Reviews

Nolan finally comes back in the greatest fashion possible and we finally learn what he was up to after leaving Earth. Long story short - he missed his life on Earth, so he got together with an alien woman, and that's where Mark's half-brother Oliver comes in. What ensues is such an interesting conflict: Mark is completely against ever working side by side with his father, but can't leave Nolan's new planet - Thraxa -'s inhabitants to just die; even Nolan's reckless choice to have a new life on Thraxa and sealing the fates of its people is almost understandable, because letting go of something he never felt before coming to Earth - love - did a number on him and without it, he would've just flown through space aimlessly until his air ran out. An incredible character.

Also, the animation in this episode is some of the best in the series as a whole, masterful. Viltrumites Lucan, Vidor and Thula were great and very intimidating villains. The way they and all their people are completely convinced that their extremely cruel and unforgiving ways are in the right and need to be enforced at all costs makes them frightening and makes you want Mark (and Nolan by extension) to break their shackles all the more. Donald finding out about his mysterious resurrection and his suicide attempt is another good plot thread, looks like he'll get to the bottom of it.

If I hadn't said it already, amazing performances by Steven Yeun, the returning legend J. K. Simmons, Grey DeLisle as Thula, Phil LaMarr as Lucan etc. Great show.

The second episode develops the whole story in a really good direction: Debbie is no doubt my favorite character, partially thanks to Sandra Oh's awesome performance, and also because of how much care is put into showing her downward spiral. The subplot with Donald being suddenly brought back to life, though he has no memories of his death (obviously) and Cecil having a hand in it is really intriguing and I can't wait to see the resolution. Also great is the introduction of a new villain and the subsequent mockery of tired elements of almost every superhero's backstory (the humor of the show is incredible, no doubt). Go watch it, it's great.

This episode marks a great return to the world of Invincible following the two-year break and hits all the right notes when it comes to developing characters further: Mark is unsurprisingly traumatized after his own father unleashed hell on people in Chicago and beyond and is frightened by the perspective of becoming the next Omni-Man while Debbie is in shambles after Nolan diminished her to his "pet" (Sandra Oh really sticks the landing here, great actress); overall, both main characters are presented really well. The Mauler Twins make an awesome return with a new really good addition to Invincible's rogues gallery. While it might not entirely keep up with the series' standard and in a few ways doesn't quite keep up with the comic (the evil Mark's speech in the beginning is nowhere near as intimidating as the original), it's still great and for anyone who wants good superhero entertainment other than the endlessly built-upon and cashed-on stories and characters by Marvel or DC.

In a true South Park fashion, this episode is the mix of the most absurdly funny and stupidly creative jokes and a critique of Bono himself. Everything here lands, and no matter how dumb (and extremely funny) the premise gets, it still manages to think them through and not just be a typical "adult" cartoon with random, terrible sex, drug etc. Jokes. The joke about Bono not wanting to be number one instead of number two before he turns out to be a literal number two (once you watch it, you'll get it) is absolutely brilliant. Overall, as usual with South Park (or Gouth Dark in the words of a presumably intoxicated Paris Hilton), a great and absolutely gut busting episode! If it's your type of humor, go watch it.

Season 2 was full of hiccups, but this episode was actually really good: TV-level animation as always, Millie finally gets the forefront treatment and has an arc, good Blitz subplot of finding his sister (who has potential of becoming a really good character). Hilarious how Millie becomes a deity to the campers doing literally anything. One thing I have an issue with: is it obligatory to have someone who belittles, bullies or otherwise hates Moxxie's guts almost every time? Seriously, why does he have to get the worst treatment out of everyone and Millie be the only person who doesn't make him wanna end it all? The poor guy's been abused, forced to kill multiple times and lost a mother. I'm not saying Blitz should've praised him (Blitz is probably the last person in the show besides Loona to praise anyone for anything), but he could've at least killed the dealer and finally proved himself before the team as if he hasn't already. Let him enjoy a success for once and not be dependent on Millie to save his 4ss. Remember Truth Seekers, where he was treated like a normal person? More of that, please.

