The Avatar The Last Airbender is a popular anime series. It has been remade into a live-action Netflix show called Eight Episodes. The original series, which is rated PG-14, is one of the favorite animated shows of all time. The show aims to appeal to a younger crowd. It will keep the same excitement as the original.
The original creators had a hand in some episodes. But, they mostly brought in new characters and created a new atmosphere. Still, they kept the key parts from the original series. However, the show has condensed the original content into eight episodes. It has scrunched the content and lost some aspects. To keep the characters’ development and heart, the show has had to switch things up. The first episode of the series had mixed reactions from fans.
Some saw potential in the series. But, some had issues with the dialogue and the heavy-handedness of the characters. The show was criticized for being too heavy-handed and awkward in its delivery. However, as the season went on, the actors became more comfortable in their roles. The characters didn’t feel the need to feed the audience information.
A review on Twitter suggested that the show felt like an AI-generated The Avatar The Last Airbender series. It takes things from the original and does away with the heart. However, the author agrees that it takes time for a series to breathe and not make a final judgment based on one episode.
Despite some issues with the rest of the season, the author feels that there is some heart in the show. They can tell that the original creators tried to keep many things that worked from the original show. They kept moments, characters, and story beats. The passion of the people behind the show is evident, and the original creators were involved in the series but not all of the time.
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In each episode, there were at least one or two moments that had a lot of heart and focused on developing the characters in such little time. While the show may feel rushed, it is important to remember that it is a war series, and it doesn’t rely as much on humor or comedy. The original show is a great example of how a fan can appreciate the original show and its potential for growth and development.
The original The Avatar The Last Airbender series has a grand and epic feel that the new version of the show does not have. The characters are important to the series. They are integral. Ang is played by Gordon Cormier. He has a childlike innocence and deals with his Destiny. However, the show has taken away some of the silliness from the original show, which was an integral part of what Avatar was all about.
Sara and Saka were two characters that took some time to warm up for the audience. Saka’s character is similar to the original series. However, there are missing elements that made him more compelling in the original series (The Avatar The Last Airbender). The performance of the actors is spot-on, and the dialogue and delivery are spot-on. The writer and actor should be given a chance to grow and lean into their characters. The new series missed the dynamic between Qara and Ang. It lacked the chemistry and special relationship of the original show. However, by the end of the final episode, there were some moments between them that the audience could build on and grow in season 2.
Zuko, the Fire Lord, was enamored with the first episode and sounded like Zuko from the original series (The Avatar The Last Airbender). He tried to be Stern and direct, but it came across as a kid throwing a tantrum. The actor did a nice job with the character, and the voice cast was different, but they could do a good compassionate little bit of silliness. Daniel Day Kim as the Fire Lord was also a good choice, as he was grooming her to become what Zuko Ultimo Ely thought he was going to become. The show takes things away from what we know and builds up a character like Zula when we didn’t get that before.
Kenong as Commander Xiao was questionable at first, but he eventually had the presence expected from Commander Xiao. Overall, the new series has some improvements, but it still lacks the grand and epic feel of the original series. The author discusses their thoughts on the Avatar The Last Airbender season. They focus on the story and the characters’ performances. They express their desire for the same moments from the original series but also acknowledge that the show has some issues with the script. The author feels that the script is not entirely there and that it could have been better or taken out of the moment.
The author is divided on the visuals, particularly the fight sequences and choreography, which are praised for their use of CGI. The author also mentions the coolness of the fire-bending scene on the big screen, which they believe is better than the previous version. However, they also note that the lighting in the show is a bit of an issue. They think the original animation had too many bright blues.
The author also says that the show’s lighting seems too fake to them. They feel they could have made the scenes more real. They also mention that some scenes are too dark, dreary, or dull, which they feel should be more vivid. However, they still find some beautiful moments in the final few episodes that they are impressed with.
The author also admires the intimate moments between the characters. For example, they like the one where Ang and Zuko talk like they did in the original show. They feel that the passion from those in the show has helped capture the original series. They are looking forward to seeing how the show grows in season 2 and handles the new characters. The author also asks about the passionate fans who are going crazy with the show, whether this is a detriment or the downfall of Netflix. They are interested in seeing what the show does next, even though they have their issues.
In summary, the author is disappointed with Avatar The Last Airbender. They say the show fails to deliver the emotion and passion of the original series. They also express their interest in seeing how the show evolves in season 2 of The Avatar The Last Airbender and handles the introduced characters. The author also questions the opinions of the passionate fans, whether they see it as a detriment or a positive development for Netflix.
]]>Well, we finally made it, guys. We’ve gotten to episode 6, the season finale of True Detective: Night Country. Uh, boy, what can I say about this? Uh, like we talked about like I’ve alluded to, uh, there’s a very distinct Wind River ripoff in the way that Annie K dies. She’s investigating the two oil scientists. She finds that they have been hiding the mine’s pollution levels. They have also been encouraging even higher levels. This helps them dig through the permafrost for the microorganism they’re researching.
Probably the most shocking thing was that I just couldn’t believe it. But when they get caught, they dig through the ice and go into the night country and tunnels. Then, they quickly find themselves in a science room under Solal Station. I don’t remember them being that close to it, but it’s like 50 feet away and there they are, imagine that. They could have checked the scientists’ station. They might have found this without all this craziness. They could have just looked more at the station and found that secret door.
But they catch Raymond Clark. He’s the one that says she’s awake, all cryptic. We know he had or it seems he had a relationship with Annie. So, they didn’t talk to him and ask what happened. Instead, they taped the recording of her screams and murder to his head. So, he had to sit there listening to it and crying. They went to hang out and make hot cocoa at the station. They did this because they think the default for a cop is to torture someone. They didn’t bother to find out if he was a suspect or witness before torturing him.
Once they learn, they’re almost going to kill him. But, then they’re like “Wait a minute, he could be a witness.” It’s pretty bad. You know, this wasn’t an established villain who had killed a bunch of children or something. When they found him, they were so angry they had to do something horrible to him. You could almost understand that. But, they don’t know his role in all this. Yet, they still choose to just torture him right off the bat. That’s why I said in my spoiler-free review that these characters go so far beyond the pale and become the worst. I found myself despising Denver and Navaro by the end of this show (True Detective).
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The funniest moment in the whole episode, however, was when they were talking with him and he said “Time is a flat circle.” You know that’s just something that people say all over the world. It’s like this show has little Easter eggs for Tuttle and the spirals. The spirals are just what they warn people about the Ice. But throwing this one in, I’m just waiting to see the reaction here and on Reddit. Will some people be upset? There will be some people who are like “Oh my God who said the line.” But, I think many will be upset.
CU you can’t just take the line from the other show where it had its place within the philosophical framework of that show (True Detective). Then just throw it into this one. That’s not how you write new stories. It would be okay. It wouldn’t be quite the same. But, in House of the Dragon, if a character said “When you play the Game of Thrones you win or you die,” it’s like when you play The House of the Dragon. You can’t just substitute Easter eggs, references, and Illusions for storytelling.
