BluRayHiDef

It is critic proof, because its poor performance is not the result of critics' opinions but - as you've said - the result of audiences' own fatigue with the series. Anyhow, I've got tickets for a showing tonight and a showing tomorrow in true IMAX 3D, because I don't know whether or not I'll have to work a double shift tonight or tomorrow night; I'll cancel whichever one I can't attend.

How's TF5 doing overseas?

Quintessa is the great DECEIVER!

No, it is not guaranteed to do much worse, if they change the director from Michael Bay to someone else and advertise that change.

The problem with these films is the writing and the editing. However, the camera direction and actor direction are great.

Quintessa is the great DECEIVER!

Strut with those strong ass legs, Wondy.

A man can dream.

Breaking News! T5 is made of the stronger stuff after all; based on matinee and evening ticket sales so far, it's projected to earn $42M domestically today, which is a 206% increase from yesterday's earning of $13,690,000. Source: Me

"Dark" is both a noun and an adjective.

I've seen every film in the Transformers franchise in theaters and have had a blast with every one of them except ROTF. I intend to continue and enhance this tradition with The Last Knight, as I have pre-ordered tickets for a showing on Wednesday for my mother, my sister, and myself but in IMAX 3D, a format in which I have not seen any of the previous films.

I believe that it was Steven Spielberg's influence that made the first one respectable to most people and a classic in my personal opinion. You can really sense the influence of Spielberg's E.T. in the first film (i.e. human boy meets alien and embarks on an adventure with said alien), which gives it a heart and a soul, which are missing from the sequels; in the first film, Shia LaBeouf comes across as a genuinely adorable kid who has a good heart and is subsequently empathetic. As for the sequels, I abhor ROTF (3/10) but really like DOTM (7.5/10) and AoE (7/10).

Incredible legs on Wonder Woman. Wow.

By your logic, both BvS and SS serve as even greater proof because even though they have smaller second-week totals, they have bigger opening weekends and overall larger box office earnings. So, the proof has always existed.

I misinterpreted your post; I thought that you meant the only film besides WW. Doh!

Have you forgotten about Spider-Man: Homecoming?

Thanks.

I'm so sorry. Please don't punish me. Also, thanks for moving it for me.

Review: Wonder Woman Wonder Woman's theatrical debut is not without its merits but its wonders are - ironically - quite sparse. Rather than be a fast-paced and exhilerating adventure, Ms. Prince's arrival on the big screen features too few exciting moments that are spread too far apart. Furthermore, it drags along at the speed of a snail, which makes its running time of two and a half hours all too apparent. So, why is Wondy's first big-screen adventure being touted as the greatest entry in the DCEU thus far and as the greatest thing since sliced bread? Because it follows tradition and doesn't take risks; whereas Zack Snyder's Man of Steel and Batman v Superman define their protagonists primarily via the actions and decisions that their protagonist's make in relation to their plots, thus developing their titular heroes and progressing their stories simultaneously, Wonder Woman takes breaks from its central narrative in order to depict Diana's growth. There's nothing wrong with this approach in and of itself, which is obvious based on the fact that a majority of titles in the history of film, including the ones that are considered to be the best, have used it. However, in Wonder Woman these breaks overstay their welcome to such an extent and are so abundant that they hamper the flow of the story and turn it into a borefest. Admittedly, each of them is pretty good in and of themselves; however, they are too long. Also, because they all share the same purpose, which is to depict Diana's lack familiarity with mankind's world and her subsequent adjustment, they are redundant; and because there are so many of them, they steer the film away from the action adventure that it should be and make it into a romantic drama. Perhaps if each of these scenes were just a bit shorter or if a couple of them were cut, they wouldn't feel so overbearing. Personally, I think that the film would be better without the scene in which Steve Trevor (Chris Pine) teaches Diana how to dance and think that the scene in which she shops for clothes and the one in which she's taken to a bar by Steve to meet two of his acquaintances should have each been shorter. On the bright side, Gal Gadot surprisingly acts well - very well - in these scenes (and throughout the entire movie). She convincingly portrays naivete, curiosity, and bemusement, asserting with conviction that killing Ares will free mankind of its own malevolence, excitingly running toward a stranger to interact with their baby, and jokingly stating that mankind's style of dance is dull. In each of these moments, she emotes and deliver's her lines so skillfully that I buy the idea that she's from a cloaked island occupied exclusively by women and that has no contact with the outside world. Anyhow, let's move on to the action! There is one breakout sequence that defines the movie and Wonder Woman herself, and it is amazing. Dubbed "No Man's Land," the sequence depicts Diana donning her tiara, revealing her armour for the first time, and taking a course of action that no man is willing to take: climbing out of a trench to cross a battlefield that no troop has been able to cross in an entire year due to overwhelming gunfire from the opposing side, and not for the sake of fighting but for the sake of enabling innocent people to get to safety. The scene is emotional thanks to Gal's calmly but powerfully delivered dialogue; Steve says to her, 'That's not what we came here to do,' and she replies, 'That's what I'm going to do.' The emotional punch of the scene is intensified by the subsequent shots of her staring down the path to the other side with a look of determination, watching herself to her own amazement as she deflects the rifle rounds from the German troops with her bracelets, and grimacing as countless rounds of machine-gun fire strike her shield. Unfortunately, however, No Man's Land is the only one of the film's few action sequences that is memorable. All of the other ones are unremarkable due to their composition and subsequent lack structure. Whereas No Man's Land and good action sequences in general are arranged in a way that tells a story in and of themselves, that is to say apart from the overall story within which they take place, those in Wonder Woman besides No Man's Land do not; instead, they are nothing more than compilations of disconnected shots of the titular hero taking out mortal baddies and throwing around their war toys with ease. Even the heroine's final battle - in which she engages Ares, the God of War - lacks the designed progression of danger and intensity of a good cinematic fight. For example, Man of Steel's Battle of Metropolis can be divided into four distinct segments, each of the last three of which is marked by a sign that the antagonist is becoming increasingly powerful and/ or dangerous: 1. Zod delivers his monologue and attacks Supes 2. Zod learns how to use heat vision 3. Zod learns how to fly 4. Zod attempts to kill an innocent family These actions on the part of the villain create a distinct and recognizable narrative that elevates the sequence above your run-of-the-mill, generic action sequence. However, in Wondy's battle with Ares, there is no progression in danger or intensity, because Ares does not become more powerful or formidable throughout the battle and does not change his method of attack; from the fight's beginning to its end, he resorts to nothing other than throwing Diana around like a rag doll or striking her with telepathically controlled debris; hence, the fight is a drab. Yes, there is that moment when he simultaneously forms and dons his signature armour, but it doesn't mark any actual change in him or his tactics, so it can't be viewed as the sign of a new segment in the fight. Also, yes, there is that moment when he channels lightening into a bolt with which he strikes Diana, but it too doesn't mark any increase in danger or his power, especially considering that Diana harnesses it from him and fires it back, thus killing him. I get that the battle is more about Diana's increase in power - both physically and as a character; however, a battle that doesn't present the villain as a truly formidable foe does not suffice as a good action sequence. Overall, Wonder Woman is a good flick but not a good comic-book flick, which it's supposed to be. It's more of a romantic drama with a few moments of underwhelming action sequences (apart from No Man's Land) and a piss poor excuse for a villain, whose motive, by the way, for his campaign of evil is a textbook example of the word "trite": he hates humans because they're bad. Well, whomp, whomp, Mr. God of War, I guess I'll call a whambulance for you. 6.5/10

