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Missing Link (2019)
Butler has made a longer than twenty minutes of a sitcom episode, it is light and public opinionated, it is going to get the attention, it is made to.
18 April 2019
Missing Link

Butler's love story is not of the epic scale its theme suggests, it is more rich and high in its poem than it is or should have been electrifying. But then everything is left until the very last moment, whether it be then uplifting conversations or the punchline in the storytelling. Speaking of which, the humor isn't as smooth as it was in The Kubo And The Two Strings, there is a lot of extra effort that is to be dragged. While the rest of the effort is spent upon contradicting your opinion or expectations on how or where the film and characters are leading towards. Ironically, in order to do so, Chris Butler, the writer-director, has somehow managed to spring in that same fragrant flower that we all adore but also are familiar to.

The only possible way to reach for the "get out" clause in such a situation is to derive a maturity that would make him bulletproof. And pinning down the sequence where the lead, the protagonist, is helping his friend from falling into the sea, that very moment paints the poised nature of the film where it doesn't appeal to its viewers with irrelevant and incongruent flight jumps or heroic moments to draw in the gasps but stays true to the narration that makes sense in this loud train of summer blockbuster.

Personally, it would always be a love story for me, and not between two individuals, but one personality split into two diversely behaved men, shaved and not so shaved. The mirror like persona that they carry is a beauty to behold, with two separate paths leading to a rendezvous point which is then evolved into the "Home Sweet Home", is the Missing Link that they solve through shuffling the priorities, it starts off as the tale of "The One" and negotiates with us into the "We" type of allegory.
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Reed and Rudd are finally pulling the same joke, what is extracted is a much more resonant message.
17 April 2019
Ant-Man And The Wasp

Reed is literally improvising, in both the set and in compare to his previous installment, and this time, finally, in sync with Paul Rudd, the content that they nod to and have passed it as their "all-in" bet, is a humble brag worth exploring for its empathy and not the laughs. There are very few films that moves with such zip and especially when they have a light humor and higher stakes on their side, this feels like a week day in the superhero community. And if we look at it as the part of the MCU series, and we should always, it is the perfect after party to the jarring impact left by Josh Brolin in Infinity War.

Besides how often do you see a superhero running away in order to not get scolded by a teacher? The first half is basically knocking on each character's door, where the cards are revealed up front about everything and everyone, no matter how hard they try, "come on, man I thought you were cool." exhales Rudd to Laurence Fishburne. Unlike other Marvel chapters, the humor comes in smooth and never feels like they are going out of their way, even when they are, "It's a truth serum." gets its own arc.

One of the major disappointment is, not the build up of dramatic scenes or the tease that Peyton Redd, the director, lacks in his vocab, but the antagonist which makes us feel exactly like the writers were feeling whilst writing it down, still trying to figure her way out, The Ghost, is dead at basically anything. This entirely daughter-love driven content never fully grasps the momentum it should carry, the only relationship that comes out with the "World's Best Grandma" trophy, is of Rudd and Abby Ryder Fortson who should have been his partner and instead it is Ant-Man And The Wasp.
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Game of Thrones: Winterfell (2019)
Season 8, Episode 1
am proposing a proposal..
15 April 2019
Game Of Thrones

Benioff and Weiss are true fan of the game. They may not respect it, but the cheeky adrenaline shot is what they crave for. And armed with one of the greatest sources of literature, A Song Of Ice And Fire by George R. R. Martin, the creators David Benioff and D. B. Weiss, has elevated the myth of televised content into a more commercial aspect trough pure artistry. On that very note, the series is a huge win. What The Sopranos and Breaking Bad failed to do- to reach unknown places through a more common language that comes natural- this Westeros world qualifies in all, from high staked gritty action to mythical creatures like Dragons, there is chocolate for every one with varied preferences.

This diversified group sticks the landing as far as it stays true to the original source, as soon as the torch is passed, the valley grows darker and irrelevantly loftier in its speech. Along halfway to the series, the creators decided to go separately in contrast to the books and this is where the content grew a bit more about the audience than the characters, the battles were staged beautifully, the cheats and tricks harrowing, don't get me wrong, it still is a lot better than what you usually get while surfing through the idiot box, but this sudden change of tone in the series is uncomfortable and a bit gloomy to comprehend with.

Peter Dinklage as one of the senior actors in the cast, casts a dreadful impact in the narration through his skeptical body language and skillful trickeries that yes, every now and then does surprise us. Another major factors in amplifying the performance department are Lena Headey and Nikolaj Coster-Waldau- whose three dimensional character cuts deep and bleeds an honest sad energy in the room that is warm in this cold land- in fact, the entire Lannister clan pulls all the heavyweight in their shoulder as they play this Game Of Thrones so gleefully.