Beyond this, we learned that the scientists killed Annie. Then, the cleaning ladies, most of whom were indigenous women, killed the scientists. They kidnapped them at gunpoint, drove them out into the ice, made them strip, and then they froze to death. They tried to blame the ice, but no. They wouldn’t have died if they hadn’t been taken out to the ice. Why was it just women who killed them? Why not the men? I think because of girl power.
I don’t understand it. If you’re trying to get revenge for this murder that you figured out, why wouldn’t you just why wouldn’t you know some of the men from the tribe come out there too? Not that the women can’t do it themselves. They have guns and they get surprised. But it just doesn’t make sense. You’d have just why it doesn’t make sense. It’s such an unsatisfying ending. Here now you have Navaro and Danvers who make it out. Even though there’s a blizzard Navaro rescues her from the ice water and all this. They find the women because they find the fingerprints on the hatch. Then we get this big Exposition about what happened.
They’re like, “We’re covering it up.” They cover it up for the women who killed the scientists. But that’s what the mind wanted. The cover-up was the point, to say it was a slab Avalanche or whatever. In the end, everybody wants it covered up and it is. Hank’s death is covered up. Rose, who’s the most useless character in the show (True Detective), helps Peter cover up Hank’s death. It’s horrible that they made him clean up his father’s corpse after he just had to murder him. That was a horrible thing to make him do. They acted like there was an urgency to get out to those tunnels right then or else.
I still don’t understand. What was that urgency? Annie’s case was years old. They barely investigated the scientists they were told were not Foul Play. I’m glossing over bits. The torture scene was too much. The pacing was weird. And, the “time is a flat circle” line was too. It’s hard to see how anyone can like this finale. I mean, it doesn’t do the supernatural. It was just people doing it to people. I didn’t want it to be supernatural.
But they sure pushed that a lot with Novaro and her seeing the screaming ghost girl. But in the end, it doesn’t matter. Many fan theories don’t come true. We get the Wind River knockoff. The scientist killed Annie and then the ladies killed the scientists. The whole thing is investigated in just a couple of weeks. This is very different from the rest of True Detective.
It usually has investigations that take years or longer. I just don’t see who the viewer is that walks away from this finale thinking it was a good show (True Detective). I understand seasons 2 and 3 were controversial, but I get why you could have liked them or not. I get why they’re controversial. But, they at least take us through these investigations.
With this one, it’s almost like it’s not a mystery at all. I may have more to say about it. I’ve been a little under the weather, so forgive me. I’m a little lowkey right now. Let me know what you think in the comments.
]]>Jennifer Lopez just loves to be in love, is that so wrong? This is Me Now love story is the visual extravaganza representation of the “This Is Me Now” album from Jennifer Lopez. It is streaming on Prime Video. I suspect that Alonzo and I are going to have very different opinions of this movie. One thing I can say for certain though is I’m not in this one, there automatically do point from it. Boo! Doesn’t she know you’re the real star here? You know what? We just couldn’t get our schedules coordinated.
You know, I had conflicts, I had prior engagements. You couldn’t be one of the signs of the zodiac. I should be Virgo, right? ‘Cause I’m super tidy and uptight all the time. If you’re not subscribed yet, we’d love it if you would. It’s February, and there’s not a lot of great stuff out there. But we’ll always find interesting movies for you to ponder. And “This Is Me Now: Love Story” is that. Not all love stories have a happy ending.
Turn up! Jennifer Lopez has an album out called “This Is Me Now”. This is like a series of music videos strung together. It has a plot of her looking for love. Dave Meyers, a legendary music video director, directed the film. You have seen his work over the years. Some of his videos are Missy Elliot’s “Work It” and “Get Your Freak On,” Outcast’s “Bombs Over Baghdad,” Katy Perry’s “Firework,” and Billie Eilish’s “Bad Guy.” So um, but he’s done some Jennifer Lopez videos as well. It’s a confessional kind of thing. I mean, it reveals vulnerability, yet she maintains control and looks perfect at all times.
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It’s Jennifer Lopez who goes to therapy but the therapist is Fat Joe, you know? Yes, those are kind of amusing moments. So it’s a series of videos and it’s about her, you know, alluding to… She’s known as Artist, not Jennifer. It’s how she explores her romances, including her marriages. In one song, she blends all three grooms, including Derek Huff.
Her friends think she has a love addiction. Meanwhile, an astrological council of superstars, like Jane Fonda and Sophia Vergara, watches from on high. So eventually it’s her like journey toward love, her journey toward happiness, and um, that includes Ben Affleck, kind of. You see him at the beginning in a symbolic kind of crash. You know, the rush, the crash. Later on, you see his square jaw.
I dug this because it is so batshit crazy. I admire the ambition and bonkers nature of it. It is quite beautiful, with some very inspired images here. But, it is disingenuous to suggest that she’s truly naked and vulnerable here. She is notoriously meticulous and controlling about everything. I don’t blame her, you know. She’s an empire. You wouldn’t leave anything to chance, especially in telling your own story.
I don’t think we’re getting the full Jennifer Lopez here, and it’s a vanity project. It’s a strange one. I was never bored. It moves well. It reminds me that there’s some part of Jennifer that has an instinct for choosing weird stuff. Remember when she did Tarsam’s “The Cell”? That was cool. You know, that was cool. This is cool at times too. I’d rather see her follow her artistic instincts with something like this than another bland rom-com. In the rom-com, she’s pretending to have chemistry with Owen Wilson.
It’s funny we just talked about “Crossroads” because that’s coming to Netflix this week. I was connecting this to that in that I think “Crossroads” is a movie that works best if you are already down for Britney and you love her. If you support her and just want to see her in a movie and sing some songs, you know to be there for her. If you were not already a fan of Britney, maybe that movie won’t grab you.
To me, I think it’s sort of like if you are on the Jennifer Lopez train and you want to hear the new songs. If you’re interested in the insights she’s willing to share about her private life in the album, and then in this feature-length commercial for the album, then yes, you’ll be down for that. You’ll just want to see her in the outfits and revealing some things. If you’re not already interested in her as a musician, this is gonna just seem self-indulgent.
Because it kind of is, it’s very naval-gazing. It’s very much about, like, a mind-com of, you know, I’ve loved too much and too indiscriminately, and I’ve suffered for it. For people who need a trigger warning, there is a depiction of physical and spousal abuse in this movie (This is Me Now). It pops up and sort of like, “Oh, OK. So, this isn’t just going to be like, you know, musical fun times.”
I found some of the music videos a little on the nose. Like, she has this song called “Hearts and Flowers” and it’s all set inside a giant mechanical heart that runs with flower petals. So, if the petals go away, the heart stops. It’s like too many layers. The stuff with the all-star cast doing the camping it up is the Zodiac. A little of that went a long way. I want to know Neil deGrasse Tyson’s thoughts about astrology.
I assume he’s not a proponent of it. But, you know, there he is playing Taurus anyway. It’s like there’s a lot she’s going for here, trying something big. But, I kind of feel like it’s as someone who is in charge of her image. What we see and don’t see. The idea of trying to be emotionally naked or revelatory. I don’t buy it. We know it isn’t. You know? It’s like I was reminded of Whitney Houston saying the Greatest Love of All is to love oneself.
