now the last surviving member of his family. His animated portrayal is definitely more succinct, with a deft skill in combat, especially when he has the chance to use that whip, and the animation itself does wonders to depict the battle scenes. Other interesting characters include the Elder and Sypha, both members of the Speakers. Not much is said about the characters themselves, but their intentions are pretty clear. Sypha has a certain interesting aspect revealed in the final episode - she is a magician. Her powers are clearly useful in the final battle, but it's never too obvious when it comes to fighting the demons. Her relationship with Trevor has quickly grown into friendship as they scout the underground catacombs together. Another fascinating character, albeit with a brief appearance, was the Bishop. A man so caught up in his own religion that he is blind to logic. His meeting with Trevor was enlightening in terms of what his motivations are and where his belief turns him insane. But, the best scene has to be the arrival of the demons inside his cathedral as they taunt him. It's a powerfully dark scene that could be a foreshadowing of what is it to come of the Church and its disciples. The creators have certainly gone out of their way to create a depiction of fear and dread. Every landscape shot or violent imagery is made with care to show the merciless nature of the demons. Director Sam Deats does well to depict the darker elements as well. The Cyclops scene is particularly well done and was the first convincing battle scene that promised this show could be incredibly professional. But the best directorial duties can be given to the scenes in the catacombs. There's no talking, but seeing the machinery crumble and break away as Trevor and Sypha investigate was wonderfully creepy and added to the tension as they approached the Sleeping Soldier. Despite being so short, the final confrontation for the denouement of the fourth episode gave us a lot to look forward to. Alucard promises to be an exciting new addition to the cast, and someone who can turn the tides in the war. His skills are clearly unmatched apart from the immense skill that Trevor has developed over the years. The final shot of the three companions walking out of the tomb together is a great way to end the first season and usher in the second. With its beautiful imagery, exciting stories and strong characters, Castlevania has proven that it is show capable of intriguing new viewers like myself (I never played the game). A strong voice cast also helps to enliven the animation, giving us a chance to empathise or not with those souls on screen. There's a lot at stake in the closing moments of the first season and as we have already experienced the power of Vlad Dracula, we can only expect tough times ahead. Regardless, once again, Netflix has provided a successful show, this time for its adult viewers. And it has great potential to be an instant hit when the second season is completed. Witchbottle - 8/10 Necropolis - 8/10 Labyrinth - 8/10 Monument - 8.5/10 Season One - 8/10 Now, she has spoken the second word as well. Remember, together the seven words of Arcturus - those remaining must be spoken. Chariot...you must guide her." In the last episodes in the first half of the series, Little Witch Academia decides to finally up the explanation and emotions, but it still hasn't reached its pinnacle yet. There are some lovely moments, and highlights of revelation, but we are still ultimately as blind as Akko as to her destiny and her overall skill in magic. She may have wowed the judges and her fellow Luna Nova classmates at the Samhain Magic Festival, but her capabilities are still very much in question as we wait for the second half.
Diana Cavendish is still my favourite character, and this is reassured in the final two episodes as we learn a little more about her personal life and the truth behind her untold wisdom. She is the most capable witch in the academy, but she is also modest, kind and calculatingly clever in everything she does. Akko may be the protagonist in this overall story, but Cavendish demonstrates a character on the sidelines who perhaps has more reason to be the lead. Here is someone born into her unimaginable skills and respects it with dignity. She may annoy some people for outsmarting Akko most of the time, but as is evidential in the final moments of episode thirteen, there is more to her character than just perfection. Whilst Undead Travelogue and Bee Affection are more standalone episodes that rely on character development rather than story progression, they are still fun romps, if a short on complexity. Undead Travelogue gives us a brief glimpse into the past of the headmaster of Luna Nova and Bee Affection hints at Akko's growing relationship with Andrew who still has a problem with magic. Nevertheless, they clearly understand each other's trials and tribulations during a heartfelt scene at his mansion. Professor Ursula is revealed as Chariot - I can honestly say that I guessed that revelation, but it's nice to get confirmation. Blue Moon gave us a deeper perspective in the ancient lore of magic and how Shiny Chariot gained such amazing powers. This was the best episode yet, as it mixed a darker storyline with some important character development for both Akko and Cavendish, who discovers an ancient book discussing an ancient power. The denouement leads Professor Ursula to the realisation that she must support