A big mashup of reunion is accepted with a big smile by us, the audience, after taste buds teased over the ages, as the character longs for each other, but there is yet no romance between any of the reunions, except for when Harrington devours his little brother to have grown into a man. The plots are just set, not even in motion, but mapped with bluff or double bluff intention in this introductory chapter, which has a levite in its vocab just like the previous season, something that wasn't in Westeros from the start and hence won't be edible from any point.
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Brolin is getting the icing of the cake, but then he deserves it, with such an absorbing nuanced performance, he breathes meaning into these loud behemoth battles.
15 April 2019
Avengers: Infinity War

Russo Brothers recites a profound poetry in this heist of gems. Infinity Stones they call it, we, antics to step upon, or more accurately to sacrifice upon. This game of chess is as fun as it would be to watch one. With sacrifices subsequently dashing across the herd of multiple plots, the textbook 1-0-1 tricks of chess, is their way in. A pawn for a pawn and a Queen for a pawn, taking heavy awe-gasping non-affordable losses, Earth's mightiest heroes, has that one emotional punch left in their bags, which works every time despite of your awareness of its manipulative nature.

After going through a great deal of chapters, their magic trick wasn't the disappearance of your favourite face cards but the build up or the origin of their construction that led us here, THIS works because THAT did, Downey regretted his actions (Favreau's Iron Man) and made mistakes (Whedon's Age Of Ultron), that is why the birth of his gadgets and attitude towards this alienated phenomenon touched the ultimate membership of the rare 2 billion club. The writing is incredibly inspiring when it comes to blend in these many characters- which hasn't been done to this scale, although Soderberg's smoothness is yet impenetrable- but unfortunately it is also the one with the most mistakes, where you can clearly see that they sew in the missing links with poor cloth material later on in the production and called it "improvisation"- humor is not that necessary, especially the off putting references that disenchants the viewers from this mythology.

To be fair, even the structure of the film is above the safe formulaic method of MCU, with Josh Brolin at the centre of the narration, his invasion in each act of our heroes "turns the leg to jelly" and keeps the urgency alive and vulnerability, turned to 11, that you feel as he picks up each of our beloved caped saviour in the air, where the contrast of the power he oozes is impeccably nobel. But I think it is the confidence in his walk, his body language so stiff like his views that you are molded and convinced in joining his family dinner party that will spiral out not some bickering but an Infinity War.
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Black Panther (2018)
Coogler is not formal to the subject and is probably why through Jordan, his best asset, he blatantly rubs hard on the matter.
14 April 2019
Black Panther

Coogler's incense stick burns slow but has an enchanting fragrance that teases our speculations with thought provoking familiar themes. With Ryan Coogler, the director, on the realm, he has a politically correct film as the crown, it may not age well, but it definitely is the headline of the today's newspaper. The up rise in the rich culture that it sparks is unfortunately a double edged sword, as much as it is essential to shine the light on the other side of the door, it also is necessary to be nuanced in that very speech, unfortunately at a certain point it grows loud- the forced humor is probably the dullest of the franchise- and undermines the quality. Chadwick Boseman as the king, never feels like the "king".

He may have all the James Bond-alike gadgets but his body language isn't flamboyant as his competitor Michael Jordan. But then, to be honest, it is Jordan's film from the start. With a ferocious provocative performance his leadership has much more jarring impact than Boseman could ever cast. And Jordan single-handedly carves this film like his appealing figure, the film grows three dimensional when his opinions come alive, only because every other character is given a baggage, except for him, and then he too is cooked with those same ingredients.

This middle act is where the film wins all the credit and as much as gritty this very act is, the last act shucks that earned respect as it gets reduced to a fist fight in the end- the commercial aspect once again anchors the flight of another bohemian chapter of the MCU. Coogler offers enough to ponder about and enough to exhale for, the gold that it digs for, comes with a price that as an audience we are paying for unknowingly, it is not manipulative but an inadequacy to cut deep, for the time the myth, the king, the Black Panther is their reliable protector.
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Waititi has a housewarming party for the Asgradians with food and entertainment so rich, everyone gets to have a good time.
14 April 2019
Thor: Ragnarok

Waititi is the surprising exotic vacation in this MCU. It is sunny and breezy in the realm of Asgard where the idea of mockery colors it like a phoenix for Chris Hemsworth who has been working hard in his subsequently failing chapters. It took them two major losses and Taika Waititi, the director, to finally get a clear vision of this "Lord Of Thunder" with sparkly fingers, of course. By taking itself not seriously, it takes a tremendous amount of effort, and Waititi walks that fine line and doesn't let the "joke" overpower the kinetic energy the film contains.

It starts off by literally make a tomfoolery out of its previous installments, by pointing out the elephant in the room, the storyline criticizes its own flaws making it impossible to blame for anything. Hemsworth, finally gets the feet tapping rhythm, and as he claims that the character eventually grew into himself to a certain extent, it makes it easy for him to portray and simple for us to swallow. But for me, the film would always be of the guest appearances, there are aplenty and they are just fun. From Benedict Cumberbatch to Jeff Goldblum, these hilarious distractions is what crisps up the hefty part of the material.

