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An error has ocurred. Please try again1. Laurence Olivier - Richard III 2. Ian McKellen - Richard III 3. Laurence Olivier - Hamlet 4. James Mason - Julius Caesar 5. Kenneth Branagh - Hamlet 6. Brian Cox - Coriolanus 7. Derek Jacobi - Hamlet 8. Paul Scofield - King Lear 9. Marion Cotillard - Macbeth 10. John Gielgud - Julius Caesar _____________________________________________________
Jessie Buckley Carey Mulligan Emma Stone Rooney Mara Saoirse Ronan Florence Pugh Anya Taylor-Joy Elle Fanning
Ingmar Bergman - 1. Shame The Seventh Seal Scenes From a Marriage Wild Strawberries Persona The Magic Flute Hour of the Wolf Through a Glass Darkly The Virgin Spring The Silence Face to Face Fanny and Alexander Cries and Whispers Winter Light The Passion of Anna The Magician A Lesson in Love
Robert Besson - Angels of Sin Diary of a Country Priest Pickpocket Au Hasard Balthazar Mouchette A Gentle Woman Four Nights of a Dreamer L'Argent
Hayao Miyazaki - 1. My Neighbor Totoro The Wind Rises Ponyo Howl's Moving Castle Spirited Away Princess Mononoke Kiki's Delivery Service Castle in the Sky Nausicaä of the Valley of the Wind
Isao Takahata - 1. Grave of the Fireflies 2. Only Yesterday The Tale of The Princess Kaguya My Neighbors the Yamadas Pom Poko
Andrei Tarkovsky - Ivan's Childhood The Steamroller and the Violin Andrei Rublev The Mirror Solaris Stalker Nostalgia The Sacrifice
James Wan - Aquaman The Conjuring 2 Insidious: Chapter 2 The Conjuring Insidious Death Sentence Saw
Takashi Miike -
Sion Sono - 1. Tag The Forest of Love Tokyo Vampire Hotel Love & Peace Why Don't You Play in Hell? The Land of Hope Guilty of Romance Themis Love Exposure Cold Fish Suicide Club
Hirokazu Koreeda - 1. Like Father Like Son The Truth Shoplifters The Third Murder After the Storm Our Little Sister I Wish Air Doll Still Walking Nobody Knows After Life Maborosi
Yimou Zhang - Shadow Coming Home Curse of the Golden Flower Riding Alone for Thousands of Miles House of Flying Daggers Hero Happy Times The Road Home Not One Less Lumière and Company Shanghai Triad To Live Raise the Red Lantern Ju Dou Red Sorghum
Ozu - An Autumn Afternoon The End of Summer Late Autumn Floating Weeds Equinox Flower Tokyo Twilight Tokyo Story Early Summer Late Spring I Was Born...But
Christopher Nolan - 1. The Dark Knight 2. Batman Begins 3. Memento 4. Dunkirk Interstellar Inception The Prestige Insomnia
Kim Jee-woon - 1. I Saw the Devil 2. A Bittersweet Life Illang: The Wolf Brigade The Age of Shadows The Good the Bad the Weird A Tale of Two Sisters
Park Chan-wook - 1. Oldboy 2. Lady Vengeance The Handmaiden Thirst Three...Extremes Sympathy for Mr. Vengeance Joint Security Area
Joon ho-Bong - 1. Parasite 2. Memories of Murder 3. Snowpiercer Okja The Host Mother Tokyo! Barking Dogs Never Bite
Peter Chan - Dearest Dragon The Warlords Comrades, Almost a Love Story
Bing Wang - Dead Souls Mrs, Fang 'Til Madness Do Us Part Three Sisters The Ditch He Fengming
Kar-Wai Wong -
Stanley Kubrick - 1. The Shining 2. A Clockwork Orange 3. Eyes Wide Shut Full Metal Jacket 2001: A Space Odyssey Dr. Strangelove Lolita Spartacus Paths of Glory The Killing
Martin Scorsese - 1. Goodfellas 2. Silence 3. The Wolf of Wall Street 4. The Irishman 5. Raging Bull 6. Casino 7. The Aviator 8. The Last Temptation of Christ 9. Taxi Driver 10. Gangs of New York 11. Cape Fear 12. Mean Streets Hugo Shutter Island The Departed The Age of Innocence After Hours The King of Comedy Alice Doesn't Live Here Anymore
Steven Spielberg - 1. Schindler's List 2. Saving Private Ryan 3. Bridge of Spies 4. Catch Me If You Can 5. Jurassic Park 6. Empire of the Sun 7. The Lost World: Jurassic Park The Post Lincoln Munich E.T Jaws Indiana Jones and The Last Crusade Indiana Jones and The Temple of Doom Raiders of the Lost Ark
Alfred Hitchcock - 1. Psycho 2. Vertigo 3. Rebecca 4. Rear Window 5. Notorious 6. 39 Steps 7. The Man Who Knew Too Much 8. The Birds 9. Rope Spellbound Secret Agent Dial M for Murder North by Northwest Strangers on a Train Shadow of a Doubt Foreign Correspondent
Quentin Tarantino - 1. Pulp Fiction 2. Django Unchained 3. Reservoir Dogs 4. Once Upon a Time In Hollywood 5. Kill Bill Vol. 1 The Hateful Eight Inglorious Basterds Jackie Brown
Sam Mendes - 1. 1917 2. Road to Perdition 3. Revolutionary Road 4. American Beauty Spectre Skyfall Jarhead
Samurai I - 4.5(Really solid work as he very effectively and believably portrays the transformation from a trouble maker, to an outlaw, to a wiser man)
The Bad Sleep Well - 4.5(Probably his least screentime in a leading role for Kurosawa as he is a supporting player for about the first third. It's a interesting performance though as Mifune creates the calm facade with his burning intensity hiding just beneath his skin)
The Sword of Doom - 4(Perfect casting more than anything else as his role needed to be a force to be reckoned without too much build up. Mifune definitely brings that quality well and delivers his one monologue quite powerfully)
1. The Sword of Doom 2. Harakiri 3. Ran 4. Kagemusha 5. Yojimbo 6. The Human Condition I 7. Sanjuro 8. Kill! 9. The Human Condition II 10. The Face of Another
May 2016: 1. Joaquin Phoenix in The Master 2. Jake Gyllenhaal in Nightcrawler 3. Gary Oldman in Tinker Tailor Soldier Spy 4. James McAvoy in Filth 5. Choi Min-Sik in I Saw the Devil 6. Michael Keaton in Birdman 7. Jacob Tremblay in Room 8. Daniel Day-Lewis in Lincoln 9. Jean Dujardin in The Artist 10. Matthew McConaughey in Dallas Buyers Club 11. Philip Seymour Hoffman in The Master 12. Oscar Isaac in Inside Llewyn Davis 13. Ryan Gosling in Drive 14. Leonardo DiCaprio in The Wolf of Wall Street 15. Robert Duvall in Get Low 16. Guy Pearce in The Rover 17. Tom Hanks in Captain Phillips 18. Tom Hardy in Locke 19. Bruce Dern in Nebraska 20. Ralph Fiennes in The Grand Budapest Hotel
1. Bryan Cranston - Breaking Bad 2. Mark Rylance - Wolf Hall 3. Alec Guinness - Tinker Tailor Soldier Spy 4. Glenn Howerton - It's Always Sunny in Philadelphia 5. Alfie Allen - Game of Thrones 6. Aaron Paul - Breaking Bad 7. Jackie Gleason - The Honeymooners 8. Kirsten Dunst - Fargo 9. Leonard Nimoy - Star Trek 10. Charles Dance - Game of Thrones 11. Oscar Isaac - Show Me a Hero 12. Jason Alexander - Seinfeld 13. Giancarlo Esposito - Breaking Bad 14. Michael Richards - Seinfeld 15. Jonathan Banks - Breaking Bad/Better Call Saul
Animation directors: 1. Isao Takahata 2. Hayao Miyazaki 3. Don Bluth 4. Martin Rosen 5. Nick Park
Marion Coltiard: 1. The Immigrant 2. La Vie En Rose 3. Two Days, One Night 4. Rust and Bone 5. Macbeth 6. Public Enemies 7. Allied 8. Inception 9. Midnight in Paris 10. Nine
1. Reunion - The Immigrant 2. Mute Singing - La Vie En Rose 3. Sandra's suicide attempt - Two Days One Night 4. Being separated from Magda - The Immigrant 5. The ending - Two Days One Night 6. Magic Show - The Immigrant 7. Learning of Marcel's death - La Vie En Rose 8. Returning to Sea World - Rust and Bone 9. Elder Edith entertains - La Vie En Rose 10. Police Custody - Public Enemies
Parasite: Some complained that they don't understand Ki-Taek's motive for killing Mr. Park. But to fully appreciate this, you need to understand the meaning of a recurring expression in the dialogue which is, "crossing the line".