WW has a great color pallette and very good lighting, fantastic acting (notably and surprisingly in regard to Gadot herself), and clever humor. However, it's one dimensional in terms of its trite message, which is that war is bad and humans are flawed. Furthermore, its action is sparse and merely okay (especially in comparison to the battles of Smallville and Metropolis, the famous warehouse sequence, and the Trinity's fight against Doomsday). None of it is as grand as what we see in the aforementioned sequences of the film's first two franchisal predecessors or as well directed; most of it feels generic in terms of camera movement and framing and choreography and are montages as opposed to battles that have actual structures that tell a narrative in and of themselves.

just got out from my IMAX-3D viewing of the movie at Lincoln Square 13 and recognize it as a well-made movie but found it to be boring overall (there are a few good moments). On my way out of the theatre I actually heard a woman say to her boyfriend/ husband that she found it to be boring too. I'll write a detailed review later. By the way, this doesn't hold a candle to Man of Steel or BvS (UE), both of which are much more entertaining.

I think that he's a realistic character considering his circumstances and therefore I like him. It makes sense that someone who's been unable to relate to people and reveal the truth about themselves for their entire life until a calamitous series of events unfold would be reserved and mostly reactionary. Besides, I think that his solely reactionary statements and actions are enough to covey the core aspect of his character, which is that he prioritizes human safety above all else.

I believe that most people who dislike Man of Steel do so because its portrayal of Superman differs from that of its Silver-Age, boy-scout counterpart, which is the version portrayed by Christopher Reeve. However, this merely makes the film a poor adaptation (according to only a particular standard) but not necessarily a bad movie. Furthermore, people should realize that MoS' version of the character is more in line with that from the New 52, who is younger, inexperienced, and more aggressive and whose costume has been modernized. Anyhow, I personally love the film due to its tight screenplay, riveting and innovative depiction of superhero action, unique and well-integrated science fiction that emphasizes Clark's alien origins, and its effective dramatic/ emotional moments. In regard to the screenplay, the use of flashbacks that are triggered by actions that Clark makes in the present to gradually reveal his upbringing as the story unfolds is brilliant, as it frees the film of some of the major burdens of origin stories. In regard to the action, no other film has - even to this day - depicted superpowered characters move with such speed and ferocity; the action is very much what I'd imagine that of a live-action DBZ movie to be like. The designs of the Kryptonian ships and armour, as well as the Kryptonian holographic technology and concept of the codex/ registry of citizens are all amazing and create a well-defined dividing line between Clark's species and humanity. Finally, the film has some genuinely moving emotional moments thanks to its stellar cast, which includes Russell Crowe, Diane Lane, Kevin Costner, and Michael Shannon (who gives one of the best portrays of a villain in all comic-book movies). Let's not forget the incredible score by Hans Zimmer. Man of Steel is a great movie, especially among those in the comic-book genre. 9/10

I'm Black myself.

There are 40,000,000 Black Americans and a huge bulk of them will support this movie just because it's about a Black superhero, features a predominantly Black cast, and is being directed by a Black man. This alone assures that Black Panther will make at least $100,000,000 during its opening weekend.