Cate Blanchett, as the first female antagonist in this franchise, strikes fear appropriately but what's absorbing is the equation of her with Hemsworth, where the train of battles are spiraled out by proving their superiority in a sibling rivalry, the honesty of it is bizarrely genius. Tom Hiddleston is hosted aptly by the writers for the first time, while on the other hand, Mark Ruffalo gets to share a few laughs with a drunken and fierceful Tessa Thompson whose innocent relationship plasters a broad smile on our face, in this dark critical time that mythology claims it to be an inevitable natural disaster called Ragnarok and Hemsworth a way out.
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Watts has a great team, Holland, in the film, does not, he swings out as a hero without the "the one" clause.
14 April 2019
Spider-Man: Homecoming

Watts is in safe hands and the franchise in his. Most probably because he has more than five writers contributing majorly on developing a light hearted durable version of our friendly neighbor, that has lately been changing. With these many comic writers, that are mostly averted from their sitcom works for this huge banner film that has actually seen fame through this very character back in 2002, John Watts is simply following the rule, to a degree that his world that revolves around teenagers couldn't even be bratty properly, what a shame.

Revisiting one of the most successful superhero in the box office may not be a good idea, but somehow those filters that bars the imagination of the makers also makes them bulletproof. The history won't repeat itself, and Kevin Feige who has previously worked in the original Tobey Maguire trilogy, clears out all the speculations we have had of this character over the ages. Just freeing those limitations itself helps flow the narration with a quick pace and before you know it, you are having a serious talk with Aunt May played with an hip and happening attitude by Marisa Tomei.

But there is no point involving supporting characters in here, for even the writers never glances twice at them, and this is where the film stands alone in this franchise. Even for a brief period, each of the chapter in MCU feels obliged to include the supporting characters in narration but here, Peter Parker is the target and.. bullseye. For a film of more than two hours, Tom Holland runs on merit and pulls off an entire film on his shoulders, with a compelling performance that shifts according to the tone or maybe he himself controls the tone, after a major fiasco NYC's heartthrob returns home in this Homecoming.
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Gunn is high on humor, low on creativity, this mixed bag of feelings is good to look and good to feel.
13 April 2019
Guardians Of The Galaxy Vol. 2

Gunn is one of those deity of the world that he creates, that puts a specific, almost signature impression in his films which can not be replaced or recreated. Almost Tim Burton like is his world and instead of humanizing the cartoonish element, he speaks through music. And this time, although he stretches a bit much to express the momentum of the scene, there is a beautiful narration involved in these harmony. And yes, it usually does, but here Kurt Russell verbally explains his inspiring revelation- or so he thinks- through a song where he spirals out his plan while wording its lyrics, Brandy (You're a fine girl) is a vital character in the film. James Gunn, the writer-director doesn't have anything new to offer in this chapter, but then come to think of it, neither he did on his previous adventure.

His world on the other hand, is rich in details as it justifies the genre sci-fi completely, from the way a planet reproduces generations to the rituals these outlaws religiously follow, swooping in each character's perspective- especially Groot's since he doesn't have anything personal going on in this volume- Gunn keeps us engage with bright colors and spectacular visuals that may feel short handed yet are easily negotiable.

The primary reason, this second expedition fails so poorly is the core introduced character that Russell portrays which is so annoyingly predictable and one dimensional that it sinks even Chris Pratt along with it. And surprisingly the reprising characters have much more luminous to say, Bradley Cooper's character gets more depth and Michael Rooker, a satisfying arc with Dave Bautista sharing few laughs with no one but himself. Pretty much in its early stage, Groot- an innocently motivated adolescent- is staged in a moral dilemma of befriending an enemy to help his friend, this feeling is what's left with you at the end of Guardians Of The Galaxy Vol. 2, we as an audience are compromising.
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Modern Family: Can't Elope (2019)
Season 10, Episode 20
it's such an honor..
12 April 2019
Modern Family

Modern Family being critically acclaimed, loved by the fans and even buzzed on award shows in its earlier stages was due to the hard and fast humor that swiftly resulted into genuine emotions on the screen and the projection of some of the complicated and delicate relationships like a father (Burrell) going the distance and pushing the boundaries for his son (Gould) which was shown in some semi-comic sequences.

But, as it started aging on screen the content grew thinner but still some of the cast's acting made it worth a while which unfortunately started to fade off too resulting into an exhausting experience and petty humor where the viewers are just waiting for the makers to attain the aspired closure. Being a prime victim of this disease has failed on delivering any loose end of a thread for the audience to hold on to for the forthcoming experience; the mundane household and work day issues that it used to thrive on, seems like a myth, now.

The performance is convincing by the cast like Vergara and O'Neill whilst the show stealers are Burrell and Bowen but after a certain point, it's just depressing to watch them work so hard on so little. The nature to attain a full circle in an episode has always been its strength but lately this has been resulted into shallow and manipulative emotional drama where the line drawn is from an amateur writing skills that itches throughout the course.

Season 10

Stretching things is one things and finding it still entertaining is another, this series that has decided to go for one more season, has grown from funny to mediocre to just plain old dull melodramatic soap opera quality level content, where even the performance seem to have been fading out due to none whatsoever content to offer.