That’s the lesson Jennifer Lopez learns here. If I were a bigger Jennifer Lopez fan, I think I would be down for all of it. But, since I don’t care about her as a musician, I’m not mad at her. I’ve just never been a fan. The movie (This is Me Now) didn’t mean much to me either. I’m not a fan of her music at all, and none of these songs grabbed me. It’s like the choreography.
It’s the costume design. It’s just the way it moves, the lighting. It’s wondrous to look at all the time. Even that whole thing with the heart, like a steampunk-themed kind of scene. It’s always fascinating to look at. Like, as you say, the layers. But the layers are like different dancers in different places. She’s up on a chain being pulled up to the sky. There’s always something going on where I like wait, now what? And she sunk $20 million of her own money into this. Okay, yeah. I wonder why. I wonder what she hopes to achieve with this beyond just entertaining us, beyond the catharsis that she might experience from it.
I wonder what the point is, especially in a time where, you know, Taylor Swift has her huge concert movie. Beyonce has her huge concert movie. They’re very different from each other. Like, this is Jennifer Lopez’s big musical movie (This is Me Now). I wonder, does she hope to reach people who aren’t already her fans, or is this for the fans to indulge with her? I mean, yeah, probably. I think all of the above. If you’re making an album about these themes, about this progress in your life, evolution, and realizing past mistakes, then the album should express that. And if you could give a couple of interviews where you get to talk about that stuff.
I feel like the movie (This is Me Now) is almost like she wants credit for something. But when you reach that level of stardom, people will say what they’ll say. You don’t care anymore. You just do your own thing and create fulfilling work, which this is. There’s also a Singing in the Rain homage. There are many different ideas here. One of them is a Singing in the Rain homage. What’s your rating? I’ll give it a 6 for effort, despite not connecting with the material. I’ll give it a 7. I appreciate its ambition and visual dazzle. It’s only 65 minutes long, but the making of is 85 minutes long. That seems very indulgent.
]]>Ubisoft has been developing Skull & Bones, a 4X MMO game with a focus on pirate encounters, for more than a decade. Many have likened it to Assassin’s Creed Black Flag. It was introduced in Assassin’s Creed III. It was later transformed into Assassin’s Creed IV: Black Flag. The game provides an open-world pirate sailing experience.
Skull & Bones isn’t as awful as its predecessor. For example, Assassin’s Creed Rogue centered on ship fighting and island exploration. However, the combat in Skull & Bones is significantly poorer than in the Assassin’s Creed series. This could be attributed to the game’s budget and time commitment rather than its true goals.
Star Trek Fleet Command is a 4X MMO game set in the Star Trek universe. It is available on desktop and mobile with a Scopely account. This allows players to seamlessly play at home and on the go. The February update introduces new features. These include wave defense, the classic NX1 Enterprise, and new officers. Among them is an epic one, Captain Archer. New missions have also been added, making it more appealing to sci-fi fans.
Skull and Bones was released in 2017 after 7 years of development. It has had a significant impact on the gaming industry. Initially, people were disappointed with the game’s emptyness. Now it has single-player components and new quests. It also has Disney partnerships and continues to grow. The game is expected to be a big deal on PlayStation and Xbox Live Service. It is one of Xbox’s biggest live-service games.
In conclusion, Skull and Bones is a solid addition to the Star Trek franchise. It offers a unique blend of ship combat and island-based exploration. It also provides a unique perspective on pirate experiences. Its success is attributed to its unique development cycle, budget, and the game’s continued growth.
Skull and Bones is a game that focuses on a pirate’s journey. They fight against the British army in a big battle in the Indian Ocean. The game begins with players being a pirate on a small ship. They sail to an island. There, they collect materials and contracts. They gather items or materials and destroy ships. The game then moves to an outpost. Humans gather materials there to upgrade their weapons, armor, and cosmetics.
The gameplay starts with players on a small ship with a spear, hunting down creatures, and collecting materials to build up to a larger warship. Players can upgrade their weapons by placing them on different sides of the ship. They can also equip them with specific types of mortars or cannons. The game also features a Sprint meter for faster sailing, which depletes energy when the player goes too fast.
The game has a simple loop. Players have to kill, loot, and upgrade materials. They continue the loop over and over. PVP elements are also present. However, the game lacks a compelling, thoughtful, and interactive gameplay experience.
In Skull and Bones, players must navigate through various locations to collect materials. They also upgrade their weapons, armor, and cosmetics. The game’s presentation is similar to Assassin’s Creed games, but there are steps between the two. Players can build up their ships by hunting down creatures, collecting materials, and building up their ships. The game’s management system is one of its strengths, as it allows players to manage their inventory and keep track of their cannonballs. This is particularly useful when running out of cannonballs, as they cannot fire them if they run out.
In conclusion, Skull and Bones offers a unique and engaging gameplay experience. It combines elements of Assassin’s Creed and other video games. The game may not offer the same complexity and storytelling as other games. However, it offers a unique and engaging experience. It’s for players who want to explore the world of pirates.
Skull and Bones is a game criticized for its controls. They feel like they were part of the blueprint for Assassin’s Creed 4 and Assassin’s Creed Rogan. The camera work and combat handling are also baffling. The ship steering feels tighter than previous Assassin’s Creed ship experiences. When shooting at other ships, it brings up a reticle and a third-person shooting style aiming. Instead of targeting giant ship pieces, they are marked with a red UI indicator. This makes it difficult to focus on the ship’s weak spots.
The game lacks the extra element that Assassin’s Creed always had. This includes the on-foot capture of the crew and fighting with your sword or guns. However, it is one-dimensional ship combat. This would be fine without the prior context. If you’ve avoided all of the ship games Ubisoft has made in the past through the Assassin’s Creed franchise, Skull and Bones is not a bad game. However, when it’s the only thing it’s doing, it draws down the experience.
One of the main issues with Skull and Bones is the always online nature. One point where the game boots you out can be tough to start back up, especially if it happens multiple times. This is worth keeping in mind because the game is always online, which can lead to early struggles that players may have experienced before.
In Skull and Bones, players all want the same thing. One early struggle is how to divide materials among them. For example, one of the first missions involves acquiring a piece of wood. It’s like a mini-game that reminds me of Skyrim lockpicking. Players must pull up to the side of an island to time the x button with a green area on the meter to get the items. This is ridiculous.
Assassin’s Creed 4 offers a more interactive experience. In contrast, Skull and Bones is more surface-level. It asks why this game exists and how it got here. Many players are going for the same starting mission, such as sewing trees for wood. Since the game just came out, many people are going for the same starting mission. This may lead to some growing pains.
In conclusion, Skull and Bones has some control issues. However, the game has been criticized for its one-dimensional ship combat. It’s always online, which has also been a point of criticism. While the game has some growing pains, it remains a challenging game to play and enjoy.
Skull and Bones is a game that has been criticized for its one-dimensional, flat design. It has also been criticized for its lack of customization. The game is compared to other games like Assassin’s Creed. Assassin’s Creed has more features and customization options. However, the game feels very one-dimensional and flat. This makes it difficult to justify its existence.
