Reviews

Dune holds a special place in my heart as one of my all-time favorite books that has never received the same level of mainstream attention that the Star Wars universe has, which is some sort of cosmic irony considering how much Star Wars lore owes to the Dune novels and also to Jodorowsky's Dune. (Disclaimer: I am an unabashed Star Wars fanatic. Please don't take this as a slight towards my favorite fandom). Much like the Star Wars vs. Dune conundrum when it comes to popularity, Denis Villeneuve is one of my favorite directors who holds a special place in my heart because he has made a lot of great movies that unfortunately haven't been box office sensations. Another modern director that he often gets compared to is Christopher Nolan who unlike Denis not only makes great movies, but has had a lot more financial box office hits. While I am extremely happy for Nolan especially since I rank him high on My Favorite Directors list, Denis Villeneuve continues to bring out the inner sci-fi nerd in me because he has arguably been the best sci-fi director of the 21st century. Sci-fi when done right, is my favorite genre of fiction whether it be books, video games, tv shows, or movies, Up until this point, Denis had made four straight films that were deemed hits by audiences and critics alike, but he never did reach mega box-office success. I couldn't be happier with the success that Dune Part 2 has had.

The day was Saturday, March 2, 2024 and I was finally going to see my most anticipated movie since Dune [Dune: Part One]. As I sunk into the plush theater seat, I was swept up by a wave of nostalgia mixed with anticipation. The metallic voice of the Sardaukar pierced the silence, uttering those immortal words: "Power over spice is power over all". With that we were whisked back to Arrakis and got to experience for the next 2 hours and 46 minutes, one of the most influential stories of the sci-fi genre finally being told in a way that would be accessible to most audiences.

From this point on there will be spoilers to both the book and the film below.

Dune's accessibility to a broader audience marked a significant departure from some of the more intricate aspects of the original story. For instance, in Frank Herbert's novel, Alia, Paul's sister, is portrayed as a preternaturally gifted child who ages rapidly due to her exposure to the spice mélange in the womb while also receiving the knowledge of all of the Reverend Mothers before receiving any agency herself. However, in Villeneuve's adaptation, Alia is reimagined as a fetus communicating telepathically with Lady Jessica, her mother. This alteration not only simplifies Alia's character arc but even more importantly, it saves Denis Villeneuve the trouble of having to find a toddler actress that not only is capable of quality acting, but also has parents who would be comfortable enough with letting their little girl crawl/walk around a movie set and then have the task of stabbing and killing Barron Harkonnen. Good luck casting department.

Another way that Denis elected to make the film more accessible to modern audiences was with the portrayal of Fremen culture. While Herbert's novel meticulously details their strict customs and rituals, including the practice of water discipline and the importance of the sietch (Fremen underground dwellings), Villeneuve's adaptation opts for a more simplified approach that focuses more on showing us that the Fremen adapted to the desert without telling us how to everything. Which for a film, is almost always the correct approach. The film emphasizes themes of unity, cooperation, and resistance against oppression, showcasing the Fremen as a fiercely independent and resourceful people. But the biggest thing that the film changes about Fremen culture is that they portray the Fremen as a society where men and women are seen as equals. Whereas in the book, Paul goes through a ritualistic transfer of ownership after defeating Jamis in single combat acquiring his wife and children in the process. Purists will of course be upset with this alteration, but I think Denis made this change to make us empathize with the Fremen and highlight the contrast with outdated customs upheld by the Empire and the Bene Gesserit, such as the transfer of power through marriage, as seen with Princess Irulan. With the adaptation's alterations in mind, let's delve into the performances of the cast, who brought these reimagined characters to life on the screen.

Timothy Chalamet's portrayal of Paul Atreides was nothing short of remarkable. His every scream, every whispered command, felt like a visceral punch, thanks to the impeccable sound editing that transported us directly into the heart of Arrakis. It's almost as if Paul was wielding the Voice, compelling us to follow his every move. Paul emerges as a more relatable and empathetic figure, grappling with the weight of destiny and the burden of leadership. He finds himself torn between the survival of his people and the potential devastation of billions. The conflict between his personal desires and his duty to the Fremen, his family, and the entire universe is palpable in Chalamet's portrayal. This was the level of acting and writing I wish was present for Anakin Skywalker in the film Star Wars: Episode III - Revenge of the Sith. Thankfully, Matthew Stover's novelization of the film does the story justice and I can't recommend it enough for any Star Wars fan out there. It truly blows that film away.

