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Zack Snyder's Justice League (2021)
Pop quiz: how many times does Wonder Woman's theme play throughout the film?
Is this better than the original version? Sure. Are there an absurd number of questionable director's decisions in editing, song choices, camera shots, expositionary dialogue moments that feel super forced, goofy slow-motion sequences that had no reason to be shot in slow-motion, long moments of brooding, scenes and shots specifically put in to sell posters, really bad set-ups for lame punchlines, shameless product placements, scenes shot that add very little to the story and pad to its already absurdly long runtime, bad tactical decisions made by the heroes in combat situations (I'm looking at you Wonder Woman destroying the bank after saving it from the bomb or you Batman for charging into Steppenwolf's base alone only for everyone to join you a few moments later), and loads of sequel bait? Absolutely!
My favorite scene: Where Barry talked with his dad at the prison. That was a genuinely heartfelt moment that brought a lot of characterization to the Flash that was sorely needed. My friends and I watched this movie together and were talking through every scene cracking jokes and making fun of the film nitpicking everything, and this was legitimately the only scene in the entire movie we were all silent and had no jokes to make about it. This is a good example of how storytellers should add exposition to a story. Involve it naturally in conversation and build up to it. Don't force it on the viewer.
The scene that made me laugh the hardest: Aquaman saves a fisherman whose boat gets toppled by the ocean. Instead of saving the boat which he is fully capable of doing, he carries the man back to a pub, pours himself a drink, says, "It's on him" walks out of the bar as this slow indie-pop song "There Is a Kingdom "plays" in which Jason Momoa walks towards the beach in slow-motion, alcohol in hand, as the waves come crashing at ridiculously high levels, and he proceeds to finish the bottle and toss his trash into the ocean, rips his shirt off and throws that into the ocean, so we can look at his wet and glistening skin and see his hair swaying in the wind in high definition, up close and personal, before he gets consumed by this absolute monstrosity of a double wave that comes out of nowhere so the editors can fade away cut to Aquaman swimming to his next location. This is the most Zack Snyder-esque scene in the entire movie. You'll either love it because you worship the ground he walks on, or you'll find it ridiculous.
My Biggest Gripes and things I nitpick about:
*Why wouldn't Darkseid try to come to Earth immediately after realizing that the three Motherstones were there? Why would you trust Steppenwolf to achieve something that you couldn't years ago? Answer: So a sequel can happen
*Do the Amazons really not have a more efficient way of getting Wonder Woman to contact them? Did they really have to shoot an arrow into this obscure location and set it on fire, hoping that it would get put on the news so that Diana would glance at the TV while working and realize that she needed to head to that location, use the arrow to unlock the secret ruins underneath the temple, and then read this super vague prophecy about Darkseid's eventual arrival? I feel like the Amazons would benefit from getting with the times and sending Diana a message on facebook or something.
*How hard was Batman looking to find the other heroes? All it took for Diana to find Cyborg was to search his name. Did Batman not already try this?
*Is Barry Allen poor or not? I don't get it. He has this heartfelt scene with his dad where he talks about working odd-end jobs to save up so he can go to law school to one day get his dad out of prison, but then he goes into his "man cave" where he has this super high-tech and expensive-looking computer set-up with his costume being held up on this fancy-ass stand which Batman himself is impressed by, and then he mentions that he's a snackaholic suggesting that he has to spend a lot of money so he can eat. So.,, is he poor or not?
*The implications of the Mother Box in the medical sector. You're telling me, Silas Stone was able to remake his son into an advanced weaponized computer system that can hack into any of the world's networks but that technology can't be used to make prosthetics? Superman was literally brought back to life from dust and bones, why the hell wouldn't he just use the technology to make his son whole again? Why make him into a supercomputer that will never be able to live a normal life because he now has access to knowledge no normal person should ever have access to? And what a reckless thing to do! Victor now can single-handily destroy the world at any moment both economically by manipulating markets and physically by initiating a nuclear war. It's insane! But on top of that, let's give him weapons and allow him to fly too.
In conclusion, I never would have watched this movie on my own but I am glad I was with a group of friends that made this experience far more enjoyable than it had any right to be. This movie did not need to be four hours long and yet, it could still be longer if they decided to give Steppenwolf any development, allowed the heroes to interact and bond with each other more, and cut out some unnecessary stuff like the before mentioned Aquaman fisherman scene and the Wonder Woman bank scenes. But when all is said and done, even though I am not the biggest Zack Snyder fan, I am happy he won out over the studio. Hopefully, this starts a new age where studios start giving directors more creative control to show off their vision of the story.