Can't Elope

This is entirely a big joke that is not funny. None whatsoever rhythm or originality in writing this is neither working for people nor the characters, the actors feel contrived to fill in on their subject, and the audience, well basically experiencing the love being drained out towards all the beloved characters, that they have had over this decade.
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Derrickson has head spinning schemes and the whiplash you get is not your average painful regret but a breath of fresh air.
12 April 2019
Doctor Strange

Derrickson has a spooky image when it comes to filmmaking but contradicting everyone's expectations, his entry on MCU is the simplest, smoothest and sanest of all. It makes sense. Period. That should have been his job and he made it his until you nod to the most senseless argument of all; not the visual effects, no, never. They make more sense than you'd expect it to be, even when there is an entire world flipped upside down; literally, Scott Derrickson, the co-writer and director, maps out an intricate puzzle for us to solve that is not just a delightful but an overwhelming experience. The writing is balanced on all the aspects, the physical sequences, visual galores, enlightening conversations and humor, so smooth and smartly weaved out where laugh goes unnoticed unlike any other chapter of this franchise.

So balanced is the writing that Benedict Wong gets a final laugh, Rachel McAdams- the respect, Chiwetel Ejiofor- a clean direction and Michael Stuhlbarg- an opportunity. But above all Tilda Swinton's captivating performance of a truly wise saint digs deeper than even Benedict Cumberbatch could. She pleads and cries like a four year old and blesses, "Death is what gives life meaning." and you THEN completely surrender to her sorcery.

There is a jarring impact on your emotions when her voice stutters in a disappointment, not in others, no she regrets and criticizes her own inadequacies. Cumberbatch, as the inflated egoistic mastermind with of course superiority complex, comes in handy for him, his years of practice in breathing life to Sherlock Holmes has given him a partial boost, but as the film ages, you discover how different he is from the previously cloaked version of him, and that journey is intentional and frankly a curvy joyous ride- observing Doctor Strange with an awe
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Russo Brothers are six-pack energy drink full, the after party is too much and fortunately the phrase, the more the merrier, against all logic, works.
12 April 2019
Captain America: Civil War

Russo Brothers is painting the best of what this franchise can and does offer. This peak of MCU pulls every cat out of the bag they can, with political correctness that it breathes and a thrilling blood for blood revenge that it dwells on. This sci-fi genre that MCU has been claiming it so arrogantly uptill now comes alive in this final chapter of Steve Rogers. The film is not only confident but thought provoking where the makers being aware of the influence of these characters over the decades, crafts into the storytelling wisely; one of the primary reason why Zack Snyder's Dawn Of Justice fails to communicate with its momentum.

What Joss Whedon failed to do in Age Of Ultron, Russo Brothers, the directors, does it with such ease that the previous chapter seems like a joke. The depth that this film breeds in this accused franchise is impeccable in context to the passion of finally even attempting to raise bigger questions that not only puts its banner on trial but also exhales satire in those dinner table conversations. "..and conflict breeds catastrophe" so obvious is that conversation yet so enlightening on reaping the flag with a propaganda written in bold for each character in that room that may or may not emit their views.

"It must be hard to shake the whole double agent thing, huh?" whips Downey to Johansson that has a much more gasping effect than any of the staged battles in the film. Probably the most underrated antagonist in the franchise, all his clips edited and sprinkled on the storyline is much more nuanced that your usual scenarios in MCU, "there is a little green in your blue eyes.." he concludes and you know then and there with a satisfying feeling that the film has succeeded along with Daniel Bruhl that spirals out what they call it Civil War, he, an empire fallen.
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Ant-Man (2015)
Reed keeps throwing away the opportunity and Rudd keeps pulling it back in, this tug of war is pure fun.
11 April 2019

Reed's comic book film is more like a high budget-ed season finale of a sitcom. There is levity in its body language that seems God gifted. While the actual reason is, of course, co-writers like Edgar Wright and Adam McKay and Paul Rudd himself, along with the director Peyton Reed whose previous project has been of such genre. And yes, as far as the film cares for the joke, the punch line, it is of course difficult to beat this chapter, I think it would even surpass the second Iron Man. But there is always so much they can give in on humor, especially with a banner as big as of Marvel whose film evidently goes to places where not the average one does. And packing this mixture of diverse genre is where this Christmas gift goes wrong.

There are so many moments where you can see the lack of awareness between the screen time and the script, for instance, after Rudd finally manages to conjure the art of commanding an army of ants, the family drama that is ensued seems out of place, maybe the director's cut has the answer for it. The now-ripped Rudd fits right into the role from self-created quirkiness to how-to-train on a training montage, his carefree attitude still cracks me up.

But only until, Michael Pena hadn't arrive with a referential talk that he does so casually, his inevitability on not-evolving as a character is the best arc to it. Speaking of evolution, Evangeline Lilly never gets to experience that nor does Michael Douglas, in that case, their family drama despite of the past they have been through, seems monotonous and poorly crafted. Ant-Man is not a title nor a concept that would convince you to barge in on their heist, but once you do, your lazy bones would go stronger and you'd know that the film had succeeded in its entirety.
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Whedon exits this group with a half grinned face after getting an applause for an admirable attempt.
11 April 2019
Avengers: Age Of Ultron

Whedon is both straining and stretching it. For a brief period you ARE fooled, in believing that there is a lot going on, on this prodigious IMAX screen. But this misty figure will reveal itself and it is one big disappointment dressed in a bling-y superhero costume with gadgets so smooth and powers so unfathomable that it would giddy up the fans for more. But in this people-pleasing gold-digging chapter that is not only overstuffed with characters but also with irrelevant one-liners, the missing vital puzzle is the zip of the flow that its previous chapter was brimmed of.