It's a deliberately ambiguous phrase that can either read as one should respect other people's privacy or as one should mind one's own (social) position instead of meddling with the affairs of those in a different position. If interpreted as the latter meaning, it can serve as another image that emphasizes the subject matter of the narrative, along with more easy to notice the metaphor of the two families' respective dwellings.
It would probably have satisfied such audiences who expected more lighthearted drama if the movie focused on an underprivileged, but more likable family exploiting a cold hearted snobbish family in a comical manner. But the movie would have lost all its genuine charms if Bong Joon-Ho chose such a path, and he is too good a director not to see such a danger.
Instead, he chose to make Mr. Park a reasonable enough character, despite his occasional hints that reveal his true nature. He seems to treat Ki-Taek fairly enough at first, but he also warns the latter not to 'cross the line' if Ki-Taek attempts to pry into his private life.
At first, it seems that it's quite easy for Ki-Taek and other members of his family to sneak into Mr. Park's house in various roles and mingle with them. Ki-Taek even compliments how nice Mr. Park's family is, but his premature admiration soon gets challenged when he overheard, when he was hiding under the table, what Mr. Park really thinks of him - almost a different species of the human being who doesn't even smell like him.
Ki-Taek's final disillusionment came when Mr. Park cringes from the smell of the dead basement dweller and shows much more concern for his son's shock while virtually ignoring Ki-Taek's daughter's status who's dying on the ground, spurting blood from the stab wound.
That moment, Ki-Taek realizes how Mr. Park sees him and his whole family as not an equal human being, but something much more insignificant.
And he also realizes the 'line' that separates the two families is not just that of courtesy or proper social behaviour. Instead, it is a line that can even determine the life of those 'lesser' human beings to be less important than the passing unpleasant feelings or mental shock of those 'proper' human beings.
However easy it was for Ki-Taek's family to sneak into Mr. Park's house, or however they try to socialize and mingle with Mr. Park's family, their existence is no better than that of a 'parasite', which is also visualized so effectively by the presence of the hidden basement room inside the house.
With such disillusionment and anger, Ki-Taek chose to kill Mr. Park, as a parasite could to its host, and like a parasite, he keeps hiding deep inside the dead host's body until he could claim the whole of the carcass and use it as nourishment for his offsprings.
The tragedy was not something caused by any exceptional defect or vice of either Mr. Park's or Ki-Taek's personalities. Instead, it's a 'line' drawn by an invisible hand, separating those classes according to their respective social conditions, which can be so brutal as to be able to deprive the two families of their humanity in contrasting manners. And that is what I believe to be the message this film is trying to convey.
I thought it was about how it is near impossible to co-exist with the wealthy being so isolated, but there is a dreaded element of 'the unwashed masses will inevitably turn against each other and will claw each others eyes out to be in the presence of the wealthy'. Terrific movie that is wonderfully unpredictable and cheeky.
The film very cleverly straddles the line. The con-artist family absolutely has all the skills to do the jobs they con their way into. They could have been hired legitimately if their class didn't take them out of consideration. On the other hand, the wealthy family is slightly out of touch with the poor, but they are not shown as being entirely callous people, nor do they ever do anything that even hints they deserve the absolute disaster that befalls them in the second half
Parasite is a marvelously entertaining film in terms of narrative, but there’s also so much going on underneath about how the rich use the poor to survive. Suffice to say, the wealthy in any country survive on the labor of the poor, whether it’s the housekeepers, tutors, and drivers they employ, or something much darker. Kim's family will be reminded of that chasm and the cruelty of inequity in ways you couldn’t possibly predict.
Song Kang-ho - The Poor Father (*****) Perhaps my favorite performance in the film. His character development is unbelievable. First he portrays the dad's state of mind in the home. He brings a goofy enthusiasm of a typical dad, who seems content in his situation. We don't know how the family got here, but he gives a good idea how. When the basement is sprayed for bugs, while the others shudder, Song takes in almost a cleansing embrace of what his life is.
Choi Woo-shik - The Poor Son (*****) Choi brings a sort of foolish energy at first. There is a haplessness in his manner. Choi portrays a lack of certainty with really every interaction in the basement, suggesting the young man unable to build up even the slightest hint of success in his life having failed several university exams. The family's chance at a turn around comes as the son is offered a tutoring gig with a rich family. Choi's great in this scene of hearing of the prospects as he shows that same uncertainty from his early scenes. As he finds himself invited into the home of the rich family Choi's performance creates the sort of operation that defines the first act of the film. This as he sees just how quickly she accepts his ideas, we see a change in his manner, and Choi loses his more unassuming demeanor to create a more striking manner, closer to his visiting friend who recommended him for the job. It's not exactly a huge confidence change, but rather it is essential in the way Choi portrays this as a placed in facade over the sort of fearful young man otherwise. This is most evident within his first tutoring session, where Choi portrays this sort of breakout that is as a performance as some great thinker, where he is just really putting on an act. This act that would next get his sister a job as an art tutor for the rich family's son, and eventually his father to replace the rich father's driver. It's amazing work.
Park So-dam - The Poor Daughter (*****) She's tremendous in portraying the most comfortable, and largely best at the scheme. She low-key steals scenes and is one of the greatest and most essential aspects in the film whose work grew stronger with me on rewatch. She brandishes the plan with so much gusto as the "brilliant" tutor with her rude manner even towards her own family as she plays the part. Outside of playing that part though I love the sort of determination in her work and the glee of the scheme in her performance. I especially love her way of doing the peaches "revenge" moment. She has brilliant chemistry with her family and the rich family. She's just so likable here. I love her breakdown in the rain and of course she's amazing in her final scene. Her reaction and her moment of realization is just heartbreaking and is essential to why that scene is powerful to me.
Jang Hye-jin - The Poor Mother (****1/2) She has the least showy role out of the family but her performance is memorable in it's own way and stands out more on rewatch. She portrays the least delusional of the family in terms of what the scheme will bring. For example, her "What in the hell is Ram-don" or her casual manner of delivering the life-changing push are excellent. This is also with the moments of empathy towards her own family particularly in the finale, where again she does so much just in the direct way she plays the scene, both in her first aid instructions and her "charge." It's great work and helps make the scene as emotionally powerful as it is.
Lee Sun-kyun - The Rich Father (****1/2) His work is a good indicator of why Parasite is a masterpiece on class commentary. He gives a very charming and funny turn here. We see what is largely a likable guy, who is slightly preoccupied however very earnest in portraying his affections for his family. Lee even in his corrections to his driver, he portrays with a dignity. In his most callous moments Lee's terrific in again portraying not as this purposeful viciousness but rather an inability to truly empathize with people. The scene where Mr. Park reveals what he thinks of Ki-Taek is a great scene for him. He views him as almost a different breed of person who doesn't even smell like him. The finale is another terrific scene for Lee as he shows much more concern for his son's shock while virtually ignoring Ki-Taek's daughter's status, but still never turns him into a villain and instead is relatively reasonable in his response. It's great work.