Suzumiya Haruhi no yûutsu (2006)
Despite it's many many flaws, this is a very enjoyable show that is a requirement to watch the amazing Disappearance of Haruhi Suzumiya movie.
Number of Episodes: 28 (about 20 minutes each)
Plot: A *Kyon is a typical boy entering his freshman year of high school. But the friends he meets from becoming acquainted with the bizarre Haruhi Suzumiya are anything but normal with Haruhi somehow being the oddest of them all. As Haruhi drags him into more and more shenanigans in the search for things that are "interesting", the world as we know it is at stake thanks to some interesting forces at play that all link back to Haruhi and her timely meeting with Kyon. Probably the second-most ambitious and unique anime story-lines that I've ever had the pleasure of watching only below Neon Genesis Evangelion. And easily the most ambitious slice-of-life anime ever. My only issue with it is that the story doesn't take its concepts as far as it should... until the movie.
Visuals: B *Everything KyoAni touches has a sort of charm to it. The character designs are cute. The facial expressions Kyon makes are hilarious. Haruhi's smirks are so goofy that it's hard to stay mad at her even as she drives the viewer and Kyon crazy. And the classrooms and settings always have so much detail which makes the world feel more believable even as the laws of physics break and low fantasy elements come into play.
Voice Acting: B *As usual, I went with the dub. And this would be perfect... if it wasn't for Mikuru's voice actress Stephanie Sheh. I love her as Yui Hirasawa in K-ON!, but ooof her voice is irritating in this. A special shout-out to both Crispin Freeman for voicing one of the most likable and hilarious anime protagonists of any series that I've ever watched and to Wendee Lee's energetic performance as Haruhi which lead to lots of laughs.
Film Score/Soundtrack: B *
***My favorite track Itsumo no fuukei (The moment this song played and Kyon began his opening monolog, I knew I was in for an absolute treat. This is the type of theme that doesn't just get stuck in your head, it becomes a part of you and makes you feel nostalgic every time you hear it forever.)
***Bonus: Mikuru Densetsu (Mikuru Legend of Love) (Come on let's dance. Come on let's dance babbbbbyy!!!! For all of the wrong reasons, this song is so awesomely bad! I was damn near in tears laughing when it played in the beginning of their video as the SOS brigade watched it together. Yet, the official beat is actually catchy and I can't lie and say that I don't both ironically and unironically enjoy the hell out of this)
***Double Bonus: God Knows (I was just as stunned as Kyon watching this. Why does KyoAni do concert performances so well?)
Characters: B *If this was based on the character concepts, this gets an A+ because I love the dynamic of the SOS brigade and I love the concept of Haruhi desperately craving excitement in her life and being surrounded by it yet never realizing it and her eventually doing so being a potential cataclysm that could end the world as they know it. However, as I hinted at when I talked about the plot, the show doesn't take it as far as I was hoping and the same can be said in regards to the development of the characters. Part of that is because 8 of the 28 episodes are a time loop that repeats itself. And the other part could be the fact that the show was intentionally aired out of order for the "broadcast order" while there is a "chronological order" you can also choose to watch the show with. So because of this, seeing the characters develop and then regress and develop again could have been awkward from that standpoint, however, it would have been nice to see Haruhi reigned in a bit and to respond more to Kyon. However, the lack of character development does make the payoff in the Disappearance movie that much more rewarding when you see how their relationship with Haruhi changes each of the SOS Brigade leaders over time.
Cringeworthy Anime Moments: The downfall of the show and the main reason this is going to be so hard to recommend this anime to anyone. The Melancholy of Haruhi Suzumiya has some of the worst fanservice I have ever seen. Essentially once an episode if not more, expect to see Haruhi undress Mikuru against her will. Expect to see Mikuru in all sorts of revealing costumes that give her voluptuous boobs a very Gainaxy bounce to them. Expect to hear Haruhi talk about Mitsuru's boobs and to grope her and to use the idea of groping her and forcing others to grope her as blackmail so she can get what she wants. There are times where the audacity and shamelessness of Haruhi being totally comfortable with using her own body and others for her own personal gain is hilarious, but the frequency that it happens on the show is pretty disturbing.