With antics set oddly and the battles staged that can spiral out a heated debate in a bar, the purpose that drives all these characters into the battlefield seems outdated, overthought out and utterly complex in its malleability, yet eventually leads to the same old event that we had previously been part of. Joss Whedon, the writer and director, whose incongruent direction that somewhat made its previous chapter questionable, has clearly ran out of luck by this time. What this chapter does most importantly is shine the light on Downey's arc on this franchise, by this chapter, we can easily see that not only is he the nucleus of the group, but how rich the character gets as each side of his perspective puppets this cold world.

"We're mad scientist" he schemes with Ruffalo and there is an eye popping revelation that is cathartic for us as viewers. The antagonist is frankly dull, contradicting itself for few laughs, James Spader fails to shake the "Earth's mightiest heroes" which by the way Elizabeth Olsen does it in a snap!- no.. that was close. Jeremy Renner finally gets his mojo back with something to say that is both a criticism to itself and honest and as his speech grows longer quoting, "this doesn't make any sense.." it somehow does just not to the people residing in an Age Of Ultron.
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Gunn and Pratt sticks out a branch in this infamous franchise that has the essence of friendship in its root.
10 April 2019
Guardians Of The Galaxy

Gunn has made a family drama. This space isn't filled with pew-pew guns anymore- not technically!- it focuses on gritty 1-0-1 textbook drama that ought to warm you in this train of cold superhero blockbusters. James Gunn, the co-writer and director, of this surprise entry in the MCU world is every bit of fun as it doesn't sound. With new writers, director, actors and probably the least familiar characters of Marvel, this franchise has managed to work on merit and as they claim it, an "awesome" soundtrack. Gunn's film is filled with pop songs, his passion for music drives the script for the most part of it, in fact you can filter out those moments, some might call it an unpolished or unfinished job I'd like to call it an homage to "the greatest movie ever" Footloose.

Chris Pratt as the "Star-Lord"- a heartwarming name that has its own arc- is as good as the butt of the joke is, in a sketch show. He can never carry the whole show, yet the act would be incompetent without him and his major support and Gunn's trump card, is a raccoon voiced by Bradley Cooper. Not only has the character an appropriate depth that any writer would die to have for, but with three dimensional perspective on his views that he shares through a dogmatic edgy humor in his vocab, "you are making me beat up grass.." he remains light headed with a deep voice.

Zoe Saldana never gets to complete her purpose or justify her existence contrary to what her performance says, and so does fall Dave Bautista under that section along with heart swooning Vin Diesel as Groot whose predictability is a double edge sword. Guardians Of The Galaxy is fast with a killer track that makes your feet groove with banal sense of humor and its approach to the sincerest plot points, are they ingenious or game-changing, I think it doesn't matter.
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Russo Brothers replaces the throne after appointing Chris Evans as their unbeatable knight.
10 April 2019
Captain America: The Winter Soldier

Russo Brothers takes this franchise to a whole new level. And luckily- as Kevin Feige reported- and surprisingly this stage is politically correct and blow horns the society with an evidently essential message. Anthony and Joe Russo, the directors, have managed to blend in all the genres i.e. from humor to drama and from politics to action, but the way they paint sci-fi is inspiring, not for the highly rich detailing but how thought provoking it is. Christopher Markus and Stephen McFeely, the writers, as mentioned, fuels on the elements of the film and not the antics. No matter how MCU textbook formulaic the film is, the antics are distraction and what I love above all, is that the Russo Brothers too categorizes it as one big hokum.

Either fast forwarding the jibber-jabber or installing humor in it, they butter up the medicinal part of the script. Chris Evans suits up for the third time and yet this feels like a birth. Probably, for the fact that Russo Brothers are themselves the fan of this righteous man. And they are well aware of the fact that he is probably the most easiest character to connect and communicate with, from his references- yes, they are outdated, yet familiar- to his action sequences that are more mano-y-mano than you'd usually get.

The key to glorifying these films was to craft it into an espionage thriller and the result is as its banner claims to be "marvelous". Robert Redford, as their trump card delivers with pretty much straight forward attitude all the way through his track. The antagonist Sebastian Stan does make you clench your jaw with a loud yelling-like background score where Anthony Mackie gets overshadowed and Scarlett Johansson stays far away to beat her own drums after introducing the nickname The Winter Soldier for him.
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Hemsworth and Hiddleston mourning for another loss, another weak chapter.
10 April 2019
Thor: The Dark World

Taylor is an improvement. But that's not saying a lot is it? This Asgard is much more stylish and has a somewhat similar pace to its predecessor, the only positive aspect of the film. With an "in and out" mission executing from both the sides of the coin, Alan Taylor is unfortunately not bringing anything new on the table. The levity is taken granted for, so is its royalty. Despite of possessing neat polished set pieces, the script is still chalky enough to swallow it all in one. Still no romance between the characters, that results in an undesired physical distance with the audience. There is no reason or a fragment of this world that convinces us to feel empathy towards it, no emotions are felt, no hearts touched.

I would also blame the society that is created in here and even the characters envisioned along with the gadgets and the mobiles, every tiny detail of this apparently "dark world" is originated with something of ours, and yet they behave unconventionally to a degree that you, as an audience, feel alienated. Chris Hemsworth revisiting his character is decent enough on the ground he is given, there is yet a missing puzzle to be solved in both his character and performance.