The game is one-dimensional. It doesn’t go beyond what it needs to justify its existence, let alone the $70 price tag. The game is also not very fun, especially if you have that experience in your pocket. For example, if you think Skull and Bones look cool, it’s much easier to say you should try Sea of Thieves. That way, you won’t have to spend $70 on Skull and Bones.
Alternatively, you could try out Assassin’s Creed 4 for the first time. It is a great game. You might also try I Am an Assassin’s Creed 3 Stand the Homestead Mode, which offers some ship action. Assassin’s Creed Rogue is underrated. It provides better stories, characters, additional gameplay elements, and fleshed-out ship combat.
The game’s pricing is off, and if it were cheaper, the conversation would be different. Some people may be ready to dismantle the game before it ever begins. However, the game is not worth your time unless you want a very certain style experience.
In summary, Skull and Bones is a disappointing game. It has a long development cycle and lacks a specific style experience. The game is not very fun or engaging for those who have that experience in their pocket. If you have that experience, it’s much easier to recommend other games. Some examples are SE A Thieves and Assassin’s Creed 4. Stand the Homestead Mode and Assassin’s Creed Rogue are also examples.
The game’s pricing is not quite right, and the game’s development window may not be tighter. Some players may prefer other games with better options. For example, Assassin’s Creed 4, Stand the Homestead Mode, or Assassin’s Creed Rogue. Overall, Skull and Bones is not worth your time. Only consider it if you are looking for a specific style experience.
In conclusion, Skull and Bones is a disappointing game that falls short of its potential. It is not very fun or engaging for those who have that experience in their pocket. Other games like Assassin’s Creed 4 and Assassin’s Creed Rogue offer better options. They have better stories, characters, and additional gameplay elements. Skull and Bones may not be worth your time unless you are looking for a specific style experience. The game is disappointing. It may not be worth your time. Unless you are looking for a unique and enjoyable gaming experience.
]]>Welcome, ladies and gentlemen. Reactions of Dune Part 2 is available now. People have placed the reactions online because the premiere was yesterday. Did anyone see it?
Zena dressed like C-3PO. I have no idea what was going on there. I just stick with my polo shirts, I guess. Oh well, the premiere was last night, so the reactions are online.
I haven’t looked at these yet. We’re going to watch them, look at them together, and give our thoughts. Hit subscribe if you’re new here. Turn on the Bell notifications, and let’s take a look, shall we? Let’s take a look.
Also, if you like what I do here, please consider supporting me further. This is despite their policy to show ads on sci-fi operas like Empire Strikes Back and Lawrence of Arabia. These are not only grand in size, but also hypnotizing and emotionally devastating.
Austin Butler will be a talking point for many, but it’s Timothy Shalamay who put my drawer on the floor. The nerves immerse epic Nirvana is a sci-fi masterpiece that sounds wonderful. As a side note, we will be looking at these CU.
I want to take special note of the views because I don’t know whether this movie will do great on opening weekend. It’s important to take a look at some of this stuff. By the way, I liked Dune Part One. This isn’t me ragging on it. I like Dune part one. Dune Part 2 social embargo is up. Trying to avoid hyperbole, it’s immense and overwhelming at times. Imagine Zack Snyder made a grandiose, overblown sci-fi epic, but it landed well and provoked people. People always like to take that personally.
Not a lot of views on this one, but still interesting and imperfect. Very long, 2.45 hours; you feel it. The cliffhanger makes it feel incomplete in a way Empire Strikes Back, which is often compared to, did not. Still bold. Blockbuster film production continues. More to say, but I want to save it for review. Someone also responds, saying, “Omg the apes of the SN comparison lol. I enjoy SN but yeah, 100% go.” You mean the intensity and vastness are borderline excessive. Snyder’s films often are. However, it’s never overbearing, overwhelming, or inspiring like Snyder films with the same scale.
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God, it’s going to piss so many people off, but these are good. These are wonderful reviews, um Jordan Hoffman doing part two Denal Nerve understood the task was to make The Empire Strikes Back and he nailed it. It’s a terrific movie that I can’t wait to see again. How many views did this guy get? Okay, 18,000. Still not a lot, because I don’t know how much interest there is. Aside from that, he has said he hopes we get to make part three. Leaving on a cliffhanger makes some sense, I guess, but I still want a complete film.
Dune Part 2 is jawdropping, breathtaking, and outrageously exhilarating. It’s an adrenaline rush to the head and heart. It soars in its spectacle-driven action sequences. It’s as much a thrill as it is an exquisite, lyrical piece of art. Timothy Shay and Zen produce unique art. Austin Butler is completely transforming, intriguing, and deliciously diabolical. Dave Batista delivers another compelling performance. Rebecca Ferguson tears up the screen, rising to towering powers. Florence Pew delivers career-best work. Oh well, it appears Dave Batista is doing well.
Okay, that’s OK. That’s pretty positive. Let’s see what her thoughts are on this one then. 134,000 is a good number. Someone asks, do you think it will be nominated for best pitcher? It better be. How did Skarsgard do still fat and snarky as the baron? That’s funny. I have not seen anyone mention the emperor yet. CU That’s what I’d like to know about Christopher Walken’s Emperor, but that’s fine.
Dune Part 2 was majestic, highly immersive, bold, and fantastic. It was full of gorgeous action sequences. The high-stakes drama would impress The Bard. Shalam comes into his own here, and Zend and Pew crush it. What are your thoughts on this one, alright 26? Yes, well, not terrible, still not fantastic, but not awful. Uh, Dune Part 2 is not merely Denise Magnum’s opus. It’s the definitive sci-fi epic of a generation, a tragic tale of blind zeal and corruption, a stunning.
PS Turbulent Journey’s soulful and inspiring mastery of aesthetics and mood left me speechless. The only thing I could think of leaving the theater was that some kid would watch Dune Part 2. They might feel exactly what I felt watching Revenge of the Sith in theaters in ’05. It’s a sweeping, naughty-style epic blockbuster that takes your breath away and makes you believe in what movies can be. Dune Part 2 is an audio-visual triumph, comparable to the great performances in John Wick 4 or Avatar 2.
Some inventive action beats, but like Dune, it’s a 2.5-hour run. It mainly runs out of story around the 90-minute mark and jogs in place till the end, which isn’t what you want. However, there is a significant number of views, indicating that there is considerable interest. Dune Part 2 is a cinematic epic from director Dena Nerve. Timothy Shalet demonstrates why he’s made, and Austin Butler as fade other is terrifying. I enjoyed the first picture, but this takes it to a whole new level. I also watched this in Dolby Atmos, and it shook the cinema.
I mean, this is certainly an IMAX movie. Dune Part 2 is fantastic. The nerve delivers sweeping Majestic heard that one already sweeping Majestic H appears to be a motif there H in gorgeous worlds that looks feel sounds astonishing uniformly great cast sh impresses again Rebecca Ferguson Incredible cinema on a grand scale. What about the vistas, though? 2 Not many disgraces um one more, and then we’ll round this out, says uh.