I'm very agog while writing this, so I'll give the most basic summary of the movie's plot: a rich food enthusiast Tyler and his escort Margot go to Chef Julian Slowik's restaurant on his own private island, filled with his subordinates, guards and all the other cooks. However, shortly into the exclusive dinner, things turn dark as it becomes obvious Slowik will stop at absolutely nothing to achieve the pinnacle of his craft, pulling on each heartstring of each guest to strip them down to the most basic ingredients: essentially the Joker with a five-star restaurant at his disposal. Also, everyone else here's a psychopath in some way - besides Margot, who finds herself in the nest of insanity itself as the exit doors gradually close on her and the entire dining hall.

At its basics, The Menu might be seen as the satire of the ever pompous, idealist and pretentious professional cooking culture, however, the idea can be attributed to multiple other areas of culture. In the world where artists - including filmmakers, craftsmen or painters - are still trying present something fresh and genre-breaking in the industry in the most outlandish ways possible, forgetting about the lines, this movie - as violent and survival horror-y it gets - pulls us down to Earth, reminding that nothing avant-garde can pass unless it's well-made, effortful and pleasing to the client, without whom's approval the transaction will never be complete. Authors of movies, modern art etc. Forget that there is a fine line between being edgy and funny and simply insulting the customer and taunting him in a way they have no right to (*cough* Velma on HBO Max *cough*), ultimately reminding that the industry's job isn't presenting its own agenda - it's entertainment, and who we are is none of their business. I related to it myself on some levels, like the constant thrill-seeking with a movie.

And this movie does its job in terms of good entertainment - Slowik is my new favourite slasher killer (well, he sort of almost falls under that category). Before the movie, I was looking for a very characteristic villain with a setting similar to Squid Game, and this movie really delivered. Acting is great - Ralph Fiennes as Slowik naturally slays it like with any other role he's in; he, along with all of his staff who are absolutely loyal to him in a manner that's both darkly funny and horrifying, really makes you feel intimidated by him and makes it clear this island is his world with his own rules. Just like the gruesome artistic methods he employs, he sticks with you in his own sick way. Nicholas Hoult is really good as the apathetic and thrill-seeking sociopath he turns out to be (boy, is his defeat satisfying, maybe minus his death scene), Hong Chau makes you actually appalled about how loyal to Slowik she is, while Anya Taylor-Joy really fits as the only really innocent one in the whole place and sells it like she always does.

Overall, don't stress out before you go into this shocking spectacle - relax, sit and watch. It's a really good movie.

Dang, the writing in this show is good, so was this episode's premise, pacing, dialogue, performances and ending. At times, it handled itself more seriously and didn't hesitate to slow things down and add depth, which I can only commend (the tempo was just a weeny bit lacking at times) and compared to the previous, fast-paced and high-stake Project Reboot, this was the perfect break to look back on all that's happened and will happen. The whole action was handled with surprising consistency for adult animation and balances both the serious and humorous moments really well. And, naturally, the ending rips your heart out, douces it with gasoline and strikes with a 300 million voltage lightning. Now that Ron got his perfect life, let's hope Reagan will eventually get hers. I love media where characters make actual sacrifices instead of taking them back for stupid reasons, but a snippet where Reagan watches Ron live happily with his wife and daughter with a sad smile would be really nice later on.

Welp, now I'm off to carry that weight.

This episode started with a really simple premise: one of Walt and Jesse's drug dealers is ripped of by a redneck "couple" for his meth, and because of Walt's perfectionism, Jesse has to go get the money back. He could've just been written to force his way into their dilapidated house, intimidate them to give him the money and go away. That's what Walt would likely do, but not Jesse: it was already suggested that he's actually a good person at heart, and luckily writers acknowledged it.

The nervous Jesse breaks in, but finds no one but the couple's neglected toddler. He doesn't even panic at the sight of a stranger in his home: it's clear that with all the possible abuse and neglect he endured from the addicts, he's used to a lot worse. The writers didn't make it a throwaway episode it might've looked like, but actually explored what people like Walt and Jesse are actually bringing to the world around them; there are so many children living in that kind of horrible, horrible environment, with parents whose brains are so destroyed by substance abuse, they only think about taking more or experiencing awful pain. It doesn't shy away from such things. You can clearly see Jesse is traumatized by the experience and really begins to question whether he should be doing what he is... until Walt makes him do it again.