Cho Yeo-jeong - The Rich Mother (*****) Her performance is a very different and quite risky aspect in the film, and brilliantly so. She is just hilarious in portraying the completely lost and always a little out of her wits attempt to run a household. Her individual reactions are some of the best moments in the film, through how much humor she brings to the film. Her reactions of fear are pitch perfect comedy. I love that she doesn't become some over the top caricature, but rather is very effective as just someone who's on different, lower, playing field. I love her scenes in the first act falling for each and every scheme in a believable way. She delivers the expected love for her family and is just very likable. And to top it all off her work in the final scenes is just great and yet another key factor within the film. She again doesn't make us choose sides yet still portrays a similar inability to empathize with Ki-Taek.
Lee Jung-eun - The Housekeeper (****) She's really good in portraying a low-key suspicion as the dutiful housekeeper in her early scenes. Things take a major turn when she too reveals a different personality much like the family when we see her true self. Her performance becomes great as she attempts to control the situation and shows a much more matter of fact person. Her performance in the big twist is quite great and she plays off of everyone so well. She also manages to be very funny in her reactions and chemistry with her husband. She's also terrific in offering that honest love for her husband and this all makes her far more than a plot device which she easily could've been in a lesser film.
Park Myung-hoon - The Housekeeper's Husband (****) Easily the most over the top aspect in the film but does this without ever being too silly or unbelievable. He portrays him as a goofy, simple guy who doesn't have great thought, and makes it perfectly sensible that he would have bad business dealings with loan sharks that would bring him to such an abnormal situation. He manages to be quite funny and even poignant in his sparse dialogue. He shows a growing insanity in a man who's been hiding underground for years. He's effective in showing a dissolution into grief then into a violent madness. He nails his final scenes and gets better the more i think about him. I also love his "RESPECT!" delivery.
Bong Joon-ho succeeded in making a compelling, entertaining, funny film that also manages to be a class commentary. Bong refines this and also just makes a movie that is why we love movies. Bong's work takes the great script he co-wrote, and elevates it even further. This with so many moments of brilliance in terms of his choices in song, such as the peach poisoning montage, the living room fight sequence, the whole flooding sequence, or any sequence for that matter. Bong always maintains this careful sense of character, plotting, and themes that is masterful. Like Memories of Murder his use of tone shifts is stunning that he pulls it off, but like that film he knows when to pull back the comedy and when to use it. His did something very special in that he made me shed a tear in one scene and laugh in the next. He does that oh so naturally and is an amazing achievement in itself. Big mention to his work in the ending, that took an epilogue that could've struggled, and instead turned into the crowning achievement. In the dreamlike approach he takes he grants such a powerful poignancy and in the end haunting quality, as he crafts not what will happen, but what probably will never happen other than in the dreams of a young man still living in a basement, somehow lower than he was in the opening of the film. From the deciphering of his father's letter, to the confident walk up the steps, to the embrace, and to the final shot of a young man's hapless expression. It's one of the greatest endings of all time.
Parasite is the best screenplay of 2019 by a country mile. The scenario is original, and brilliantly realized in every twist and switch. It is rich in its themes yet never does it weigh down the narrative in self-importance, it just adds to the depth of the piece. It realizes each character of the family so well, along with the comparison to the rich family, and the other basement dwellers. The themes though also invigorate it all creating the progression of the story, and so many brilliant pieces that are so naturally realized around the idea of class. It is also just an entertaining and very funny film, with such vibrant interactions between the characters, or who they claim to be. An outstanding screenplay that works on every front that a screenplay should, being a great character piece, a great story, and just being great.
The production design is just stellar, unforgettable work. The design of the basement versus the house and its basement is one of the essential elements within the film. Both realized in such brilliant detail that are both lived in yet so unique. The basement being a true memorable hole of a house, against the house being so gorgeous and pristine in every way. That living room set in particular, is an unforgettable bit of work. It isn't just a house or a basement, but instead both are part of the thematic weight of the story. It grants us the differences between the families and offers something so metaphorically brilliant.
The editing is just amazing work across the board. The film just runs, as every sequence is so brilliantly constructed individually, while also just having such a fantastic flow as a film. Every scene is just pitch perfect in terms of cutting between characters, between moments, and the montage construction here is flawless. The first act is crafted masterfully and the second half of anxiety-filled chaos is structured tremendously. Amazing work, that should win the Oscar handily.
Hong Gyeong Pyo's cinematography for Parasite is outstanding, and I really hate that it has been snubbed so far, as it is easily among the five best of the year. I hope the film over performs to get Hong his due. Anyways though Bong's films are always well shot by virtue of his own eye, though then it comes to the cinematography to raise that quality all the more. Hong does this through unassuming yet brilliant work. This is it never brings overt attention to itself (though I'll say that really isn't a negative unless truly overdone or misplaced)yet it consistently gorgeous. It is above what I would say is slick work in the ease that it amplifies sequences. This in such smooth camerawork, that are so notable in how effectively they capture movement, and every character with such remarkable composition and framing of the shots. It's a large cast, and Hong and Bong's ability to really not forgot any character within the cinematography is exceptional. The lighting though is particularly brilliant in its touches of style that it covertly dynamic, and so fantastic in how suits itself to given sequence, just to add a little more to it. This for example the perfection of the beauty of the interior lighting in the home, compared to the "ugly" harsher hues, in such a beautiful way however, of the basement particularly in the flooding sequence. Amazing work that deserves to recognized along with the film.
------------------------------------------------ It is easy for me to say that Bong Joon-ho is one of my favorite working directors, and would easily make my top ten directors whose first feature debuted in the new millennium. This in his achievement, which perhaps speaks to my own taste heavily, in joining the ranks of directors who are able to wield such varied tones in the same film. All his films can be thrilling, hilarious, heartbreaking, haunting, you name the feeling, Bong is able to explore it, but in the same film he's doing a complete antithesis of that as well. This daring is already something I love, but his success is why he's a great director. He has crafted his own idiosyncratic style in both the stories he chooses to tell and how he tells them. He's the greatest of the three sort of "international" South Korean directors, and the only one who fully successfully turned international in making a, mostly English, feature. Although I still need to see The Host, Barking Dogs Never Bite, and Mother, all his other films are such unique cinematic experiences, that I either enjoy thoroughly or downright love. His work doesn't pigeonhole itself, allowing even his social explorations to have more nuance than most filmmakers do in that regard. This allowing both text and subtext in that regard. Of course above all a powerful visual filmmaker, that probably also supports his international appeal, as his work is so often at its most powerful in silence. He's true storyteller, and off-beat in the best ways. When I heard of Parasite's reception, I purposefully didn't look into it at all, because the best way to experience a Bong Joon-ho film, is blind going in, but with your eyes wide open once the curtain draws.
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Yamazaki - (His performance essentially makes the film in my mind by providing the needed mentor support role in the best sense of that description. Yamazaki delivers such an ease and grace to the role while providing such a real warmth, and conviction within the character's particular form of philosophy. It's a quietly moving turn as he delivers sort of the seasoned knowledge of the perpetual funeral preparer as granting this certain, non problematic, comfort with the idea of death as Yamazaki always infuses these moments and interactions with that overarching, yet wisely and properly subdued, affection essentially within supporting the act of passing.)
Nakadai - (Interesting performance as we get to see him play the character that "Yojimbo" played in Kurosawa's Sanjuro. Nakadai is given his own performance as the pure samurai hero, though this one is a bit more hapless. Nakadai gets to give a very direct leading man turn, as so many of his character are either such terrible people or inflicted something. Nakadai is quite the charmer himself though in his own way as usual, as he brings this sort of indirect charisma to the character, as he is humorous in this sort of self-deprecating fashion. Throughout the film Nakadai commands the film, but in such a clever way as he is so magnetic while playing almost every scene with this sort of unassuming command. Nakadai is absolutely the hero the character should be but in this atypical modest way only Nakadai could do.)