Dune Part 2 is truly an awe-inspiring cinematic achievement. It builds upon the world that Denal Nerf and Company created in part one. If you loved Part One, you will love Dune Part Two. This is a long one. I like to ask ECT about the first film. Part two ups the ante of part one in almost every way. You should sit in an IMAX.
]]>Here we are with Madame Web for the one that I was excited about. Madame Web, the iconic trailer came out. We were blessed with the line “he was in the Amazon with my mom when she was researching spiders just before she died.” That line isn’t in the movie. That’s okay. There are at least a dozen even crazier lines. Before I get too excited, let me just say, that I think this might be the worst movie I’ve seen since Noah Santino was robbed. That’s saying a lot.
Madame Web is the latest entry into the Sony Cinematic Universe. It tells the story of a New York City paramedic named Cassandra Web. What happens when she begins to glimpse the future? It’s so black. It’s just shitty that Raven stars Dakota Johnson, so let’s start there. You see, I can’t read Dakota Johnson as an actor or as a person. I can never really tell how serious he is being both on and off-screen. It’s what she’s doing, I love it. It’s hilarious to me. Whoever’s idea it was to cast her as the lead in a superhero movie is even more hilarious.
At least to me, her whole thing is this dry kind of delivery. She acts nonchalantly. Nothing is serious to her and nothing is a joke. Her type of acting feels wildly out of place in this film. You can almost see Adam Scott start to act more like her as the movie progresses. I don’t blame him. How are you supposed to do these scenes with someone saying lines like that? They’re on a completely different wavelength for the movie.
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She turns this movie into something she’s never seen before. I don’t categorize this as a superhero movie, it feels like something stranger than that. The worst performance here, by far, is Tahar Rahee as Ezekiel Sims. I don’t doubt he’s a great actor outside of this, but they did something with him here that is inexcusable. Something was wrong.
It sounded like ADR, which is fine. That happens. It’s some of the worst ADR I’ve heard in recent years. That’s surprising in such a big studio. But what confused me was the fact that it was like that. It wasn’t just that first scene that seemed to be ADR, it was every one of his scenes. I counted them in a moment.
I mean, there were maybe three lines of his that felt kind of normal. There were even scenes in the back half where he was walking and his mouth wasn’t moving but he was talking. They just didn’t get any shots of him talking; it was the audio that was messed up. So, in an $80 million movie, maybe I got distracted. There’s a reason why he sounds like that or why his mouth doesn’t move. But my god, once you notice it, he makes every scene of his hilarious. It seems a little sketchy, but not as sketchy as the prying eyes of hackers.
The performances are just the tip of the iceberg. Again, how much can we blame the actors when they have to read such strange lines? This line isn’t even in the film, but that’s how the dialogue operates here. It just trails off and feels like it never ends. Even when the dialogue flows correctly, the lines themselves are ridiculous. For example, there’s a line where Dakota Johnson feels kind of lonely. She goes through a box of her belongings and says to herself, “Hope the spiders were worth it, Mom.” I’m underselling it. But, how can you not laugh a little at that line?
In a room, supposed to be emotional, saying, “Hope the spiders were worth it, Mom.” My personal favorite was laughing even on the ride home. It was when Dakota Johnson entered her apartment. She’s worried about some documents. Her cat meows. She goes, “One second, Cat.” Did they not have time to give the cat a name? Is the cat’s name Cat? Do people refer to their pets that way? Plus, she’s delivering it in that Dakota Johnson (Madame Web) way that’s like everything about this is normal. There’s no urgency to this situation.
I’ll admit, the more I explain it, maybe it’s not that strange on the surface. When you think about them for a second, you start to realize there are not many normal interactions in this movie. It’s amazing. The movie is set in 2003, an aspect they put astonishingly little effort into. For a second, it seems like their only reference is Beyonce.
There’s like two different Beyonce posters. You have to wonder, is that the only thing they remember from 2003? Anyway, I think we’ve established that the writing and dialogue here are ridiculous. If I had access to the film and could quote it directly, I’d be going all day. These are just a few examples out of many, many, many lines that I thought were insane.
But let’s talk about the technical aspects. For an $80 million superhero flick (Madame Web), you’d expect it to at least be sort of a spectacle. Even Venom, which isn’t great, was interesting to look at. I thought Venom himself looked kind of cool. But no. Oh no, not. The big climax of this film is one of the most hidden things I’ve ever seen. Are they even trying with the green screen anymore? It’s more noticeable than it’s ever been. It feels like we’re going downhill. It’s distracting ugly, and, most importantly, disorienting. It’s one thing to look hidden.
But when I have no clue where we are in the scene, that’s a bigger problem. There’s no sense of space. The edit is beyond choppy. The digital zooms and pans are absurd. It makes it hard to feel invested in anything happening on screen. There’s no sense of scale to it. Isn’t that the whole appeal? Sorry, spoiler alert. Are we at a point where you don’t get to see the main character be a superhero until the final 30 seconds?
I know it’s the first film and it’s mostly to set up a bunch of other movies. It just seems so pointless and unfulfilling to me. These original films that were supposed to turn into trilogies and franchises used to be special. Now they’re just pieces to a bigger thing. Why do people like these movies? What’s the joy in just constantly watching setups for years? How depressing.
The song’s beat is super janky because it plays over the film’s score and other action noises. It’s like a mess. Oh man, I almost forgot the camera work. Near the beginning, they choose to use a handheld, crash zoom style. This style is like in “The Office” or “Succession,” and it’s for the opening action scene. They do it for about 10 minutes, then never again. It’s like a different director entirely. It adds nothing to the scene. If anything, it’s distracting and a little disorienting. I’m serious, this is one of the worst movies I’ve seen in a long time. But let’s wind down a bit.
I’ve seen a handful of bad movies these last few years: “Mean Girls,” “Exorcist Believer,” “Thor,” “Jurassic World Dominion.” But looking back, those were total slogs. This, on the other hand, is on another level. This is my favorite kind of bad movie. It’s a lot of people’s favorite kind of bad movie because it’s so bad that it becomes a pretty good time. Every scene in this thing had something new to offer, something offensive.
It was a bad choice to wrap my head around. I didn’t even get into the whole, like, table dance thing. Sydney Sweeney and her gang stand up at a diner table and dance for some boys. They’re dancing so awkwardly. It’s so great. There’s a long scene where Dakota Johnson’s teaching them how to do CPR. It goes on for so long. It’s weird. The reveal of Madame Web’s superpower, which is built up like this huge thing, ends up being the most underwhelming superpower I’ve ever seen in a film.
It’s just the ghost of her helping out the girls. It was a fascinating 2 hours. In 15 years, when this gets the midnight screening treatment, you bet your ass I’ll be seated. I will happily watch this again. At the end of the day, I was a little bit happy to see that this is where we’re at with superhero movies. I know that this side of the genre operates on a different level compared to whatever they have going on at Marvel and DC.
But, damn, is this hilarious. I never saw Morbius. Is that bad? As bad as this? Jesus. I hope this genre is on its way out. Because if this is the best they can come up with these days, why even bother? If I took away anything from this experience, it’s that New York City is a whole new level of crazy these days. And that’s what I have to say. Thanks for watching. Please go watch Madam Web.