But anyway, back to Dune. Chalamet skillfully navigates Paul's journey, portraying him as a man trapped by fate, forced to confront his own mortality and the inevitable consequences of his actions. What sets Chalamet's performance apart is his ability to convey Paul's internal struggle and conflicting emotions. He portrays a character who must reconcile his own desires with the greater good, knowing that his choices will shape the fate of worlds. Ultimately, Chalamet's portrayal of Paul Atreides elevates the character to new heights, imbuing him with humanity and complexity and I am excited to see where his character goes in the upcoming Dune Messiah movie.

Austin Butler's Feyd Rautha practically leapt off the screen with intensity and I loved every scene that he was in. His portrayal of the Baron's lovely Feyd seamlessly embodied the ferocity and cunning nature of House Harkonnen, delivering a performance that leaves a lasting impression. From his commanding presence in the electrifying introduction on Giedi Prime to his pivotal role in the intricate plots of the Bene Gesserit, Butler captures the essence of Feyd's character with intensity and depth and he just looked like he was having the time of his life playing the sociopathic villain. Though as great as Austin Butler was, what truly makes the character of Feyd so memorable is the meticulous setup crafted by Denis Villeneuve. In the books, on top of being a monstrous figure, Baron Vladimir Harkonnen was heavily implied to be a pedophile that had a sexual preference for "young men" and was particularly attracted to his nephew Feyd. He explained to Feyd that all of his schemes and the chaos he unleashed was for Feyd to take over House Harkonnen and to ascend to the throne of the emperor. This intricate web of "plans within plans" adds depth to the Baron's character, positioning him as a master manipulator to set Feyd Rautha up as a rival for Paul. While the book delves deeper into the nuances of the Baron,'s character, the film amplifies Feyd Rautha's threat, portraying him as a significant player in the power dynamics of the Dune universe.

Prior to the audience's introduction Feyd, we see Princess Irulan having a conversation with the Reverend Mother shedding light on the intricate power dynamics at play, revealing the Bene Gesserit's plan for the succession to the throne. Irulan learns that the only way for the Shaddam family to retain power is through marriage. She is presented with two potential suitors: Paul, whom the Bene Gesserit are determined to prevent from ascending, and Feyd Rautha, whom Irulan protests is a sociopath. However, the Bene Gesserit are undeterred by Feyd's character flaws. They are solely interested in determining if he can be controlled because they know that they cannot control Paul.

Enter Giedi Prime: the planet with a Black Sun that absorbs all color. The scene on Giedi Prime is a masterclass in visual storytelling. Shot with infrared cameras to emphasize the stark brutality of the Harkonnen home world, it immerses viewers in a world of darkness and danger. Amidst this backdrop, Feyd Rautha's character shines, embracing the challenge of combat with a sociopathic zeal. His fight is not just a display of physical prowess but a testament to his formidable nature and unyielding determination. Feyd relished every moment of the brutal combat, showcasing a level of derangement that even for a Harkonnen was chillingly unique.

After the battle was over, we encounter the steadfast Lady Fenring, a stark contrast to the defiant Lady Jessica. Where Jessica chose to defy the Bene Gesserit's plans by bearing a son, Paul, Lady Fenring embodies unwavering dedication to their schemes. Her relentless commitment to the Bene Gesserit cause stands in sharp contrast to Jessica's independent spirit and serves the purpose of letting the audience know of how deep the Bene Gesserit's manipulative influence goes.

Meanwhile, the scene culminates in a crucial revelation: the realization that Feyd Rautha has the potential to be a candidate for the Kwisatz Haderach! This revelation was brought to light by his successful passage of the Gom Jabbar test. Additionally, Lady Fenring being impregnated by Feyd, and following the Revernd Mother's explicit instructions to ensure that the baby was a girl, ensures the continuation of the Harkonnen lineage as they, the Bene Gesserit, desire thus solidifying the Bene Gesserit's influence behind.

Phil and Claire have always been my favorite couple on the series... when they are written correctly. Too often they joke about Claire's sexual adventures of her college years or they make Phil absolutely clueless about the situations that their kids are going through. But when the two of them work together and are a team, they are the power couple of the series with iconic moments. This episode is a other example of that. For most of the episode, you are afraid they are about to write another, oh boy Claire is being a berk to Phil again, when they pull the bait and switch reminding us all how awesome their relationship is. It's the type of scene that warms my heart and has me craving for more. All of their roleplaying escapades are some of my favorite moments of the show.

As soon as Phil showed up in Paris with a plan in store, I was excited for a classic Phil and Claire role playing episode with Julia and her lover's cousin Claude instead of Clive. But what ended up happening was Claire trying to visit her old favorite cafe where a previous lover of Claire's was waiting for her.