Desperate attempts to include Natalie Portman in the narration, makes it more vulnerable since she barely is anything beyond a pawn in this visual galores chess. If anyone that shines above all, is once again, Tom Hiddleston as the God of Mischief, his tricks are predictable yet reliable. The primary reason why both of these Hemsworth chapters fail, is the inadequacy of the antagonist to cast a spell on us, you are neither threatened or concerned, their presence is an inescapable commercial obligation that is written with capitals alongside Thor: The Dark World.
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Iron Man 3 (2013)
Black and Downey reunited for no kiss but tons of bang; almost loud enough to drown out other voices.
9 April 2019
Iron Man Three

Black definitely goes back to early filmmaking tactics. Scoffing off all the pop culture references and not including an analogous rhythm in the system, there is an admiring obligation that he feels towards his viewers. Shane Black, the co-writer and director, ought to and has to justify his characters by giving them enough reasons and room to pitch in, no matter what and how big a price he has to pay, he takes it with a big smile on his face. In the previous chapter of Favreau, the humor was turned to 11, and even though compared to it, it still is low and smooth, it also is questionable at times in here.

Personally, I feel that this is MCU's biggest threat, contrary to popular opinion, this double edged sword might one day consume a film in its sweetness. Take the last act, for instance, Downey in a port going mano-y-mano with Guy Pearce and taking heavy losses still keeps a certain levity in his vocab. Now, this is something that often happens in this franchise that vigorously rottens its sincerity. These tiny things are accounted, for the game this franchise is now, a mistake like such isn't acceptable.

And not that the film is competent in every other way, in fact, if anything, it sort of is a mirror to the original Favreau chapter, from cornering Downey to prove himself beyond and without his wealth and fame, to still trying to balance him on the edge of the responsibility factor. Don Cheadle gets a much bigger half in the supporting cast, with lots of eye rolling and sarcastic exhales. Excluding the fist fight, Pearce is not a threatening antagonist, nor is Gwyneth Paltrow or Rebecca Hall a decent supporter. Ben Kingsley's character paints the picture with accurate colors, where Downey tries a lot but against all odds, Iron Man Three remains a distraction, a colorful one though.
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The Avengers (2012)
Joss Whedon strikes the door hard and what's visible is Kevin Feige's dream team.
9 April 2019
The Avengers

Whedon is much better a writer than he is a director. On a scale of McQuarrie, disappointingly Joss Whedon, the director, wouldn't even qualify as one. For when it comes to map the ever longed battles by the fans, he takes things lightly a lot. Whatever glory that bedazzles you on the screen, is a pure feat of bravery on paper not on screen. Too much cheese and too much sweet, his self-earned jaw dropping moments, are spoiled by him by the bitter afterbirth of his fandom. Fortunately, these battles are here as the starters, the main course is the "build-up" to that battle.

Whether then you watch gleefully these characters argue egotistically or see a train of awe-gasping moves by them to overpower each other on screen. There lies a profound poetry between these moments where you can see 8 year old Whedon playing with his toys in his room, creating banal engaging scenarios between Captain and Tony. This crowd pleasing franchise saw the maybe-expected uplift from this chapter, as it managed to bring out every adored content, from humor to drama to juicy visual effects. The dollars were written in the script and so it was visible on screen.

Among all the triumphs of Whedon, his biggest is combining these behemoth figures and weave out a compelling conversation that is worth ten times any battle shown. Downey is the singular actor that comes out with a sigh, his performance isn't interfered by the intertwining of multiple plots, which it seems like it did to others. If aligned the priorities of the makers, the characteristics of the characters that evolves into an essential element in the storytelling, is their way in, for this safe formula wasn't inscrutable enough to convince us that these guys, The Avengers, can avenge.
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Chris Evans, with a physique so chiseled, can only carry this sinking ship so far.
9 April 2019
Captain America: The First Avenger

Johnston's righteous passage has the key to celebrate his hero. But this hero is clearly in the wrong film. With a surrounding so incongruent to the characters, the visual effects is probably the worst enemy of the film. No matter how emotionally fueled the punches are, the picture that paints this battle pins it down to a more cartoon-ish look. On terms of writing, Christopher Marcus and Stephen McFeely, the screenwriters, who'd also carry the big responsibility of driving the Avengers franchise, had got that knack of installing style in their substance even back then.

Their script doesn't feed off on antics but elements (the challenges that the army keeps piling on, on Chris Evans, those little moments are gem-like), elements so rich and complete in their entirety that plasters a broad smile on our exhausted face every now and then. The entertaining factor isn't served upfront on the table but you have to work for it. For a brief period, when as a mentor a scientist describes the characteristics of Evan to himself, and somehow the film at that very moment seems balanced only to be tripped over by infusing it with humor in latter stages.