Opening 1: Bouken Desho Desho *The type of J-pop opening that will forever be stuck in your head. But on top of that, you can see how much energy Haruhi has from the animation. Haruhi is that irritating friend that never stops chugging forward, but you know that if you go along with her, something exciting is going to happen. And that's because she is willing to give her all in everything she does. Whether it's cheerleading, walking at a very brisk and determined pace, dancing, creating a club, exercising, or even playing the piano. Haruhi gives her heart in everything she does. And it's fun to watch)
Endless 8 Opening: Super Driver *Thank you for helping me to make it through that sludge. Not only is this song really catchy, but the comic-like style actually makes me think of it more like a JoJo intro as opposed to a KyoAni one. And since I am a big fan of JoJo, I am not complaining about the presentation at all.
Ending 1: Hare Hare Yukae *If this isn't God's greatest gift to mankind, then I don't know what is. Love everything about this. The song itself is ridiculously catchy. And the dance... is AMAZING! It might not look as good in real life as it does hand-drawn, but I love that so many people felt inspired to record themselves and their friends dancing to this and trying so hard to match the energy that Haruhi, Nagato, Mikuru, and Koizumi dance with and the dead-pan sarcastic "I hate my life" energy that Kyon gives off as he dances in perfect synchronization with everyone else. Probably my favorite outro from any anime.
Tomare! *Almost matches the first in terms of overall catchiness in the choice of the song overall with a super fun chorus that picks up until it ends with a bang. The main issue is, it happens during the endless 8 so you are desperate for it to end and the visuals are seizure-inducing and not the most pleasant to look at.
Final Verdict: Season 1: 8/10 Season 2: 7/10
I really wish the fanservice was toned down a lot. And I also wish that the show took its plot in a more profound way than just choosing to troll its viewers with an endless 8 cycle and playing the show in an intentionally confusing order in addition to making fans have to watch a nearly 3-hour movie so they could get the closure that they needed from their characters and for the plot to really be driven forward. If The Disappearance of Haruhi Suzumiya wasn't so damn great, my rating of the series probably wouldn't be as high as it is because this series absolutely is frustrating to watch. But much like Kyon is reluctant to admit, the shenanigans of the SOS Brigade are a lot of fun. With a plot as interesting as this show has, I was hoping for something more than a fun slice-of-life comedy. And up until the movie, the show was missing that "something more". With that knowledge in mind, I can look back fondly over this series and applaud the boldness while simultaneously being annoyed at the pretentiousness of KyoAni for the way they presented this series. I'm looking forward to rewatching this one day with the broadcast order.
Fruits Basket: Sure Thing (2020)
If it wasn't for the last few minutes,
This would be tied with episode 1 of S2 for being the worst in the series. The rest of the show is so good, with great characters from the Soma family and the retrospective episodes where other key characters shed some light on past events.
But then we get an episode like this where Yuki has to learn how to lead the Student Council with a bunch of obnoxious brats working underneath him. I'd almost recommend skipling this episode if it wasn't for Yuki lashing out to his Vice President which makes this the first time he's lashed out to anyone except for Kyo and Amane in the entire show. But even when he bickers, he hardly never yells. This time, Yuki yelled and it was a pretty powerful moment. Shame we had to suffer as viewers through some really bad high school anime tropes to get there.
Love & Pop (1998)
Hideakl Anno proves that as amazing as animation can be, it can't make you feel as uncomfortable as intense realism does.
I have to give Anno a lot of props for making a movie about a topic so sensitive. Love & Pop is about a group of girls that are Juniors in high school (16 and 17 years old) who get hit on by older men and are offered money to be their "play dates" decide to essentially become call girls for lonely men to hang out with as they put up with their loneliness.
Without involving any sex at all, (thank the lord for that) Anno was able to portray these men as people that you can be both sympathetic towards but also creeped the hell out by. For instance, one of the guys has Turrets. But instead of having loud outbursts, he hss a large muscle spasm that makes it look and sound like he's spitting. He explains that this condition made him a social outcast and he has coworkers that look down on him when they think he isn't aware and it really makes me feel bad for him... until he takes one of the girls into a movie shop with him so that she can pretend to be his girlfriend. Then he made her lock her arm with his and purposefully drew attention to the two of them before proceeding to do something vile that I won't be typing here.