]]>“I am dead, dearest Stante, but I am a banisher, yet I may still teach you in a sea of sequels.” Banisher: Ghosts of New Eden has a wonderfully fresh story to tell. I didn’t know I wanted to play a ghost-hunting detective in a supernatural alternate-reality version of 1600’s America. But developer Dontnod provided a compelling mix of death, drama, and romance. It made me wonder why no one had tried this sooner.
It mostly sticks the landing with the things it tries beyond that story. Additionally, swapping between your living and ghostly protagonists is an excellent concept. It further contributes to its success. Its stellar investigation mechanics also add to the game’s appeal. However, other parts of Banisher aren’t as original. It borrows the bulk of its structure from many action-adventure games before it. But with stiff and repetitive combat that can’t stand up to those inspirations.
Still, for those who like strange games full of heartbreak and ectoplasm, this is one you won’t want to miss. That last, there was a pain like someone reached into my chest and crushed my heart.
Banishers: Ghosts of New Eden is the latest in a genre. I’ve inadvisably taken to calling, crevice crawlers. That’s right, crevice crawlers. You know, those third-person games have a serious story and slow pacing. In them, two people walk around and talk in hushed tones between combat encounters. And for some reason, you spend a lot of time squeezing through crevices. I’m talking about God of War, The Plague Tale, and The Last of Us. Classic crevice crawlers. Charlie, don’t go in the crevice! Going to the…the crew!
Anyway, I quite enjoy the occasional sad whispering duo sidling through the rubble. However, at this point, the formula is also pretty much played out. In the case of Banisher, it made the adventure feel too familiar. I didn’t care for that, even with its refreshingly original setting. Though it certainly doesn’t win points for innovation, Banisher executes this blueprint quite well. It has strong writing, likable characters, and a few good twists and turns in the story. These elements make for an enjoyable cross-country odyssey.
Playing as Red, the overly emotional Scotsman with hair that’s way too cool for the period, “Do we kill to be together again?” Antea is an ill-tempered ghost hunter. She is a ghost herself. “Our good friends, death shall not go unpunished.” You’ll travel around talking to all kinds of pilgrims to solve their hauntings. As occult experts called Banishers, it’s your job to seek out ghosts. You help them resolve their unfinished business, then send them to the afterlife. And that ends up being exactly as fun as it sounds. Seriously, who doesn’t want to be a dope slayer of specters and run around banishing spirits like an “oops, all ghost” Geralt of Rivia?
As with a lot of games like it, Banisher suffers from some pacing issues. There are lots of repeated story beats where our heroes retread the same ground as they process their grief and discuss their dilemmas. You’ll crawl through dark places, climb mountainsides, and wait at slow elevators. Your characters talk about how much of a bummer death is. “Your death pains us greatly.” “Your return pains me too.” Thankfully, most of the time, the writing is good enough to justify that pace. But I sighed deeply whenever I rested at a campfire and had to watch this animation every single time. “God only visits hardship upon us because He knows we can bear it.”
The supernatural reimagining of colonial America is a fantastic backdrop for the tale of love and loss at the center of things. Death and the afterlife constantly loom over our paranormal heroes. When Antea is killed in the story’s opening moments, Red finds himself working in tandem with the very thing he’s supposed to combat. This creates a cool dilemma where you’ll need to decide to stay the course and work toward your partner’s ultimate banishment. Or, forsake your duties in an attempt to bring her back to life.
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Wandering around the countryside to help others resolve their losses gives you plenty of opportunities. You can also uncover the sordid history of New Eden. This helps you decide what kind of ghost hunter you want to be. You’ll face lots of morally gray situations and be asked to weigh in on them. “You’ve both made your choices. Now, it’s my turn.” However, it is a little disappointing that with all the interesting supernatural mysteries they set up. You only get three nuance-free options to choose from at the end of each case.
You can either give the ghost its ascent. This is a friendly way of sending it back to the afterlife. Or you can banish the ghost, an aggressive way of doing the same thing. Or you can blame the living, killing them and absorbing their essence in your quest for power. The only way to bring your love back from the dead is by sacrificing as many people as possible.
So, blaming the living is mostly presented as an evil choice, even when some of these humans deserve to get got. “Did you poison him with quicksilver? Is he here in search of revenge?” “Yes, I stole a few months of Joffrey Rollins’s life to save decades of my sister’s.”
In many scenarios, choosing just one conclusion can feel like unnecessary pressure to pick a side. Or worse, you’re just choosing the option that will get you to your desired ending. “He has told the truth. You may go in peace.” That doesn’t stop it from being cool to step into the boots of two ghost investigators. You swap between your living and dead characters to use their unique abilities. As you hunt for clues, track your quarry through the woods, and interview suspects.
As Red, you’re able to perform dope rituals. You can see visions from the past via psychometry or compel spirits to show themselves. As Antea, you can see invisible objects hidden in the world. You can use your awesome, kind of terrifying spectral powers to do stuff like this. Swapping between the two perspectives to uncover clues, overcome simple logic puzzles, and solve mysteries is undoubtedly the best part of Banisher. It made me eager to tackle every new haunting case that popped up on the map.
Instant character swapping carries over into combat too. In combat, you’ll either fight with a sword and rifle as Red or throw phantom haymakers and use ghost powers as Antea. The concept mostly succeeds there as well. What starts as a fairly bare-bones system of dodge rolling, parrying, and light and heavy attacks gradually evolves into something much more compelling as you unlock abilities throughout the adventure.
For example, I love the unlockable perks that let you time your swapping between characters in the middle of a hit combo to do this. By the end, I was able to swap back and forth between the two without a break in my assault, triggering special maneuvers like this one. Along the way, combat has some hiccups though, as controlling your characters often feels pretty clunky. Movement can be sluggish or downright unresponsive as you get caught on the smallest things when you roll around.
Sometimes the camera can also move in erratic ways. This happens especially when it’s trying to focus on something with Banisher’s hit-or-miss lock-on system. I was playing on the hardest difficulty and died more than once. The lock-on system wouldn’t work or would point the camera in the opposite direction of the enemy. It’s still enjoyable to take on armies of apparitions. However, combat is missing polish.
This can be frustrating. Less than halfway through the roughly 30 hours it took me to complete the story, the variety of enemies became painfully scarce. There are only a handful of enemy types, and new ones are added too slowly to keep combat fresh. Wolves, which are introduced right at the beginning, became especially tiresome when I was still seeing them 20 hours later. And I cannot even begin to describe to you how many of those poor furry beasts I sent whimpering into the afterlife.
Most of the monsters in the mix are at least interesting to fight. For example, from specters that dive into the corpses of other enemies to reanimate them. Also, skeletal marksmen who keep their distance and try to take you out with a rifle. I just wish I didn’t have to see the same undead faces so often, because by the end, even my favorites had become irritations. “I will crawl and climb and knock, and the captain will taste his own medicine.”