Evans as the worthy hero pours his soul into tight clothes, and the result is that it would be difficult for us to see someone else in this role from now on. The supporting actors like Tommy Lee Jones, Sebastian Stan, Hayley Atwell and even Hugo Weaving gets lost into the shadow of Evans, their mikes aren't attached to the speaker that reaches us. Joe Johnston, the director, has a long way to go, especially in tying up all his plots with one string, no hindrance and not an inch of lazy bone in his body, the film ought to have the ingredients that this Captain America: The First Avenger is made of, literally, "..out of a bottle."
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Thor (2011)
Kenneth Branagh ignores the romance between the siblings and the film suffers.
9 April 2019

Branagh has a fluent zip in his vocab that can make even a tiresome script look easy. But then, there is always so much he can do. The script whose birth seems more like an obligation than passion can only go so far. The film is a set-up to the big upcoming ergo has very little to stand on.. well, anything. Not only does the script rely upon cliched scenarios with daft one liners, but the irrelevant action on steroids, that may match Hemsworth's behemoth figure, doesn't bode well to the storytelling.

To narrate a tale of hotheads is one thing, but you still have to make sense at times but in here, there are no elements or tactics that drives this rage which each character is brimmed of, nor there is any lines to be read between the scenes, in fact, I think there is barely any editing in here. Natalie Portman, as an intense workaholic scientist is surprisingly funny and light on her feet. From her body language- it is always fascinating to experience the change in energy in the room when Chris Hemsworth takes out his shirt- to her subtle innuendos of leaning towards the god like creature, is some of the pure delights that the film has to offer.

A tourist entering a new arena and trying to blend in on their culture, is the best aspect of Hemsworth's role; something that Gal Gadot as Wonder Woman too goes through, and against all odds he is simply funny. Tom Hiddleston as the jealous trickster breathes commercial cinema in his performance, he craves for those cheesy moments- a loud vein-popping yell or a half ominous grin on his face- and you know what, you still are going to enjoy it, such is his persona on screen that he appeals so eminently and yet they call it Thor.
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Iron Man 2 (2010)
At this point, Downey is just having fun, and so do you as far he isn't serious, and when he does the clock unfortunately starts from zero only to tick backwards.
8 April 2019
Iron Man 2

Favreau has the perfect comic timing. His revisit on this infamous character is surprisingly funny, passionately dark, yet funny. This underrated chapter of Downey in MCU is diplomatically cinematic and clearly way too mature for its audience. From pulling off a legal subpoena to creating a scenario without any written words (Downey annoyed at the spinning artifact at Paltrow's table), these things aren't encountered in a superhero flick and it is refreshing to see Jon Favreau, the director, extend his hand for the indie cards. But unfortunately, the day is sunny up till the last act arrives. With all the cards shown upfront, the climax is boiled down to a mind-numbing fist fight that has nothing but empty explosive punches in its hand.

The self-elected savior for the people and as Downey agrees once, "Narcissistic" persona, has an engaging and satisfying character development to offer and suffer through- which he still finds it correctly annoying. The new element discovering scene is equivalent to your usual training montage scene or a boy saved personally by his "sung" hero, these cheesy commercial scenes on the other hand often keeps undermining the standard of the film. Scarlett Johansson cloaking on first time, her tight leather suit has probably the dullest choreographed action scene in here, to be honest, at least Favreau packs a humorous punch.

Don Cheadle rebooting Downey's sidekick role is definitely an upgrade along with Gwyneth Paltrow who gets to say much more this time or at least she now can blatantly shut Tony up. Mickey Rourke as the baddie has his best moments with Sam Rockwell who is clearly a juicier antagonist than Rourke. And Robert Downey Jr. philosophizing his tin suit has another careful step taken, no matter how much unhealthy (Donuts) he eats. That very scene where a celebrity at its peak mollifies down to nothing is enough reason to take a peak at this aftermath titled Iron Man 2.
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Iron Man (2008)
Downey and Favreau makes sure that these comic books does echo in the library with sharp illuminating sound.
8 April 2019
Iron Man

Favreau tames an introductory animal with a smart cookie. When it comes to introduce a safe act on the play, he is the man for the job. Even take The Jungle Book, for instance, he may not have anything new to offer on the table, yet his authenticity comes with a certified and acclaimed label. The director Jon Favreau started this MCU franchise with not a bang but a promising milieu that thrives upon the character no matter how shady and dodgy the storytelling grows. Robert Downey Jr. conjuring this already-loved-by-fans comic character which drives the entire MCU for the most part of it, has an accurately bulletproof arc. Every step of his character spirals out these trains of unheard and thrilling adventures.

And with baby steps in this chapter, Downey is practically always in the lead when it comes to perform on screen, not only due to the substance offered to him to factor in, but his nature of being the attention seeker in the room makes him one of the finest actor; a quality that most probably every actor should have, at least it would make more sense. Jeff Bridges filling in, the stereotypical role of a sinister millionaire casts fear on us through his poised and reserved performance, a fine example of it is when Downey and him shares a press conference and meddles into an argument with a nuanced body language.