First Man i think is a bit divisive overall. What probably won't be all that divisive are the technical aspects that are all pretty much impeccable from the incredible sound design, the marvelous score from Hurwitz once again, and Chazelle's direction of every single one of the action sequences that are some of the most visceral of any space travel film I've seen. Now the choice to make everything focus so much on Armstrong as truly the "first man" is perhaps less unanimous. As everything in the film is based around how it influences and effects the man towards that fateful flight. This leads to fewer details on the other men, and the program in general. I also loved this atypical approach to the story. For me it absolutely worked in bringing you into the man's space both physically, and emotionally, which is notable given the introverted nature of the character. In the end I was surprised by just how affecting this minimalist approach was in the end, as I found myself on that "tears edge" by the end of the film in a way I did not expect.
Hader - (This is downright amazing performance by Hader, as what works so well is how his convincing serious portrayal bounces off the more overt caricatures around him. Hader though on his own is extremely convincing in portraying this simple man who has been bludgeoned by life and manipulated by those around him. Hader creates a such powerful empathy, and real pathos in his work. Creating such a sense of the emotional decay and hardship within the the man's PTSD, and I was surprised just how poignant his performance is throughout even as the character does some particularly dark deeds. Hader's work is outstanding as he not only never feels miscast but somehow he strikes just the absolute perfect tone within the material that still makes the comedic marks hit while delivery such an emotional punch at the same time.)
Wolf Hall: Lewis - (I really liked his performance as I felt we almost got to see what Robert Shaw would have done with Henry if he got more than two scenes to work with the part. Lewis really surprised me here as he brings that larger than life presence needed for the part, but never shies away from the certain petulance that defines the man equally. He has the powerful magnetism one would expect from a King yet brings it with the right emotional volatility that rightly suggests why his reign had so many upheavals. Lewis managed to weave through the various sides brilliantly to give the needed complexity to Henry. He very well could be my favorite performance as Henry, that I've seen.)
Foy - (I'll admit I had to ponder on this performance as bit in that I did not want to be completely blinded by her absolutely amazing performance in the last episode particularly her heart wrenching depiction of the execution scene. I pondered though that I did not find she exactly had the allure you'd expect from Anne Boleyn but thinking over the series there is not a scene that would stress that side of her since we never see her out of Cromwell's perspective. Instead we see here as the power player where Foy brings the right sly cunning in her work as she carries this surface gentleness that she undercuts with a devious incisiveness in even the most seemingly innocuous words. Again though what I found most stunning was her depiction of her fall from grace, which I found astonishing, especially as she managed to make Anne so sympathetic even when her character up until that point had been anything but.) -
In a way I have not scratched the surface of Yamazaki's career. I've only seen few of his performances, & as typical for a lot of Japanese performers he's extremely prolific even now. From what I have seen though is Yamazaki is an extremely dynamic performer. Kurosawa clearly had an eye for young performers, and that is evident in his work with him. In all three performances Yamazaki delivers such a incredible emotional potency to his work in either a more grandiose or smaller scale sense. His range though extends with a comedic grace as well as seen in Kagemusha, Go, The Funeral and even Departures. He's a fascinating performer as is, who works both as the intense character or the casually charming leading man. He is one I certainly would love to find all of the hidden gems within his filmography.
The screenplay is an interesting bit from Gilliam, though I think the film is made for me by Waltz's & his direction, which is this more intimate portrait of the loss of the individual, as opposed to the grandeur vision he usually goes for. As it treads some similar themes to Brazil, although this one doesn't focus on the good natured any man, but rather this individual who creates his own prison through his mind. The world building in the work then is less aggressive, though effective as usual in the more minor details of the world that enlivens it beyond its ideas. The best facet of the film is within the central character in every regard, including the screenplay, which finds the most potent material in his methods of essentially trying to regress from the physical. This creating a most unusual journey, one you can either as a strict tragedy, as the man loses his self to technically fall even deeper in the mind, however does he find some illumination within that. Either way the major idea of the central theorem, is in particular most effective in creating through the journey of Qohen a man waiting for something, yet making nothing in this state of trying to find meaning. Although one could argue the narrative is too constricted, it work as this very specific examination through the unusual protagonist.
Only the achievement that is Chernobyl could've dethroned the greatness that was Barry Season 2. Chernobyl is one of the most stunning depictions of a natural disaster as it works so well as this atmospheric piece of a microcosm apocalypse, made so viscerally potent in its direction that is closer to a horror film than a period piece. This wrapped around with such powerful and compelling narrative that so effectively balances each element of the story. This from the procedural of responding to the crisis, the attempted coverup, the crisis of conscience in those involved, the examination of the human and governmental errors, the explanation of the cause, the effects on so many facets of those involved from those literally at the core of it, to the officials who must respond to it, those who try to hide from it, and those who suffered most of it. It creates this harrowing tapestry that excels in showing the worst of humanity, but also these poignant glimmers of the best of it.
Harris - (With the final episode he might've taken my #1 though I'll have to ponder on it since I did love me some Dorff. Any ways Harris delivers another dynamic turn, as another performer who I just want so much more for, but any way this is great example of his strengths of a performer. A funny thing actually being what makes him so compelling is so different from his father, though they do share a very similar and great voice. Harris though excels in this internalization of the drama, as opposed to his rather extroverted father. This being essential here in creating such a powerful sense of every development within this story. This creating the sense of the man, and then sense of the despair of the faults of others within his reactions through every development. His journey is long a quiet and subtle one, and so powerfully realized. This with such notable moments where he does break out to reveal the more passionate precision of the man's quest to try to convey the gravity of the situation. This while balancing a certain sense of propriety in dealing with the extremely corrupt system he is part of. Those break out moments are stunning moments by Harris, and each one creates such an impact. His greatest scene though may be his very quiet sense of an almost strangely inspiring resignation to his fate in a scene with the KGB. Where he conveys an understanding of his sacrifice, shame yet still with a righteous indignation.)
Skarsgard - (Actually one can bump him up to my #5 as he tore the rug out from under me with the last episode, as he became surprisingly heartbreaking himself. This in his own portrayal of a different arc. This in starting with the somewhat detached yet egotistical state official who is so confident in his sense of "knowing best" before one thing after another makes him understand that it is not the case. Skarsgard manages to make the transition understandable and quite convincing in so many moments of self-doubt. This building up in his work until his so quiet moment of revealing his internal understanding of himself finally as a "useless man" where Skarsgard's despair is so nuanced yet so striking.)
Watson - (If I had a minor criticism it is they might've spread her composite role into two roles, in that her character does seem "too good to be true" which is the case. Nonetheless Watson is great in offering a real power to her role as the direct contrast to the men as someone who is clearly bent towards a just view of things. This giving such a fierce passion to every moment, while also conveying the real horror of each situation, in her reaction to each bit of inhumanity she finds in the treatment of the disaster. She grants the needed humanity to the composite character and absolutely delivers even if the role is ever so slightly over stuffed.)
Buckley & Keoghan - (Nearly silent roles in a way but deserve each a highlight by their impact in their silence. This creating just these direct and so honest faces of humanity in these situation. Buckley in her heartwrenching portrayal of the loving wife faced with the horrible death of her husband, and Keoghan in a young man thrown into such a randomly traumatizing task. Each just say so much in every moment their faces are on screen in creating such a remarkable sense of their painful journey. Buckley maintaining this soulful humanity at every point even the bitter end, and Keoghan finding that slowly growing detachment towards this existence. Stellar work from both.)