Banisher: Ghosts of New Eden is a fun action game with a solid concept and a stellar paranormal investigation system. Its story about struggling to let go of loved ones in death is worth hearing, even when its pacing occasionally gets sluggish and indulgent. The combat system also tries some interesting new things that largely work out.
It is only dragged down by poor enemy variety and wonky controls. Swapping between the corporeal and ghostly planes instantly is just as cool when solving mysteries as it is during fights. The writing and characters help carry Banisher across its rougher patches. That made saying goodbye to them fittingly difficult, decaying flesh and all. In the end, came death, and death remains.
]]>Super Bowl 2024 Halftime Show Review: Hey, what’s up? It’s Astra, and hanging out with me today we’ve got Chuck Arnold, the senior entertainment writer from the New York Post. Because we just had Super Bowl 2024, we need to talk about specifically the halftime show.
Let’s do it. Can we just get into this? Usher killed it in my opinion.
Yeah, I mean, I agree. I don’t know what more one can expect from someone as a Super Bowl Halftime performer, right? I mean, he had the vocals, the dancing, I mean, this crazy fancy footwork that he’s always known for, and the hits. There was just a combination of all three things you want from a Super Bowl Halftime performer, plus he had great special guests, which I thought was missing last year from Rihanna’s set.
As much as I loved her, I thought she could have used one or two special guests. I mean, she had that one special guest, she did. She had that one that she surprised, baby in the belly, yes, yes, yes. But yeah, with Usher, so first, I was super excited that he brought out Alicia Keys.
Yeah, yeah, she looked stunning. Stunning. I thought that was, I mean, I think some rumors were going to happen. She had been spotted out in Las Vegas, and it made sense, right? You want someone who has collaborated on one of your big hits. “My Boo” was one of his many number-one hits which you still hear on the radio today, exactly.
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And also, like, you kind of like to have, if you’re a male performer, I think you like to have a female performer to play off of at some point. You know, there’s already a lot of testosterone with the football, so you want to have a little bit of that.
What’s so funny, I almost felt like she was channeling Rihanna a little bit by wearing the all-red. I mean, she looked great, she looked beautiful. And you know, I mean, it was a song that I think a lot of people have a lot of nostalgia attached to.
So it was just a great moment to see those two together, and even when he did, she did a little of “If I Ain’t Got You,” which is her song, right? And then it was so nice when he came in for a little harmony on that at the end. I thought that was pretty dope.
Germaine Dupri popped out, like, wasn’t expecting that at all.
Yeah, I mean, I think to me that was almost like a family reunion moment because Jermaine D was one of Usher’s early very early producers, so he’s like family. So that was just nice to have him be a little part of it.
And I’m glad he dropped “Confessions,” yes, yes. You know what was so, I was almost afraid he wasn’t going to do any slow songs because I’m like it’s going to bring down the tempo, it’s going to bring down the hype that we need for the halftime show.
But you know what, I had a little something to say about that in my review because it was 20 years ago that Janet Jackson had her nipple flash, uh-huh, whether it was planned or not, that’s what happened.
So I thought, you know, it men have taken off their shirts, I think Adam Levine did it, Super Bowl, Usher did it last night, so it was just kind of like a double standard to a certain extent if you want to look at it that way because obviously, she took a lot of heat, her career and everything from that.
Well, you know what, I had a little something to say about that in my review because it was 20 years ago that Janet Jackson had her nipple flash, uh-huh, whether it was planned or not, that’s what happened.
I mean, I can’t say that he pulled me aside and was like, “Yo bro, this is what happened.” No, but he did, he did talk about coming home and what that title meant, you know, his new album.
And of course, up next for Usher, of course, his tour that he’s going to be going on, we definitely can’t wait to see him when he hits the road.
Well, I mean, that’s the thing, like, you know, in the past, um, the Super Bowl halftime show, it’s almost like a big long, “Come on our show for your tour.” And now everybody wants to, like, Beyoncé, like, and “Formation,” and then, like, the tour, and that it’s right after, like, before. So similarly, Usher will be heading out on the road, um, later this year, and it, of course, makes people more hyped to see him.
The Super Bowl halftime show is an iconic moment in pop culture. It’s not surprising that Usher’s performance drew significant praise and discussion. He effortlessly blends tunes from his huge catalog. He also adds electrifying dance skills and surprising guest appearances. This shows why he’s still a music industry powerhouse.
Throughout his career, Usher has consistently pushed the boundaries of performance artistry. His Super Bowl halftime show was no exception. Usher captivated audiences worldwide with his captivating stage presence and undeniable charisma. He reaffirmed his status as a legendary entertainer.
Usher’s halftime show was a musical spectacle. It also sparked conversations about broader social issues. These issues include gender norms and performance standards. The inclusion of shirtless moments prompted reflections. People considered the disparity in how male and female artists are scrutinized for their onstage attire. It highlighted ongoing discussions about gender equality in the entertainment industry.
Furthermore, Usher’s revelations added depth to the halftime show narrative. He spoke about finding solace and contentment in his personal life. They showcased the artist’s journey towards self-discovery and fulfillment. Usher shared insights into his album’s themes of “coming home.” He invited listeners to explore themes of nostalgia, growth, and emotional resilience.
Usher’s upcoming tour promises to further elevate his legacy. It will give fans a chance to experience his dynamic live performances. Anticipation builds for his tour dates. Fans can reflect on the unforgettable moments from his Super Bowl halftime show. They celebrate Usher’s enduring impact on music and culture.
In conclusion, Usher’s Super Bowl halftime show was a tour de force. It featured musical artistry, visual spectacle, and cultural significance. From his electrifying performances to his thought-provoking
]]>The album “Vultures 1” by Kanye West and Tai Dollins was an incredible listening experience for the Patreon community. The album was praised for its late reg vibes and the humorous elements throughout. The album was compared to Kanye’s previous albums, such as “The Dawn” and “The New Yorker.” However, the album was not a complete surprise, as it did not receive any music from the listening party.
The album was praised for its fresh approach and the fun atmosphere it created. The album felt like an old Kanye album in certain ways, with Kanye getting very brash and discussing women and wealth. One of the biggest highlights for the listeners was “Burn,” which featured beautiful orchestration production and Kanye wrapping his ass off with quotable bars.
Some people were expecting Tai Dollin to be a side character or just the hookman on the album, but the album was not as bad as expected. Some fans found “Beg Forgiveness” to be the best performer on the album, with Kanye’s vocals and inflections giving chills from beginning to end. Tai Dollin also delivered sick choruses throughout the album, not a single week Horus on the entire tracklist. This was a major highlight for the listeners.
One of the most memorable songs on the album was “Hold On.” It was a playful and catchy song that left the listeners wanting more. The album also featured “Loti” and “Hold On.” Both tracks were enjoyable and showcased Kanye’s versatility and ability to deliver powerful lyrics.
In conclusion, the album “Vultures 1” by Kanye West and Tai Dollins was praised for its fresh approach and the fun atmosphere it created. While some may argue that Tai Dollin was a side character or just a hookman, the overall performance was impressive and left a lasting impression on the listeners.