I was fine with the joke despite it being predictable, but what made it bad is that Phil had this amazing plan for the two of them, and we never got to see it in action because Claire said she wanted them to spend time with the ex-lover too because "she felt bad for him". How about feeling bad for your husband who had to play third wheel with you? When the roles flipped and Phil and the lover got along with one another, Claire wanted to leave and kept making mean jokes about the two of them. This close to the end of the show, I didn't want to see a Claire is bad and let's laugh at her episode, I want to see Claire and Phil continue to be one of the best married couple in sitcom history.

Other than that, Cam fighting with the French Clown version of himself, Mitchell trying to be French, and Gloria and Manny trying to prevent Jay from finding out the truth about the awards were all fine plotlines.

Props to Andrew Niccol or whoever his ideas man was for coming up with the concept for this film because if implemented correctly, it could have been one of the more interesting dystopian premises of the decade.

Instead it devolves into a Bonnie and Clyde-esque film with our protagonist on the run from Time Keepers that are extra motivated to keep the status quo because... reasons. Sadly, the film as ambitious as it was doesn't give the characters enough time to develop for us to care about them. And on top of that, has some laughably bad writing choices to add dramatic effect. The funniest example was when Will was running towards his mom to give her his extra time and she literally runs at him as she reaches her last second. The Time Keeper's end was just as ridiculously stupid too.

But with that being said, this film was shot really well, had excellent pacing that kept me engaged from beginning to end, Justin Timberlake despite not having much personality was a likable enough character, and Amanda Seyfried played her role well enough for me to see her as the rebellious daughter that fell for the bad boy. Plus, I have a thing for that bob haircut so she looked incredible and I was crushing hard for her throughout.

All in all, this movie could have been great. But it was dumb fun and I was there for the ride and for the laughs.

The memes about Evangelion never getting an end can finally be put to rest and Anno can work on things that are less stressful and with much less demand considering that we Eva fans tend to be some of the most toxic, consumeristic, (the merchandise for the show is INSANE and I own so many absurd Eva things myself haha) and passionate groups out there. When a medium of entertainment is popular, it brings out the absolute worst in people and there are expectations that people expect to be made. Anno has never been about making anything conventional which is a big part of the reason why Eva was such an interesting show for me which ultimately became an obsession. So when the Rebuild films diverged as far as they did from the original series, it makes sense that they too greatly fascinated me and have become a subject of mass debate amongst Eva fans as the films have polarized the fanbase as a whole.

When creators try to subvert expectations, they do it mainly for two reasons: 1)They want to trick the audience to have them on the edge of their seats 2)They are being experimental and want to take the audience down unchartered territory as they discover the story for themselves.

I'm not trying to argue that Anno doesn't plan things out ahead of time and that he wrote these stories on a whim because I have no idea how his thought process for planning out the storyboard went. (Although it is worth mentioning that the original Eva show frequently had episodes being finished right before their deadlines when he worked with Gainax because they were so poorly mismanaged as a company.) What I am trying to say is that Anno doesn't strike me as the sort of writer that wants to trick his audience. He is just a creative soul that writes what is in his mind at the moment and Evangelion was always a very personal story for him. The internal conflict within him which was always the basis of the Eva series changed over the years and with each part of Eva saga being written at different points of his life leads to each ending having an entirely different connotation. The first ending from the original series was a rushed but unexplained mess limited by both budgetary and time restraints. While it is a convoluted mess, it serves as a final therapy session for Shinji, Asuka, and Rei that ends with a literal congratulatory tone. Anno did the best he could but ultimately the ending was a disappointment. His masterful story had an ending but it upset many fans and sadly brought out the ugly in people leading to a bunch of hate mail.

So, Anno was given another chance with a larger budget and the benefit of time to give Eva the ending that he wanted to. And the final result was the End of Evangelion movie which ends the series with a vengeful and angry tone. Call it a happy ending if you want to, but the way that the story is portrayed I can't help but think of the film as Anno's way of lashing out at the fans and at himself for things ending the way that they did. Seeing Shinji at his absolute lowest at the very start of the film, watching all of the characters being relentlessly killed off while the two main heroines fight heroically before literally being torn apart and then following that up with Shinji starting and ending the Third Impact by choking Asuka, I don't know you could watch this and not feel the anger that went into making this film. Who makes a movie featuring characters that you've grown attached to over the course of 26 episodes and brutally kills them all leaving you an ambiguous ending that people can only theorize about out of love? Maybe George R. R. Martin, but not Hideaki Anno. If he had, the film would have been made in a much more conventional way and the End of Evangelion likely isn't my favorite movie like it still is today.