This is not a movie that I'd watch again, but it does showcase Anno's talents as a live-actiin director. Sadly my *cough cough* totally legal *cough cough* version of the film that I watched blurred a lot of the images and made it hard to see. But much like in Neon Genesis Evangelion, it's easy to appreciate how creative Anno can get when framing each shot. A lot of thought goes into it and it makes the film so interesting to watch. Plus, the jarring cuts in the film makes me think of the French New Wave which adds another cinematography que to keep my interest peaked. This was a fascinating film, and it makes me appreciate Anno even more than I already do.
Eiga Keion! (2011)
Much like many episodes in the show, this movie really did not have to be made. Yet, I am so glad that it was!
Sadly, the girls did not accomplish their goal of performing at Budakon like they said they would in episode 1, however, that doesn't mean that they didn't put on some great performances along the way including in this film. Plus, it'd probably be a bit far-fetched to see the Light Music Club rocking out to a full crowd in one of the most iconic stadiums in all of Japan. So instead of having a grand professional performance, what would be the most K-On! thing to happen?... why have the girls accidentally perform someone else's' gig of course! Ahhh Mugi thank you for being the oddball that you are and allowing the sushi-go-round live performance to happen.
Chronologically, the movie takes place after season 2 episode 22 when the girls took their college entrance exams and it runs through to season 2 episode 24 where our four seniors graduate giving an alternate viewing of the events that took place in that episode. On its own, episode 24 was already one of my favorites in the series and it had my eyes trickling some man tears, but this movie took those same emotions and then added an extra layer of excitement to them. It does this by taking the gang and having them go on a graduation trip to London. This of course leads to some awkwardness from Azusa who as always feels like she's part of the club but not on the same terms as the other girls due to her being the only underclassmen among the five. And that plays into the main challenge of that is presented to Mio, Ritsu, Yui, and Mugi who want to find a way of making Azusa feel at home and letting her know how much she means to all of them.
As always, what makes K-On! So lovable isn't that it's a show about music, it's that K-On! is about a group of friends living out their day-to-day lives together in an authentic way as television/movies can be. That's not to say that the music isn't good because I absolutely loved the intro, closer, and the other new songs. What I actually mean by this is that I find K-On! really relatable. This is the first time any of the five girls (besides Mugi because she comes from a super-rich family) has left the country before. So they all had to get passports in an earlier OVA episode, pack their stuff up, plan the trip, and fly on a plane for the first time. The way that the girls interacted doing all of these things is essentially the same way I felt when I left the United States to go to Japan for the first time. There was some difficulties in getting my passport situated with all of the paperwork (my picture turned out fine though I was no Mio about taking my picture) but my packing went pretty well (thankfully, much like Yui, I had someone to help me with that. It wasn't my younger sister though haha) as did my planning for the things I wanted to see and where I wanted to go (I did end up going to the wrong hotel at first too haha) and finally, my first airplane ride out of the country was an exciting one too as I had never been on a plane that big before that served food. It gave me the option of American or Japanese food and I of course tried Japanese food to feel cultural.
The excitement that the girls felt about the trip was contagious and reminded me so much of myself. As for their time in London, unlike a lot of other movies and shows, you could tell that a lot of time was put into making the London of K-On! as authentic and as close to the real London as an animated movie possibly could. I've never been to London before myself, but because of this movie, I feel like I got to see a glimpse of it due to how detailed their experience was. There really didn't need to be a nearly 2 hour K-On! movie, but honestly I was having such a good time, I wish there were more scenes of the girls just having fun and exploring London. I want more of Ritsu teasing Mio and dragging her along so she could get over her fear of revolving things lol! I want more scenes where Mio geeks out as they visit the homes and places of her rock idols. Why did they have to get my hopes up by mentioning David Bowie's home? But even so, the show had to go on and then it gets back into the heart of the story as to how Light Music Club was going to make Azusa feel like she belongs. And Yui out of all of the seniors, took this task the most seriously. The girl who is the most ditzy and easily distracted was the most motivated in ensuring that the girls kept their main priority in check for their sweet Azu-nyan. It was really sweet and I'm so glad that Yui got that focus especially since Azusa has such an odd relationship with Yui. Meaning, Azusa looks up to her because she is older, but doesn't like how unorganized Yui is and how she can be such a slacker when it comes to tasks of great importance. For it to be Yui after graduating to put the most effort in and making the song for Azu-nyan, it makes the episode 24 version even more special since Yui accidentally steals some of the thunder from the other girls and even steals poor Mugi's line when they were presenting it to her during that beautiful tear-jerker of a scene.