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The reviewer discusses Kanye West’s album “Vultures 1″ which he describes as a mix of fun and serious music. He mentions the standout song, “Let’s Talk About Talking,” which was released as a single and featured North West giving a cute verse. The reviewer also appreciates the second half of the album, where Tai Dosin gets personal about wanting to provide for his daughter and family.
The reviewer also praises the production as a whole, noting that Kanye West is known for his exceptional production. One example is the sample flip on “Good Don’t Die,” which is a smooth Temple-like song with euphoric elements. However, the reviewer dislikes the interpolation of “hood rat” from “Runaway and Good Life,” which bleeds too much into the vocals.
The reviewer also mentions Vultures, a song that grew on them, but is not impressed with “Skipper.” However, they do appreciate Bum J’s verse for “Vultures 1,” which starts with a braggadocious start and is one of the more pure hip-hop-centric songs off the album.
The reviewer takes away from the album from the first listen, noting that “Hudat” is the worst song due to its awful ing. They also note that there are many bangers, such as dance club bang and “Payed,” which are enjoyable and addictive to listen to.
The reviewer treats the album like a playlist, noting that it may not be the most cohesive album ever, as there isn’t much connective tissue between songs. However, they do enjoy some songs, such as “Vultures 1,” which was one of the most hyped-up songs from “The Listening Parties.”
In conclusion, the reviewer finds Kanye West’s album “Vultures 1″ to be a mix of fun and serious music. They appreciate the production, the unique lyrics, and the catchy choruses, but also acknowledge that there is still room for improvement in terms of cohesiveness and connective tissue.
The reviewer expresses admiration for Kanye West’s performance on the album “The Cutting Board,” stating that it exceeded expectations and was an enjoyable listening experience. They also mention the underrated performances of Rich the Kid and Kanye in the album, which they feel are underrated.
The reviewer is impressed with the production of the album and hopes that it will improve over time. They also mention that there have been changes made after the album’s release, which may lead to better mixing and mastering. Some areas, such as Kanye’s vocals feeling drowned out, may require more attention.
The reviewer also mentions the anticipation for new songs to be added to the next volume, as some songs, like “River” featuring Young Thug, were highly praised by the listening party. This could potentially lead to a future volume series within the series.
The accessibility factor of the album is considered an all-time high for Kanye albums, with more consistency within the track list and fewer skips. The reviewer also mentions some features like “quore” and “YG” that could have been left out of the album.
The reviewer is in between two different scores for the review, with an official album review expected within the next couple of days. They are impressed with the production, particularly the drum and bass beats. One song, “Baseline,” is described as having Brazilian Funk-like elements, which they believe will be a hit.
The reviewer also mentions that they are in between different scores for the review, but is impressed with the overall quality of the album. They are looking forward to seeing how Kanye West can match this quality for the next installments.
Overall, the reviewer is impressed with the album and looks forward to the release of more blockbuster albums in 2024. They thank the Patreon members for their support and look forward to the next installments.
]]>It’s been a while since a series made my head hurt. That’s changed with the Korean Netflix crime thriller A Killer Paradox.
This is twisty and sometimes confusing. But, is it any good? Flailing at life, a listless young man named Lee Tang panics after he kills a man following work. Soon, Detective Nongam is on the case, discovering a disturbing truth about the victim.
A Killer Paradox is an eight-episode show, so it will take a chunk of time to get through because the episodes are nearly an hour long.
Choy Wuki sells his lack of enthusiasm for work and then life. He mopes, shuffles through life aimlessly, and is pretty depressed too. But one night after work, he accidentally gets into a fight and kills a dude. Now, a detective begins the case. But, they uncover something surprising about the victim.
The show A Killer Paradox is hard to follow because the storyline is complex and convoluted. But, what makes it difficult to watch is the constantly shifting visuals. We’ll be watching Lee Tang, and then the scene transitions into a flashback, or maybe a premonition, or some imaginative Rabbit Hole. Now, the timeline has become very vague. It’s like a big bowl of spaghetti.
I know that sounds like a big negative, but it’s not. It can detract from engaging with the story, but I think the overall plotlines can be followed. Even if you get a bit mixed up at what’s happening, the narrative itself is pretty linear.
The editing in this series shines. We morph between timelines or experiences. The transitions are flawless. They seamlessly move us from one area or time to another. This also helps to make this visually confusing.
The pursuit aspect of the story is urgent and engaging. It’s filled with enough complexities to keep this from becoming static. While there are built-in plot conveniences, they don’t stand out as bothersome, because of just how the narrative unfolds.
Yes, that’s a bit vague. But again, I don’t want to give any details specific to this portion of the story. Just know that Lee Tang enjoys some plot protection to keep the chase moving. Now, about halfway through the season, there’s sort of a narrative shift. It feels like the A Killer Paradox show almost abandons what it had been setting up prior, but I think it just gains more focus.
I mean it’s narrowing the side quests and potential distractions. This makes the last several episodes urgent and full of anxiety. However, in the first half of the story, some parts go off on tangents. These feel unnecessary.
I appreciate the drawn-out suspense and twists in the plot arcs. They delay the reveal, however, as we near the end of A Killer Paradox show, we get reveal after reveal. This shows how layered the story is and how, despite the mounting twists, the story makes sense. In the end, it resolves to a satisfying conclusion.
That’s also something to note. While the story does wrap up, it also leaves a small window to continue. I don’t think a further story is necessary. But if they wanted to keep going, they could.
The narrative includes a lot of violence. However, the show A Killer Paradox creatively doesn’t show every vicious blow or stab. Typically, it shows the beginning action and then shifts to the investigation. This mix of action and practical gore avoids focusing on detailed brutality. The practical effects in the makeup are carried out well, some even being gag-inducing.
Now for the characters, I appreciate the dilemma introduced. We’re not always sure who to root against. Some are purely bad players, but others ride that line. Their charisma endears them to us, causing a small sense of conflict.
To make this a near-perfect series, I would remove the extraneous areas of the story that don’t lead anywhere or add to character or story progression. This would make the storytelling more efficient. I also thought that I would like to solve some of the confusion with the images, as the scenes move us with the character. I love editing and wouldn’t want to lose that creativity and style, but maybe tweak some elements. This series relies on layered storytelling to build a gripping mystery.
It presents intricately developed characters that create moral dilemmas. The series is not always clear about when and where a character is located. In their actions and their motives, it’s a waste of time to binge but in the end, it’s worth it.
In conclusion, “A Killer Paradox” delivers a captivating and intricate narrative. It keeps viewers engaged throughout its eight episodes. The A Killer Paradox show has a convoluted storyline and shifting visuals. However, its linear narrative flow and flawless editing ensure that audiences can follow along. The urgent pursuit aspect adds tension and complexity, while the plot twists and reveals keep viewers on the edge of their seats. Some areas may feel unnecessary.
The series resolves to a satisfying conclusion, leaving room for potential continuation. The depiction of violence is balanced, and the characters’ moral dilemmas add depth to the story. There is room for improvement in eliminating tangents and clarifying visuals. “A Killer Paradox” remains a compelling thriller worth the time investment. Overall, I give it four out of five couches.
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