Fares - (Very reminiscent of Louis Wolheim in All Quiet on the Western Front, that in providing the seasoned war vet/mentor in a most unique way. This is as he manages to bring the appropriate roughness of a seasoned man, with this internalized wear that burdens the man even as he seems to walk with ease. This creating the sense just as part of him to the point he can handle it by always being slightly broken in a sense. I love though the warmth he manages to bring even the moments of the most brutal honesty showing this tough love as a man who does care about his soldier, even as he needs him to go through essentially his own process of desensitization.)
Williams - (A downright terrifying performance as he manages to make such terrible cruelty and control something so casual. This in his portrayal of a man so calm and so convincing of his understanding of how to make his corrupt state work. The lack of any major emotional change that Williams portrays is so effectively off-putting as he maintains this calm nearly grandfatherly style even as he dresses down a man and sentences him to purgatory.)
Rockwell & Williams - (I'll admit one can almost take Rockwell's work for granted because of how well cast he was. He just seemed like a great fit for Fosse...and he was. I'll also commend him for not trying to copy Fosse's voice, which I think would've been a mistake since his voice isn't overly distinct to the point it would be just a distraction. Rockwell instead very much embodies the man's character brilliantly, and not just because of his own hoofing skills either. His physical embodiment is pretty spectacular in terms of creating this sort of method of Fosse, where there's always a something a bit askew in a dynamic way, to just the way he'll stand within a moment Now Williams is extremely transformative, and more essential given that Verdon's voice for example was especially distinctive. I'll admit I did have some hesitation in this regard given a less than enthusiastic response to her Oscar nominated turn as an actress. I'm overjoyed to say though that I loved her work here, and it is probably my favorite performance of hers. She brings to life Verdon not only in voice, but in every way she conveys herself, even the way she scrunches her face is of Verdon not Williams. Most importantly though she manages to embody this in a way that feels lived in, and to the point you forget about the performance with Williams just becoming Verdon. Now both are terrific also in aging the characters throughout the different moments in each, though Williams is more overt in this, though for good reason, and excel in making the time differences distinct. Now Rockwell is fantastic as realizing Fosse as a man essentially driven through desperation at every point. He brings this charisma and ego, which he always underlies with a certain pathos suggesting a man believing himself to be a false success at every point. The sort of fantastical scenes, where Rockwell himself performs Lenny monologues, are the highlights of this where Rockwell is quite outstanding in fashioning the desperate emotional mess that defines the man. Williams avoids any blandness, by being the more stable of the two, by comparison, by creating this charisma of Verdon, with really this sense of exhilaration within the idea of performance. Her only desperation being torn or undercut in this sense, where Williams portrays less a desperation, and more an angry ferocity to disprove any notions that question her ability. I also have to give Williams all the credit for absolutely knocking out every recreated musical number given to her, which she carries both directly in some instances that are truly just recreations, but also granting another layer in her fantasy scenes of Pippin and Chicago. I especially love the intensity she offers in the latter that puts some cinematic comparisons to shame. Of course what makes them both great though is how they are together. This in both the positive moments of both better and worse. This in the moment of overt romance and creative collaboration where the pair are electric together, and Rockwell and Williams create the right sense of the invigoration they bring out in each other. They are equally remarkable though in creating the convincing extreme shifts throughout. This in the two making so much in a moment of direct verbal sparing or in just a simple reaction as the strips down the other. They create the right sense of the two being able to finish their sentences both as an idea of true love, and true hatred that could only come from such understanding. Both are terrific separately, but the greatness of Rockwell and Williams here comes quite rightly in the collaboration.)
Shoplifters is not a flawless film as I think it could either been trimmed a bit more expanded upon in a few areas, as I don't think each character gets their just due to the point one does feel nearly superfluous within the main thematic thrust. Again that could have been either resolved either through expansion or reduction, though I will say I don't think those scenes are bad however. Having said that it offers such a unique & vivid experience in this unlikely lives of unique sort of working class. I love it rather upbeat tone that it manages to maintain even within its material, never avoiding the hardship or even the at times questionable morality of the central "parents". It strikes the right balance though from avoiding a despairing tale, nor does it become cloying. It ends up being just a wonderful vivid expression of this certain life, & I love that it offers time both towards the moving personal moments as well as offering the sense of their existence.
Shoplifters is wonderfully directed by Kore-eda. He brings a real vibrancy within the family dynamic, and knows how to just allow some moments to play out while letting the emotional moments build naturally. Again as mentioned before he might have made a few different choices in the editing stage, but nothing truly detrimental towards the film. Where I think he most excels though is how he manages to bring a light hearted charming quality to this film. This is as he strikes this great balancing act that avoids being twee, but also avoids becoming excessively downtrodden given the nature of some of the characters.
Jo - (Just a wonderful naturalistic turn from him. He just gives an honest performance in every scene that avoids any of the pitfalls of the bad child actor. He brings a real confidence in his performance that is particularly remarkable as he doesn't approach scenes with any awkwardness or excessive bravado. He very much is in the moment of every scene and just delivers terrific work)
The Age of Shadows isn't up there with I Saw the Devil and A Bittersweet Life but it's a definite return to form after The Last Stand. The film itself covers the Korean resistance against the Japanese, which is already an interesting rarely told piece of history. Now I will admit the film struggles in its first third, delivering too much exposition early on and struggling to find its footing. Thankfully once it gets going, more specifically once the film gets to the train, it really gets going. Kim really gets to bring that vibrancy once again into his direction with some expertly executed tension filled sequences. He builds the film beautifully and once he reduces the focus the emotional impact really is found. I particularly loved the ending scenes of the film that while rousing also are surprisingly poignant as well. The man knows how to end a film.
Song - 4.5(Song is terrific in creating the arc of his character beginning with his first scene in just presenting the good, if somewhat indifferent, soldier performing his job. The loss at the beginning of the film Song uses well as he has it essentially haunt his performance for the rest of the film. He makes it a seed that slowly builds from that point. He's particularly good in showing the difficulty of his character turning, and earns it by conveying the way his regrets take hold in his mind. In addition he adds so much to the espionage sequences by showing the way his character of Lee is playing the different sides and really ratchets up the tension. Then everything he builds to comes together beautifully in the end that contributes so much to its powerful conclusion.)
Gong - 4(His performance is a bit more limited since he starts as a rebel and continues as one. Gong though is also effective in basically revealing the various faces of his character, the ones the man must show depending on the situation. This is whether it is the charmer trying to get people to come to cause, the scared unassuming civilian avoiding capture, and of course the passionate fighter for a cause he truly believes in. He's overshadowed a bit by Song but it's strong work.)
Byung-hun Lee - 3.5(I was overjoyed to see him show up, even if it is only for a couple brief scenes. Lee though commands his scenes so effortlessly making the badass leader of the rebellion you both want and need.)
Wolf Brigade actually does feature a lot of Kim Jee-woon's vibrant direction. Unfortunately the story is just so excessively convoluted that it leaves the film distant and inert. There are definitely worthwhile elements within it, but it just never comes to life as it should due to how jumbled the screenplay is. I also think it lacks a proper anchor and Kim really needs to team back up with Byung-hun Lee sooner than later.
Gang & Han - 3(Both are fine in their looks of longing but not much more. Sadly their work just never becomes any more. Gang in particular lacks the needed charisma to really engage the part with a more engrossing quality. This film needed Lee, and though I don't think it would've saved the film it would've made it a whole lot stronger.)
Burning probably could have cut a good twenty minutes out of the first half, Lee Chang-dong is a very deliberate filmmaker to be sure, however minor quibble as I ended up finding it to be one of the more transfixing, and haunting cinematic experiences of 2018 by the end of the film. Again, as was the case with Poetry, Lee has a particularly fascinating ability to comment on very complex themes while doing so with a minimal use of words. In this instance this examination of a class experience, through a particularly lurid mystery, that becomes all the more emotional as it proceeds, to the point it sort of sneaks up on you in terms of the significance of every minor word or statement of the few characters we see. I love the way it is almost engrossing in this sort of secretive way, as the point of investment is not traditional, and there is almost a surprise as the mystery becomes unnerving by how sudden it is, and how covertly emotional it becomes.