I still think I prefer the presentation of episode 24 more especially because it touches on Miss Yamanaka and the love her students had for her which was a super touching scene. But the pure happiness concealed within this movie is contagious and it made me feel like Ritsu: all giddy and obnoxious with excitement and wanting to tell the world how awesome the K-On! movie was. I love this movie and this series will always hold a special place in my heart. Especially since I watched it during a rough time in my life and it brought me nothing but joy.
p.s. Who else got fooled by the fight in the intro? They had us in the first half not gonna lie. As much as I loved every second of Death Devil's "Hikari", dat intro Ichiban Ippai is too pure for this world and is honestly one of my favorite songs from K-ON!
Rosemary's Baby (1968)
What I love most about this movie isn't that it's scary, it's that I almost forget that I'm watching a horror movie in the first half of the film.
Sure we have that dark and foreboding lullaby (that is so hauntingly beautiful you'll be humming it for days!!!!) at the very beginning to set the tone, shortly followed by a suicide, but after that, besides a couple trippy dream sequences, this movie isn't too much different than other New Hollywood dramas.
Rosemary's actual pregnancy doesn't even start until the 52-minute mark of the film. This means that those first 50 minutes are used to add some color to the world before the psychological elements come into effect. If you had just shown me the first 50 minutes of this film and not a second more, outside of one truly despicable instance, I'd say that Guy was a charming and good husband to Rosemary and that their relationship was an absolute delight to watch. I thought they had witty bantering, good chemistry, and that their main issue in the relationship (being Guy's self-centeredness due to him being an actor) was something that could cause issues but was more than manageable especially since Rosemary is a god-tier waifu deserving of the #mustprotecc trademark.
There are so many moments in this film where Mia Farrow was super cute and I couldn't handle it. That little dance she does when she found out she was pregnant... ughhh it kills me :D. Mia plays the role of the utterly sweet and caring wife to perfection and is so easy to fall in love with her. I get so mad at Guy when he insults her haircut. (Granted, her original bob cut is probably my favorite hairstyle of all time. I mean just look at my Characters That I've Crushed On list) Yet, Rosemary is more than a pretty face. She's a relatable protagonist that makes sensible decisions despite the messed-up situation she either perceives herself to be in or is unfortunate enough to be placed in. And right up until the reveal at the end, we are taken on this psychological trip where we see this beautiful and graceful woman slowly become more and more sickly and frantic. It's awful to watch, yet no matter the outcome, we still need to know whether Rosemary's baby is going to be safe from the sinister plot or from Rosemary herself.
To summarize, unlike a lot of films of the horror genre, this story puts a lot of care into giving the characters personalities that start off as really likable but get twisted as the plot unfolds. The ending might seem cheesy by today's standards (in 1968 oh boy it must've been a sight to behold) but I actually really admire that the story is as in your face as it is with its reveal while holding back no punches (other than giving the viewer a good look at Rosemary's baby itself since it probably would have looked cheesy). It treads the line very well on the is she or isn't she crazy for most of the film and for them to give us a definite answer to that question in a manner that is as entertaining as it is for subject matter as dark as it pertains, I find it to be ironically hilarious! In fact, I wouldn't even be surprised if Polanski intended for the ending to be funny much like Ari Aster intended for both Hereditary and Midsommar (which is heavily inspired by this film) of his films. Regardless, the ending will forever be iconic as will Mia's legendary performance, as will Krzysztof Komeda's haunting film score.
I love this movie! One of My Favorite Movies! And one of the best psychological horror movies ever made.
Adventure Time: Summer Showers (2016)
I'm actually sad that this episode is rated so low.
One of the reasons why I love Adventure Time isn't just because Jake and Finn are awesome, it's because the land of Ooo has so many different characters with interesting stories that any 15 minute episode could be about anyone. Some are funny, some are serious, and some are a little of both. This episode is one of the latter where it plays into the idea of parents putting expectations on their children and how it affects kids who aren't able to achieve what they set out to do. But since it's Adventure Time, it does it in a magical way with an uplifting ending.
I think I really enjoyed this episode for two reasons. The first is that I am into theater and movies and I love movies that are about making entertainment so an episode devoted to this is sure to peak my interest. And the second reason is Viola has a super cute character design and I love her voice actress! She is an easy character to root for and out of all of Jake's children, she is easily the sweetest of the bunch and it was nice to see her get some spotlight. Even if she had to wrestle it out of Lumpy Space Princess who I thought was about to have a therapy session with her for a hot minute haha.