Akko wholly in every situation and becomes the devoted suitor. I must particularly praise the animation in episode eleven for its visual horror. The final two episodes are good, but they perhaps don't live up to the buildup for the mid series finale. We do get a lot of character development, and some much-needed conclusive evidence that Akko can properly use magic, but it leaves much to be desired for the story itself. There were some funny moments, especially when Akko gave Cavendish's cronies a piece of their own medicine, and a few moments of emotion as the friendship between Akko, Lotte and Sucy intensifies in their sacrificial show to conclude the Samhain. Concisely, there's a lot of heart, but not a lot of impact in its execution. As we're now at a point where we understand most of the goings on in Luna Nova, it's time to dig deeper and find the minute elements that define the personalities of its residents. There's a lot of loose ends that need to be revisited and tied up - particularly related to the magical spells themselves. There's no coherent explanation for the source of spells and their respective categories - we've simply had a collection of them pronounced every now and then. Hopefully Netflix can bring out the second half of the series before the end of 2017 so that we may get some serious answers. Until then, there's a lot to enjoy for younger viewers, somewhat less for adults, but it's still a decent little show with heartfelt messages of love, friendship and inspiration. Episode 9: Undead Travelogue - 7/10 Episode 10: Bee Affection - 6.5/10 Episode 11: Blue Moon - 8/10 Episode 12: What You Will - 7.5/10 Episode 13: Samhain Magic Festival - 8/10 Season Overall - 7.5/10 That was all a dream, wasn't it?" As we head deeper into the lore behind Little Witch Academia, and discover more hidden treasures and locations, the show starts to branch out both interactively and emotionally. The eighth episode especially shows the writers finding success in the pseudo area of storytelling in which they can parody other fiction. I especially enjoyed the Star Wars reference. But, at the same time, Akko as a character is stuck in a repetitive wheel of trying her best to succeed, but failing anyway. There seems to be a lot of hope, but not a lot of completion.
The episode are certainly mixing things up, with episode five and six really expanding on the background stories behind the school and giving us the chance to meet some new and exciting faces. In Pact of the Dragon, whilst the general premise and breadth of the story relies on a cliched storyline, there's a twist involving the mysterious dragon underground that gives it an original edge. The storylines may be kid-friendly, but there's enough internal references for the adults. Diana Cavendish continues to demonstrate her full capabilities as a more-than-competent witch as she seems to solve all the problems for the professors of Luna Nova. The Fountain is the best episode of the season yet as it gives Akko someone to really contemplate her feelings with. Whilst there's an obvious love interest in the air involving Andrew Hanbridge, he's not your typical one-dimensional character. The fact that he thinks magic is long overdue for extinction hints at an interesting conflict between him and the witches at the academy, despite his good looks. Nevertheless, in the space of twenty or so minutes, the writers succeed in allowing him to question his feelings towards magic and give Akko the chance to change his mind ever so slightly. I'm still suspicious of Professor Ursula - I believe she's more than just Akko's tutor, but someone with a hidden secret. Her devotion to this unskilled girl makes me question her intentions. In Orange Submariner we find that despite Akko's clear struggles in doing anything remotely related to magic, she's finally managed to secure herself a sturdy place in its halls after saving one of its professors. There's enough morality amongst each of the characters to make them believable, and that seems to be this show's strength so far - it has convinced that these characters have substance, and not just a simple personality. There's still a lot to improve and a story to progress, but so far enough has been introduced to create this rather charming world. Undoubtedly there are flaws in the writing when it comes to fleshing out the overarching story, but the production itself is impressive. The animation never fails to amaze me and some significant moments such as the short film shown in Sucy's mind about her first encounter with Akko, suggests that this show has a lot of heart. Hopefully the last part of this Netflix season can contribute more of the same or even better. Episode 5: Pact of the Dragon - 7.5/10 Episode 6: The Fountain - 8/10 Episode 7: Orange Submariner - 7/10 Episode 8: Akko's Adventure in Sucyworld - 7.5/10 Where there's tears, there's hope." One of the most significant reasons why I like Steven Moffat as a writer is that he concentrates on the small scale. He doesn't blow stories into epic proportions for a climactic end, he condenses them into one important message that should be heeded without refusal. The Doctor Falls is a fine example of how Moffat deftly writes a conclusion. I'm not blaming Russell T. Davies for writing with too much flare and flamboyancy, it's just a different way of writing. Sometimes the small is bigger than the big, as can be used to describe the TARDIS, and Moffat has the skill to write it.