Destroyer I thought frequently bordered on being completely awful. It has moments of inspiration yet its attempts to be so hardened and gritty, that it nearly became unintentionally comical in this approach at times. The story definitely has potential but has some major flaws throughout. The main one being the plotting that just isn't quite concise enough, something also brought upon by the often disjointed and muddled editing. It also is burdened by two downright horrible performances, and the worst makeup I've seen on a major star since the ending of For the Boys (in case you haven't watched that film, know that is very very very bad.). I didn't hate the film though, as more than anything it just felt like a lot of potential that didn't add up.
Kebbell - 1(My goodness he is terrible here. Once again he's not at all believable as an American, but that's not really the problem here. What's worse is how he seems to be just a boy playing dress up as the least menacing and convincing gangster I've seen in quite some time. Kebbell is just awful in the role as every moment he is onscreen rings false)
Pettyjohn - 1(My goodness is she terrible. Every single scene between the mother and daughter rings completely false, despite Kidman's best efforts, because of her work without depth. There is nothing here as she just seems out of place in every scene she is in.)
This one of the most mind boggling, self-indulgent, dumpster fires of a film that ever existed in Life Itself. Another film, along with the like of "Collateral Beauty" where the writer causes one to question if he is perhaps some alien attempting to replicate his poor understanding of human life. You know where grieving husbands talk about masturbating to their therapist for no identifiable reason, before committing suicide in their office, where mothers state their love of dead in-laws, where everything happens you know, because Life Itself is an unreliable narrator. Or maybe just a bad narrator. Not an honest interaction to be found, with the most manipulative methods one could imagine, and just cacophony that results in one pondering how powerful an ego must be to inflict such a curse upon mankind.
Bong's direction for Memories of Murder is indeed brilliant, in just how he manages to maneuver successfully different tones within the film. This as he can manage a moment of extreme comedy and horror with as ease, that never feel remotely jarring. Bong knows exactly how to direct each scene essentially, by clearly deciding whether a scene will be serious minded or not, and never breaking this within a given scene. He also carefully chooses the right scenes to be funny, such as Park's attempt to find the hairless man, the fake killer, or Park's boasts. These are genuinely hilarious, which importantly he never goes too far with but bring such natural levity to the film that makes it stand above so many serial killer films. This against the murder scenes that are genuinely terrifying with such light touches, particularly the figure blurred by fog and rain, that creates such a palatable dread as he continues to be this own force, only defined by the traces of his crime. As Fincher would later do as well, what is essential though is how vivid the world feels which both makes the horror of the killer more real, but also makes our characters, and setting more distinct. Bong takes the time to establish the detective, establish the station, even the community, that makes for a far more compelling film. It also must be said that the tunnel climax and ending are both all time great direction quite honestly. This as the former he so perfectly captures the intensity of emotion through the use of atmosphere, and then the ending which he handles with such subtle eerie quietude of a broken nostalgia. This as he revisits the scene of the crime himself, the same way as the opening, and I love how he chooses to only quietly use the score, as first he makes us really in this place, as you'd visit somewhere in the country in your own childhood. When he does use the score, that he quietly blends in only at the most essential moment, is just the final bit of brilliance on that all time great ending.
Well overall I thought it was a downright brilliant miniseries and in many ways it is what I wish the rest of Saving Private Ryan was. This is as it managed to capture that same intensity but the emotion was allowed to exist in a far more natural and potent way. This while all being based pretty closely on reality. Managing to create such a compelling series of narrative by granting the focus on a different soldier, a different rank, a different battle, and different life in a way. Just incredible in creating the sense of the war, while also giving a real insight into the ongoing life of these very different soldiers. Each episode really being a terrific singular World War II film in their own, just about.)
Currahee - (The bootcamp episode, of a different sort and a different perspective. Effective in creating the sense of the men and their character through sort of dealing with a singular jerk in their vindictive CO. Probably the most low key episode in a way but terrific in its table setting.)
Day of Days - (Forceful mainly action related episode, and incredible in that sense. This creating the sheer brutality of it particularly in the drop sequence. Then so effective in creating the sense of confusion as each group of men attempt to find their bearings to actual begin an attack.)
Carentan - (Kind of part 2 of Day of Days, and again brings you through this more direct assault, with also a greater sense of the wear that begins on the men through the story of Blithe. Great action once again in creating such a visceral sense, while also combining such a powerful approach in terms of granting the intensity of the moment, while also showing this advancement towards victory.)
Replacements - (Interesting as you get one part of A Bridge Too Far essentially, and great, as sort of the "successful" part of the mission unfolds in part, along with this introduction of the titular sort. This creating two fascinating dynamics between sort of the men already there becoming the hardened vets along with the blunt truth of the naive men walking into their deaths for what is almost a failure.)
Crossroads - (Amazing sort of some more narrowly focused episode on the exploits of Winters, even if Lewis always does feel as lead, this one in particular though powerfully shows his perspective through a singular action. This action given such a striking atypical existence in a way, as there are casual humanity moments within an attack, that slowly leave a haunting mark, namely his killing of the "staring at another human" German soldier.)
Bastogne - (The first half of the Battleground episode, and fantastic as well in managing to create such a compelling story within essentially the waiting for the battle, and dealing with the brunt of just the enemies artillery fire. An often haunting episode as well, by showing just sort of the taking of loss as this reality.)
The Breaking Point - (Part 2 of Battleground, as we see the wear of it on the men, and really the raw total of it all. This in the vivid detail as they finally seem to achieve "victory" in the endless winter of the battle, but also in that absolutely amazing church scene that shows everything they lose. An outstanding episode.)
The Last Patrol - (Where the episode succeeds without a doubt is sort of creating the beginning of the last three, which is not focused on in most war films, which is sort of awaiting the aftermath after the enemy is *almost* defeated. This one works as the exploration of this through the smaller, yet in a way sloppier, mission where the emotions more naturally reflect this state of existence.)
Why We Fight - (Just a masterful piece of work, right until that unforgettable ending of the case closing. Just so powerful, and heartbreaking portrayal of the perspective of liberators, where playing the savior is hardly a rewarding state given the horrors that they witness within it. Additionally just such a tour de force of nuanced performance in Ron Livingston who carries it in such unusual yet such an impactful way.)
Points - (Exceptional episode that deserves particularly credit given that they make really just waiting around for the war to end so compelling. A part of this is that they do not lose sight of any perspective. This is as we see each men dealing it in their own ways, with the idea of continuing such a foreign and strange thing, and sort of this attempted return to a different existence.)