Gwyneth Paltrow gets very little to invest on along with Terrence Howard. To be fair, Favreau takes plenty of cheap shots, glorifying revelations with old school background score or even an almost weepy reunion between two friends, but there is a panache in his finesse on editing it to a pragmatic dusty ground. Besides, how often do you see, a so called hero sweat while working hard from the most privileged position, so if he goes rogue and wishes to claim his title, let's just go along with it and call him the Iron Man.
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The Crucible (1996)
Lie At Your Own Will.
8 April 2019
The Crucible

Hytner would never stutter, not even while revealing such a sensitive matter. But this is sort of an experiment that can only work as much as the project was engrossing on paper. If Nicholas Hytner, the director, deserves all the praise then Arthur Miller, the screenwriter, shares all the love with him. Never has been a courtroom drama so discreet and yet so incredibly sharp on its words. Scoff off the first act along with the climax, let's dive in on the second and the most compelling act of all. This is a pure feat of visionary bohemian work that inspires and challenges, still, plenty of writers to recreate that very magic.

And I've been wondering what made our heart pump faster and blood boil, is it the inadequacy of good guys to prove their innocence or familiar lies that in the form of religion strikes them or just simply Daniel Day-Lewis hitting hard and regretfully on the table as a plea. It is none of that and all of that, but what keeps us at the brisk of our seat is the sense of urgency with which the evil force hits us. And in fact, the entire middle section of the film almost runs on real time that jarrs us more than any content it revolves around.

This peeling of a supernatural force and abuse of one's belief is not only harrowing but also beautifully poetic on terms of how far beyond is this phenomenon stretch in the past to make us question everything. If Daniel, as always, proves to be an impactful factor on storytelling then so does Winona Ryder in her pale devilish looks that scares the bejesus out of you. Personally, I feel Joan Allen in her sensible cloak is much more effective along with Paul Scofield as the unterned, untouched and unfiltered messenger or so he calls himself, that affirmatively puts boundary on each character and The Crucible itself.
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out of three..
6 April 2019
Young Sheldon

Young Sheldon; a spin-off of The Big Bang Theory, that was created for the fans of Sheldon Cooper is on the contrary, more disappointing for the viewers to watch their beloved character being ripped off by dull writing. Its primary objective from the first episode wasn't set off to create a humorous environment which would have been suffice but as it started aging on screen the target started to blur out and is now shooting arrows in the dark confusing and disappointing the viewers from the offered thin material.

Ian Hermitage at the center of it is palpable for this tone of the series and is admirably good in its role. The relationship between MeeMaw and Sheldon isn't coming off as anticipated even though the genuine effort is clearly visible and admirable. The narrative often attempts to weave out a morale out of the daily conflicts that usually goes around in one's house, but at the compromise of the integrity and the quality of the product, it surely isn't adequate enough to be appreciated.

Focusing on the adult socialization and conversations has always worked and came off in a bit mature sense and addition to that, just to spice it up, the younger characters meddling on their business works like a charm and offers enough laugh especially from Sheldon's perspective. The sibling relationship too, is aptly constructed if not executed, but amidst all these hokum, it still comes out in the limelight shining bright and wise.

Season 02

After a disappointing start from the previous season, the expectation might have gone lower but the necessity is still of quite larger margin and if doesn't evolve any characters more than their offered one-dimension, it still ought to project gripping and enthralling acts.

A Perfect Score And A Bunsen Burner Marshmallow

The equation between Armitage and Shawn is always the highlight of the game and personally I feel Shawn is the best character innovated by the writers, and then no matter how mundane-ly the day moves forward, watching these two alienate others has got to be pure joy.
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The Big Bang Theory: The Laureate Accumulation (2019)
Season 12, Episode 18
not a pull-up..
6 April 2019
The Big Bang Theory

Almost a cultural hub and a dream project for the nerd and movie goers out there, The Big Bang Theory lift off from the first episode in '07 possibly breaking many records on broadcasting and awards shows; this is another one of Chuck Lorre's production as it too resembles with the others on its hardcore and counter argumentative humor. And unlike others, its witty and sharp humor doesn't walk on 'mundane sitcom rituals' which they carried off till the mid series quite nicely after which the plot grew thin and the humor got petty and childish to a point where the viewers have started to feel like a homework that doesn't end.

On performance level, Parsons is never reliable on his co-stars, he is literally a one man army and the reason behind it is not that he is given the range and content to flaunt his skills but even when the writing goes frizzy in its latter season, he delivers unflinchingly. On the other hand, Galecki is convincing throughout the series along with Helberg supporting him decently. The narrative that was once fluid, gripping and thought-provoking has now turned into this misconceived mixture of rotted out ideas, that ought not to draw even a chuckle, let alone be intriguing enough to keep the audience tangled in these undercooked characters' mundane life.

Another main reason, why the ideas narrowed down as it aged on screen was because of too many lead actors sharing the screen and the writers being restricted on offering and dividing the work or humor to each and everyone resulting into low quality of the final product. Even though the series have somehow found itself in the 12th season it still hasn't offered much on character development (their work on Sheldon is appreciative but not worth the effort).

Season 12

With an attempt of attaining a closure to a higher ideal, the last season is sculpted to justify and culminate the entire series and as much as the hopes are higher, the maturity on writing is equally lower where the offered final product is of a daily soap quality.

The Laureate Accumulation

I think it would have been a lot better if they'd turned the tale into a superhero comic book, for they had always been in love with it and would have made a great development in their character to be one of them, still they had a better message to pass on while disappointingly, the Parson's track is a one big mashed up juggle.
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