Fast forward to 2021. It's been nearly 10 years since Evangelion: 3.0 You Can (Not) Redo] and Anno had essentially already given up on Eva due to the dark place he was in at the time of his life. Anno had already given Eva the angry ending. But he wanted to give Eva the happy ending that every great story deserves. Unfortunately, life got in the way. The fall of Gainax and Anno having life-long friends who ended up being corrupt that took advantage of him and were profiting off of his successes led to Anno getting into a rut. As someone who has gotten into many ruts in my own life, I know how hard it is to get back out of them. Sometimes you need that little push to get you out of it. And that push can from friends, family, or sometimes, from movies. Neon Genesis Evangelion as a series helped me to get out of one of the biggest ruts in my life and the End of Evangelion film helped to spark my passion for cinema and cemented me as the otaku that I am for anime culture. However, despite being out of the rut that once encapsulated me, I went down a very different path than I intended to prior to being within the rut. Will I go forth on the path that I was previously on or will I walk a different one? That is something even I don't know the answer to, but I know that I have a path that I am eagerly walking towards now and I have no intentions of stopping and looking back in the fears that my past might drag me back down into that crippling abyss yet again. And I think that's why Anno waited so long to give Eva the ending that he wanted to. And I can respect that.

But as the years went by, Anno knew that he couldn't leave the Evangelion franchise as he did. The show needed an ending. Anno needed an ending. And this time, he was determined to give it the happy ending that it deserved. The problem was, Evangelion: 3.0 You Can (Not) Redo left the franchise in such unchartered territory and left a sour taste in so many fan's mouths that it would take a film with an extremely long runtime to give Shinji a proper arc to his character while explaining what the hell transpired. Well, it pays to be the boss sometimes because now, with as much time as Anno needed, and with an adequate budget, he was able to give Evangelion: 3.0+1.0 Thrice Upon a Time the 2 hour and 35-minute runtime it needed to give the Evangelion franchise it's third and final ending. While my biggest complaint with the Rebuilds as a whole remains unanswered since Mari still lacks characterization with no backstory and how she fits into the overall plot remains vague and largely ignored, Thrice Upon a Time checked about every other box that I was hoping it would and then some. It also requires you to suspend your disbelief a lot in regards to how these ginormous flying Eva ships were constructed and how Gendo was able to create all of the crazy-ass machinery on his own with just Fuyutsuki by his side, but if you could already believe that humans could build these synthetic Evangelion mecha machines before, then them making the leap from living robots that can run to ones that can fly I guess isn't the biggest stretch. But taking all of that into account considering that is what Evangelion: 3.0 You Can (Not) Redo left us with, what Thrice Upon a Time was able to do to give the Rebuild series and the Evangelion series as a whole the much needed closure is nothing short of remarkable.

The film starts off with a huge CGI battle in France that will likely be remembered not for how awesome the CGI is, but because of Shiro Sagisu's incredible song "Paris" and for Mari literally picking up the Eiffel tower and using it to destroy her enemies. Then the film reminds us how the last one ended with Shinji once again in a rut very similarly to the one that he was in the End of Evangelion. Despite a beautiful montage with a ridiculously catchy song in "Hands of Fate", a feisty Asuka that tries to beat Shinji out of his rut, friendly adult Toji, Kensuke and Hikari who offer Shinji their home and give him space, and then an adorable Rei Q (aka Farmer Rei) who offers him her unconditional love, none of this is able to get Shinji the spark that he needs to be himself again. Real ruts are not things that stop right away with the snap of a finger. They take time to get through. However, a finger does need to snap to get you out of it. And unfortunately, the SNAP in this movie was more of a jarring bang that signified a change of tone in the story as a whole. The time of recovering was over. It was a sharp reminder of the evil that Gendo was committing and that he needed to be stopped. And Shinji now has the will to do it. The End of Evangelion Movie Shinji never was given the chance to recover like he was here. In that film, Misato literally drug his lifeless body to the Eva and her death sparked Shinji just enough so he would pilot the Eva one last time.

In Thrice Upon a Time, Shinji didn't need that motivation. Fully recovered and recognizing his own self-worth again, he finally has the courage to do the thing that only he can do: Stand up to his father and save the world. This leads to an epic final "boss fight" of father vs. Son that not only is unconventional with the style as there is some goofy "gummy" CGI physics when the scale is grand but when the world becomes small and they end up fighting in locations from Shinji's memory, the fight becomes more detailed and more confined and personal. Naturally, a final boss fight in Eva would end in an unconventional way as well. Shinji has the balls to stand up to his father. He fights him and holds his own. So how does he defeat him? By offering his hand and listening. They do the one thing that they should have done from the beginning: they talked. And after Gendo finally opens up to Shinji, he provides closure for his father. He provides closure for Kaworu. He provides closure for Kaji. He provides closure for Rei Q. He provides closure for Asuka. He provides closure for Misato. And finally, he receives closure and happiness for himself. A new world is created and Shinji provides happiness for all. In End of Evangelion,

14 times!

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.

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!

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.