1. Ron Livingston 2. Damian Lewis 3. Donnie Wahlberg 4. Eion Bailey 5. Marc Warren 6. Shane Taylor 7. Rick Gomez 8. Scott Grimes 9. Dexter Fletcher 10. Neal McDonough 11. James Madio 12. Kirk Acevedo 13. Matthew Settle 14. Rene L. Moreno 15. Colin Hanks 16. Ross McCall 17. Douglas Spain 18. Rick Warden 19. Frank John Hughes 20. Richard Speight 21. Michael Cudlitz 22. Dale Dye 23. David Schwimmer
Livingston - (Livingston's performance is one of those sort of "time bomb" performances in a way. Although this isn't to say he's not making an impact the rest of the series. He is quite powerfully as the friend to Lewis in two ways. One being this sort of dry, darkly so, humor as a guy with a different dour sort of observation on it all, that offers this other perspective. Livingston does that believably yet wonderfully through this naturalistic melancholy that comes with it. Livingston's work though obviously is always towards something else, and even when Nixon is more jovial you get the sense that there's a real sadness within him. What is amazing is we don't suddenly get these huge breakdowns, yet the outbursts we eventually do get seem so natural within the type of man that Livingston has presented that it is all the more powerful. This initially with his moment of learning of his divorce, that is still slightly comical in away, yet heartbreaking all the same as Livingston in a way shows his manner only serves to hide just how broken up the man is by it all. This becomes this searing intensity, but in such a true idiosyncrasy as he becomes sort of the perspective character in the 9th episode. Livingston carries such a subtle power in just his eyes as he looks upon each of the horrors and those moments of looking upon the German civilians. It is outstanding work)
Lewis - (Lewis's performance is an interesting challenge, that he is in many ways just the right man for a job as he does so well with specific internalized emotion. This as he's very good as the sort of commander of men, in conveying this persistent confidence, yet not overconfidence, and bravery, yet never foolishness. He never has a true breakdown moment, yet is great in conveying moments of quiet disdain to foolishness, or the sheer emotional conviction to those moments of concern for his troops. Lewis projects so well just the state of a true leader who is ever there as a symbol to his men, while also being wholly human. He's fantastic though in particular in the hidden weight that weighs upon Winters soul. He never even comes close to breakdown, yet Lewis grants within just his eyes really those moments of being haunted by both the losses of his men but also the lives he had to take to achieve victory.)
Wahlberg - (Actually looking at it I think he has the same dynamic with his brother that Casey Affleck has with Ben Affleck. In that while he has less of a natural screen presence, based his one scene wonder from the Sixth Sense and this, he has a greater emotional range. Wahlberg's performance works strikingly most within his narrative episode, this with his textured narration that conveys a great deal of emotion particularly in bringing home the unforgettable church sequence. His performance though is outstanding though in portraying the severity of the wear of single battle both in terms of the man's spirit and physicality. This too conveying a certain persistence in concern of the men and conviction to battle, but with the right overt quality in showing what Bastogne does to him.)
Reviews
Shingeki no Kyojin: Descent (2019)
That's right, nobody's in the wrong. Because this world is just... that cruel
This was a phenomenal episode. One of my favorites from the show. This was Bertholdt's episode and it was amazing character development for him. Loved seeing the flashbacks of prior events. Bertholdt and Reiner's friendship was developed so well here.
The second half of the episode with Armin and the big moment was incredible. The OST, VA and dialogue were on another level. The Colossal Titan CGI didn't bother me. An episode this good might not even be top 3 for this arc. This show is really a masterpiece.
Shingeki no Kyojin: Hero (2019)
The Bravest One
"Hero" alongside "Perfect Game" and "Midnight Sun" are the holy trinity of Attack on Titan. This is where AOT reached godhood. This episode tells two incredible stories with a giant wall standing between them. Erwin Smith and the Survey Corp gave their lives for Levi to defeat the Beast Titan. Levi vs Beast Titan was absolutely incredible. Beautifully animated, full of emotion and determination in Levi's voice. Levi saying "I made a promise to him that I'd kill you no matter what" was heartbreaking. This was only the first scene of this masterful episode.
On the other side, Levi's squad battle The Armored Titan. While Armin and Eren battle the Colossal Titan. The dialogue, soundtrack, direction and animation come together brilliantly to depict this battle. Just like Erwin, Armin knew he needed to sacrifice himself for his plan to work. He gave up on his dream to give humanity a chance. When Eren says "Gotcha" it's one of the most satisfying moments in the entire show.
This episode felt like an epic culmination to a war. The choreography, soundtrack, animation, direction, storytelling and emotion create a breathtaking episode that will go down in history as legendary.
Shingeki no Kyojin: Thunder Spears (2019)
Another great episode in a perfect season
Great episode. Loved Erwin strategizing in his head and reminiscing about his past. They're not sugarcoating the fact that Erwin has used the Scouts and his comrades to his own benefit. The battle between titans was great. The Thunder Spears were a nice edition. I thought the delivery of "W-wait" in the cliffhanger was kind of heartbreaking. The VA's are on another level.
Lots of psychology and inner monologues this episode, with plenty of action too. Just think this might be the worst episode of season 3 part 2 and it's an easy 10/10.
Shingeki no Kyojin: Perfect Game (2019)
Erwin Smith, The Hype Machine
This was phenomenal. This episode blew me away. Perfect Game was indeed perfect. I'll get to Erwin Smith in a minute, but damn Levi Squad vs The Colossal Titan was incredible as well. They did such an amazing job showing the desperation and anxiety of both Levi Squad and Erwin with the recruits. It was great seeing the 2D Colossal Titan again. It mixed really well with the CGI.
Beast Titan throwing boulders and slaughtering the Scouts was painful to watch. Everything with Erwin and Levi were some of the best moments of TV I've seen. Erwin's conversation about his dream with Levi, the recruits breaking down, Erwin's masterful final speech, Levi watching his comrades die, and of course the final scene with the suicide charge. Words can't describe how i felt watching it.
The storytelling was on another level. For awhile the series showed us how Erwin has used the Scouts to get close to his dream. After being selfish for so long, he finally decided to choose humanity over himself. The VA by Daisuke Ono was award worthy. This episode and the two that followed are some of the best anime episodes, if not the best ever written.
Shingeki no Kyojin: The Town Where Everything Began (2019)
Hell of a start to this arc
Brilliant episode. I loved everything about it. Seems like people are split about the OP/ED , but i really liked both. The OP had awesome visuals that matched the music, but the song felt like it was building to something that didn't happen. The ED was very nostalgic with visuals of past events. "Great Escape" remains the best ED easily in my opinion.
This episode picks up where we left off with the Scouts approaching the wall. Great interaction between Eren and Armin early on. Loved the overall focus on Armin in this episode. They're building him up as a successor to Erwin. There was no action in this episode until the last 3 minutes, but the atmosphere and tension was perfectly done. You felt like Reiner and Bertholdt could appear at any moment.
The ending with Reiner and Beast Titan was incredible. LOVED Levi just charging at Reiner. The OST was perfect in that scene. What a start so far.
Shingeki no Kyojin: OVA: No Regrets - Part 2 (2015)
A look into the mind of Levi
An outstanding OVA. Levi Ackerman is humanity's strongest soldier and one of, if not the best character in the entire show. This episode explores the beginning of Levi in the Survey Corps, his first experience with Titans and the friends he lost along the way. The moments between Levi, Furian and Isabel were genuinely sweet. Which made it all the more heartbreaking when Levi discovered them killed by Titans. One of AOT's most notable quotes is "I don't know the answer. I never have. Whether you trust in your own strength or trust in the choices made by your reliable comrades". This episodes explains what Levi meant by that.
Shingeki no Kyojin: OVA: No Regrets - Part 1 (2014)
Fantastic OVA
I was interested in watching this before finishing season 3, and i'm glad i did. You can never have too much Levi and Erwin. This episode shows Levi's life in the underground and how he met Erwin Smith. It has great world building, some fun action, and 2 interesting new characters. Great episode overall.
Shingeki no Kyojin: Night of the Battle to Retake the Wall (2018)
What a cliffhanger
This episode was a perfect finale for the first half of season 3, and it showcases AOT at it's best. Emotional moments and suspense. Jean and Eren still have their amusing interactions. Those two never get old. The mid-credits scene was incredible. Shocked the hell out of me. It has to be one of the best cliffhangers of the entire show.
Shingeki no Kyojin: Bystander (2018)
Heartwarming
This was a very special episode. One of the AOT's many mysteries is Grisha Yeager, and this episode gave us some insight into his backstory. Nice throwbacks to previous episodes, and everything with Shadis and Carla was wonderful. The ending of the episode with Carla talking about Eren being special and Eren reflecting upon himself was very emotional. Storytelling like this is what elevates a show to being legendary.