I was so glad that I was patient and waited to watch the last two episodes back to back.
I've always been a fanatic of Star Wars and I still think that was the most emotional the franchise has ever gotten me. It also doesn't hurt that the music playing during these somber episodes gave me heavy Blade Runner vibes. But there is nothing more fulfilling than when a show that you love gets an ending that it deserves. *Cough Game of Thrones Cough*
It's amazing how this show started off with a pretty much universally-hated film, followed by a really weak first season to somehow evolve into what I consider to be the best Star Wars content that isn't part of the Original Tirlogy or KOTOR. (Knights of the Old Republic games for those of you who are uncultured)
Just when I think Star Wars has lost it's magic, the Clone Wars brings me back and I feel like a little kid again ready to go on an epic space adventure to save the galaxy from the Dark Side. But alas, not every adventure gets to have a happy ending. Even though just about every person who is watching the Clone Wars series knew what was about to happen with Order 66, the suspense build-up was immense due to the atmosphere that was created by the music and the intentional lack of dialogue. This was masterful writing and editing to go along with the prettiest animation the show has had to date.
An absolutely perfect ending to the series.
Parasite sucks you in from the very first minute...
With the likable struggling family trying to make a living in a rough world and then keeps you attached with it's unconventional twists while using subtle symbolism to get its anti-capitalism message across.
As an American who believes in the free market, and the "American Dream" of working hard, saving your money (the step people struggle the most with), then investing your money, and shooting for your goals with everything that you have, I appreciate it when movies that are critical of the economic system of capitalism which allows for their to be a larger wage disparity between the rich and the poor then other economic systems, doesn't feel the need preach its beliefs to you with elaborate speeches, but instead opts to let the story do the talking. However, the one exception in Parasite to this was the conversation in the gym that Ki-taek had with his son about plans. And it's this quote that really sticks out to me:
"You know what kind of plan never fails? No plan at all. No plan. You know why? If you make a plan, life never works out that way."
This is an absolutely heartbreaking outlook to have on life and it can only truly be believed by a man who has let his circumstances defeat him. But at the same time, some people are just given the short end of the stick in life. They grow up in a bad situation and often times lack the education, the capability, the direction, drive, or the opportunity to pull themselves out of it. In the case of Ki-woo and his sister Ki-jeong, they clearly weren't lacking in capability or drive, but the lack of opportunity was implied which was why Ki-woo's friend Min-hyulk was a godsend to the family when he presented Ki-woo with the idea of him taking a tutoring position.
What I find funny is that the father ends up acting on impulse when he hides in the basement and the situation of the film with a poor person living in the shadow of a rich person remains the same. On the flip side, the son says he has a "fundamental plan" in which he will go to a university, and make enough money to buy the house so he could free his father. At first, the movie tries to trick you into believing that he was able to do so and he is able to see his father again, but then it is revealed to be a more realistic and melancholic ending with Ki-woo hoping that he will be able to actually set out and do it, but never actually being able to do so. This is suggesting that in a capitalistic society, those on the bottom have a hard time of rising to the top even when they have the drive and capability to do so.
But me being the optimist that I am, I cannot accept such an ending. The reason that Ki-woo fails isn't because his dream isn't attainable, it's because he doesn't actually have a plan. Saying that you are going to go to a university and make lots of money is not a plan. That's a dream. Plans need to be thought out with smaller attainable goals set as stepping stones to reach that dream. And judging by the way Ki-woo was raised, he probably never had anyone show him how to break things down to properly execute a plan. That pains me because once Ki-woo gets some direction, he'd be able to find an opportunity to help get his family out of the rut they're in. Of course, in some cases, it's better for you to worry about #1 and to not let your family drag you down with you which is something that I've had to learn the hard way in my life...
Overall, I am happy that this film won best picture, It was an original film with a brilliant script, great acting, and likable protagonists despite all of the horrific stuff that they do. But what I think is even more noteworthy is that Parasite is an anti-capitalist film which portrays rich people as people. And I respect Bong Joon-ho for pulling that off especially when I felt that the biggest flaw in his previous film Okja was that he was anything but subtle with how he portrayed his antagonists. Parasite doesn't have antagonists. It has a working class of characters that are struggling to make a living and a higher working class of characters that is oblivious of the struggles of those that are beneath them.