Speaking of Walt, his character develops just as much, but in the way opposite to Jesse. He finally meets his former girlfriend Gretchen Schwartz living with his former partner Elliot with an amazing fortune, who checks on him because of Skyler having told her Walt's lie that she's giving him money to cover his massive cancer treatment bills. With her in a restaurant, Walt finally snaps under the weight of his less-than-favourable life: he Bryan Cranston plays that suppressed fury all too brilliantly. I expected Walt's comeuppance against the displeasures of his life to somehow be satisfying, but I really didn't know who to root for here: on one hand, according to Walt, Elliot and Gretchen have made millions off of Walt's genius work while he was simply degraded to an underpaid chemistry teacher in the Land of Enchantment with nothing to look forward to, while Gretchen implies that he abandoned her and walked away from his future, which doesn't justify anything Walt says now and has been saying. So you can see Walt is now a blueprint for the sociopath he's about to become. Good thing the writers didn't go all "Walt having his sweet revenge" and showed both sides of a coin; where Walt sees his comeuppance, Gretchen sees a horrible person she never would associate with him. The plot ends with them severing their connection definitely, both thinking they're doing the right thing.

And that's another amazing episode of Breaking Bad. While Jesse begins to come back to reality, Walt skews further away from it. What a brilliant series it is. I think I'm gonna make this a series itself.

All was said and done, all the arcs wrapped up perfectly for now: some characters regained everything, some have lost everything. Sally is one of the biggest highlights: she has the most character development here, and it's done so well. Her character doesn't feel like a character, but like an actual person - in one of the first scenes, which made me burst with laughter, you can see how she's clearly not all aware of the grave mistake she's about to make, and later on quickly rejects that idea I won't spoil after yet another piece of trauma in her life. Just like a human being, she learns from her mistakes, and it's awesome the writers acknowledge that. The acting is also almost unmatched - from nearly every actor on screen. You can feel the weight of every situation they're in without them skipping a beat.

Bill Hader truly proves with this series that a funnyman doesn't have to just be a funnyman - if he/she has a talent for creating compelling and great stories, nothing stops him/her from that. In a world where America is known above all from below-average intelligent blockbusters, this piece of art proves that - being the capital of entertainment it is - with right people, it's also capable of creating tales of pure brilliance. Don't stop now, Bill! You're doing great!

The entire episode is BoJack at his worst and the series at its best. It's just unfathomable how such a haunting thing as plummeting down a pit of alcohol and drugs for more than a month and harming countless people in the process, including one of your longest-standing friends who does not deserve it at all and really looked up to you like no one else, could have so many hints of black and absurdist comedy in itself. Amazing how the concept actually came through, and the episode didn't come out in a wrong way. In every laugh there is an uncomfortable cringe (but proper cringe that goes well with the show) and with every other blackout, you just wish more BoJack would STOP. But he goes all the way in, which is unforgivable. It's astonishing how a series depicting such an out-of-touch and despicable character could be so well-written and just brilliant about its message and everything else. That's just too much, man.

While a lot of people may still think about this show as a Rick and Morty etc. Rip-off (for the reason they haven't actually watched everything or perhaps didn't even bother to) or are uncomfortable with various conspiracy theories being presented as true (justifiable, but let's not forget adult animation often tackles controversial topics in one way or another and explores what live-action and kids' animation typically can't), I for one can say it's actually well-written, funny, very deep at times and pretty gorgeous in terms of its animation, and considering it all, a lot better than it might look at first glance. Also, to anyone who thinks Reagan's father is a bootleg of Rick Sanchez - trust me, he's not. He's way worse (morally).

Where to start? The writing. It's not perfect, but it's actually good. While some of the scenarios may be considered a bit hackneyed by now, they're still investing and relevant enough to present themselves well. The jokes are mostly very funny and land for me, the delivery is very well done as well (let's remember those are real professionals working on this show) and compared to some lackluster Netflix animated shows, it's pretty much a masterpiece.