Shingeki no Kyojin: Friends (2018)
Powerful
An excellent conclusion to the Uprising arc. This episode was all about Kenny and Levi's backstory. Although Kenny didn't get a lot of time this season, this episode had such great character development it made me care about him. We saw into his morals and beliefs, and his final scene with Levi was emotional. This episode also had some of the best dialogue in the entire season. The scenes with Historia's coronation and the Beast Titan were awesome as well.
Shingeki no Kyojin: Ruler of the Walls (2018)
Amazing
Really an amazing episode. Strong action sequences, callbacks to episode 1, superb soundtrack, masterful animation, and character development. Loved everything they did with Eren and Historia. The scene with Eren reminiscing and coming to terms with how self-absorbed he was and his flaws was an excellent scene. Historia's development is great. Her progression throughout the show is impressive. She's one of my favorite characters now. Rod Reiss' Titan was awesome. Perfect animation to show how disgusting his Titan is. Epic!
Shingeki no Kyojin: Outside the Walls of Orvud District (2018)
Historia!
Great episode as usual. I'm still scratching my head at the OBVIOUS convenience with the magic bottle of titan armor or whatever randomly appearing. Maybe this will be explained later on, but after watching this episode it seemed rather silly. Everything else was good. Historia's growth as a character is wonderful. She's been the best part of a very strong arc.
Shingeki no Kyojin: Wish (2018)
One of the best
Tremendous episode. The first half is packed with spectacular action. Levi Squad vs Kenny Squad was just as good as i hoped it would be. the animation was incredible, especially for Levi and Mikasa. The second half is filled with character development, emotion, and revelations. We learn more about the Reiss family legacy and the Founding Titan. Eren breaking down into tears was an amazing scene. Delivered perfectly by Yuji Kaji as Eren. Historia not falling for Rod's manipulation was badass as well.
Just a great episode altogether. Topped episode 2 as the best episode of the season thus far.
Shingeki no Kyojin: Sin (2018)
Wonderful
As an anime only watcher i was in shock at the preshow scene. Very dark and wonderfully animated. This was an epic episode. We finally learn more about Grisha Yeager and what he did. We also learn about Historia's sister, Freida, and the Reiss family They even included the Ackerman family too. Despite all the revelations, i think the show has done a good job keeping them straight to point and not letting it get confusing. I'm loving this so far.
Shingeki no Kyojin: Reply (2018)
Amazing episode
Absolutely loved this episode. That was a smooth coup d'etat to say the least. Erwin's plan of exposing the governments corruption and selfishness was masterfully worked. Erwin, Zachary, and Pyxis really carried this episode to greatness.
I also loved the little moment with the fake king not even caring about anything. I thought he would be some type of mastermind but instead is just a puppet. Pretty hilarious.
Also, great development with Eren, Rod, and Historia. The cliffhanger was amazing. The cavern looks beautifully animated.
Shingeki no Kyojin: Trust (2018)
Building to something bigger
Very good episode. One of the slower paced ones, but still interesting with more good development. I like seeing Mario and Hitch getting screen time. Levi, Hange, and Erwin are the MVP's of this season so far.
Shingeki no Kyojin: Old Story (2018)
Character study
This was a very important episode. While this episode was almost entirely backstory exposition, it was still very well executed by those standards and fascinating all the way through. It adds another layer of depth to a couple of characters who, while interesting, haven't had massive amounts of depth up until this point. Historia and Erwin's backstories were both excellent. So far this season has been a great character study and a realistic portrayal of government corruption.
Shingeki no Kyojin: Pain (2018)
Exceptional
This episode was amazing. One of the criticisms were about the pacing, but i think the show has done a fantastic job thus far with their fast pace The Uprising arc isn't a favorite of many, so the writers decided a quicker approach would make it better. The Levi vs Kenny squad scene is one of the most well animated sequences I've ever seen. It was just masterfully done. The animation, music, dialogue, mind games, etc. The Jean "death" scene was adapted so well, especially with the POV of blood splatter. I also loved the dark comedy of the torture scene. Two big reveals at the end of the episode that gets you excited for what's next. The ED was excellent. Linked Horizon makes every song so much better. Not a single band have topped their quality.
Shingeki no Kyojin: Smoke Signal (2018)
Well done start for the new arc
This was definitely a great start to season 3 and the Uprising arc. The fast pace was a great strategy not only to make the viewer pay more attention to the story, but to make us more curious about what's going to happen next. I know some hate it, but i love the new OP. It's much more cheerful and calming but i think it fits the arc. Although it would be better suited for an ED. I think the change of art style was an excellent choice. It's more detailed and the characters look mature. I also loved the scene with Armin and the kidnappers. Absolutely hilarious. The ending with the introduction of a new character was well done. So far an intriguing start.
Shingeki no Kyojin: Scream (2017)
Superb episode
This is absolutely one of the best episodes of anime I've ever seen. There wasn't a false note in 20 minutes. Everything clicked. The battle in this episode was insanely good. Mikasa and Eren were developed brilliantly. Mikasa's monologue to Eren about her feelings towards him is iconic already. It felt like a special moment. Another amazing moment was the death of Hannes, killed by the same Titan who killed Eren's mother. This scene was gut-wrenching to me. Eren was still helpless. Unable to save the people around him just like when he was a kid. Everything else was awesome too. Reiner and Bertholdt, Ymir and Historia, the Coordinate ability, Erwin Smith and the military police, etc. An epic of an episode.
Season 2 ended with a banger. Although it wasn't as strong of a season as the first one, it managed to do a great job developing it's main characters and a variety of supporting characters. The animation and OST remained incredible. Episodes such as Warrior, Charge, and Scream are just as good as the best of season one. I was a bit disappointed with the lack of Levi. They were put in a tough spot considering the next arc, so they had to end it where they did at only 12 episodes. They did an excellent job though.
Shingeki no Kyojin: Totsugeki (2017)
Epic battle
Amazing episode. So much awesomeness. I just love the dynamic of former comrades torn apart and being forced to fight each other. This episode felt like an epic Game of Thrones battle. Many great moments include Mikasa going psycho trying to get Eren back, Bertholdt's mental breakdown, Armin lying about Annie to trigger Bertholdt, Reiner tossing Titans like a madman, and pretty much any scene Erwin was in was tremendous. Just loved Erwin's suicidal charge against Reiner. Lots of credit goes to the voice actors, who delivering everything wonderfully. Especially Bertholdt and Erwin's VA. OST was amazing too. Perfect cliffhanger before the finale.
Shingeki no Kyojin: Children (2017)
More insight and revelations
Another great episode as usual. The Reiner/Bertholdt arc continues. Found it interesting that they gave more insight and depth into Ymir's past including her life as a Titan. There were also more revelations about the Titans and their origin. The OST continues to be incredible. They really know how to use it to it's fullest.
Shingeki no Kyojin: Opening (2017)
Dialogue episode
This was another calm before the storm episode but it still had some interesting conversation and great development. Nothing big in terms of revelation. Just more hints and mystery build up. Best scene was definitely Reiner and Eren lashing out at each other. Reiner's split personality is oddly hilarious. Next episode should be intense.
Shingeki no Kyojin: The Hunters (2017)
Quiet but moving
This episode was mostly just a calm before the storm, but for a quiet episode it was still exceptional. This episode did a lot of background storytelling between Eren, Armin, Mikasa, and Hannes. The characterization is amazing. Each character feels like they have real emotions and it's very easy to empathize with them. The flashback was enjoyable and the dialogue was lovely. Great episode.
Shingeki no Kyojin: Close Combat (2017)
Intense
Intense episode with lots of action. We got two battles being fought, one with Eren vs Armored Titan while the others deal with the Colossal Titan. Animation was breathtaking aside from a few CGI shots of the Colossal Titan. I loved that flashback to Annie training Eren, and Eren capitalizing on that combat knowledge to gain the upper hand on Armored Titan. Probably the best episode of the season besides Warrior.