The Doctor Falls is all about its characters. This season introduced Bill Potts, and following last week's traumatic denouement, she's currently fighting her own mind, quite literally. Moffat tricks us into believing that the Doctor may actually have reverted her conversion, but in fact we were just seeing what she believed we should see - normal Bill, still alive and healthy. But, as with the darker elements of this story, she comes to realise that she's actually a Cyberman, as instigated by the Master. Nevertheless, her resilient mind lives on, combating her new and alien brainwaves, desperately trying to survive whilst in the Doctor's presence. Her emotional journey here is very emotional, and her loyalty to the Doctor is the only thing that keeps her going, even in questioning the meaning of her own life now that it's been changed forever. Her final moments may be the weaker parts of the episode, but they have a strong message in their execution. Bringing back Heather was a surprising decision by Moffat and one that actually made sure that Bill's story was completed. It's a great way of reminding the audience that hope is a powerful urge of the Human race - this parallels nicely with Clara's ending last season as she started her travels throughout the Universe with Ashildr. In truth, saving Bill was typical of this showrunner's storylines, but it reminds us of the Doctor's morality and why doom and gloom should never always be inevitable in Doctor Who. Happy endings are exactly that...happy. Nardole had a lovely role in this year's finale - not only helping to protect a small society of Humans on Floor 507, but finding someone to love in Hazran. Always the comedian, Matt Lucas has been quite honestly the comic relief of the series, but he's always been a strong friend of the Doctor's, and the pain in his ass whenever it came to Missy and his oath. He will surely be missed by a lot of people, but as with many of the Doctor's companions, he will be left behind in the knowledge that he has helped an angel save lives, even if it's only temporary. It was great to see his technological side reach its peak though, as he blew up Cybermen with glee. The Master is possibly one of the most complexly written characters in the history of Doctor Who, apart from the eponymous man himself. In this case, Steven Moffat has a chance to emulate the renegade Time Lords' egotistical personality twofold - by using both the Master and Missy as sounding boards for each other. John Simm and Michele Gomez are wonderfully compatible together and equally mad. Simm reminds us how sever his incarnation could be especially in the presence of Cyber-converted Bill. But it's the final moments together that really hammers things home. Here are two facets of a character who is so in love with their own person, that they equally have to thwart themselves. Whether Missy had truly turned to the 'good side' is by the by - she never truly got the chance to show her remorse as both incarnations have killed each other. In the shared laughter they realise that this was their destination - Simm's Master into Missy and Missy to...well, death I suppose. But we can never be too sure with this tricksy Time Lord. The man of the hour though, above everyone else, is the Doctor. Peter Capaldi has poured so much life into his incarnation of this wonderful being, that he is effortless in his portrayal in the finale. Filled with wisdom and emotion, he's the real reason why many audience members are crying around the world after seeing this finale. It may only be the beginning of the swan song, but Moffat has given his all into writing the Doctor as someone who does things for the sake of saving innocent lives. Hence why the scene where he confronts both incarnations of the Master is so pivotal. This is his last chance to impart his kindness onto them and hopefully change their thinking-process. Despite everything that he did regarding Missy this season, he still feels as though he's failed. On top of that, he has already discovered that he's at the stage of his death - his regeneration is near. The beautiful shots of him running through the forest and causing explosions shows the Doctor at the end of his tether - credit to the immensely talented Rachel Talalay for the nuanced imagery. This is all about the final moments though, after Bill's exit from the TARDIS with her new perpetual friend, Heather. A wounded Doctor awakens from unconsciousness after experiencing flashbacks of his previous companions - a nice tribute to Russell T. Davies from Moffat there. I adore the continuity references to previous moments of regeneration - Capaldi imitates them all well. But it's the Twelfth Doctor we're concentrating on, and as Moffat has promised recently, his regeneration will have a different edge. In the final scene, the Doctor attempts to halt the regeneration, before being approached by a figure in the snowy mist. For a massive Who fan like me, this is a defining moment in the show's history as its first incarnation reappears for one final adventure. This will be the best gift for unwrapping at Christmas. Low-key, but undeniably significant in the perspective of any Whovian, the Doctor Falls is brimming with references, love and care by a writer who has devoted the last eight years of his life to one of Britain's greatest entertainment treasures. In my opinion, he has almost never let it down. With one more story to tell, can he uphold that immense standard and give Peter Capaldi the extraordinary ending he deserves? 9.5/10 Season 10 - 8.5/10 |
AuthorA very passionate Welsh nerd... Archives
October 2017
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