The protagonist - Reagan - is most likely one of the best written girl leads in some time. She has this cynical and irreverent personality, but early on the show it's actually hinted at why: the horrible influence of her parents and childhood trauma. She has so many layers and in the finale, her character development peaks. It's kinda heartbreaking, that finale. Brett - the supposed stupid pretty boy of the team - is actually a very emotionally intelligent, kind and genuine person with actual personality and depth. The other characters - besides maybe Glenn - are mostly joke machines, but that's fine as long as the others - mostly Reagan - are the more fleshed out.

The animation was a great surprise for me. A lot of adult animation nowadays focuses on 3d animation, especially with moving vehicles, while this show's animation is mostly focused on the individual character movement and is so seamless and fluid, I don't even notice it doesn't use 3d that often. It's doing awesome without over-reliance on CG.

The voice acting is simply great, and every actor was chosen for his/her role perfectly. Lizzy Caplan as the paranoid government agent (she's killing it), Christian Slater as a manipulative street-smart tech genius (he's killing it perhaps even more), the legendary John DiMaggio as the tough elephant (or in that case, half-dolphin) in the room and so forth. It's the brilliant Chris Diamantopoulos (he's killing it the most) as the robotic President that really steals the show here. It's like he can do any voice he wants, and this one he lets out perfectly.

Considering everything, this show is a lot better than people might think and it might be worth the time to check it out, watch it all and then establish an opinion. There's a chance you'll really like it, like I did. I suppose that's all. My kingdom for a good punchline.

The first episode is a really good subversion. It acknowledges the cliches of the superhero genre - present in superhero animation as well - and although the first half has, of course, typical violence and some bloody moments, it plays out kinda clean and, well, does not abuse its animation budget, to say the least. Then there's the second half.

How everything shifts in that half - an apparent mid-credits scene - story-wise, dramatically and visually is next to insane. What starts out as a pretty tame superhero origin story series becomes a gritty superhero thriller and a breath of fresh air in the genre. Top-tier drama, breathtaking, artistic, occasionally simplistic animation, shock and amount of violence like most likely nothing you've seen before. Oh my.

This show may not be a masterpiece, but it definitely brought something new to the Looney Tunes franchise. And - I gotta say - it was very ahead of its time. A kids show consisting largely of the dark misadventures of the two protagonists - one a likeable, helpful and intellectual straight man with nothing but successes and the other a sassy legal dunderhead with sociopathy, knack for insulting and using others, self-destructive behaviour and, in turn, with nothing but failures largely caused by himself. Yet - even as complete opposites - they're still roommates and best friends.

I think we all know well that the Looney Tunes concept - even those good 10 years ago - has been done to death. Of course, that's not to say there weren't - and aren't- any great iterations of it, but - of course - as a franchise this big - there were also some awful iterations. That one here decided for a more sitcom-y, slice-of-life approach. And did it deliver? That depends which side you're looking on.

First, the animation. It's great. In the first season, you can visibly see that the concept of the show was still not that clear for the animators, because although the art style largely stays the same, the sizes and drawing styles of the characters vary. But it's the art style that's the focus - a dark-shade, bleak colour palette with splashes of dots here and there. It's awesome. Even the clouds are a splash of paint. In the second season, the art style is more conventional and the color palette is brighter, but the animation is still very smooth.

The voice acting is spectacular. Jeff Bergman, in business since est. 1989, does a great job as Bugs, Daffy and all these other characters that take so much of the show that ultimately the end result is the show being 85% him talking to himself - he lisps, screams, yells, breaks his voice and does everything else perfectly. The others - including a newly added Fred Armisen as Speedy - do a great job as well, and let's not forget this show was kind of Eric Bauza's big break with Looney Tunes until he eventually went on to voice Bugs and Daffy themselves (and he did a great Marvin the Martian). But it's Kristen Wiig as Lola Bunny who undoubtedly steals the show here as a perky, hyperactive, ditsy and crazy chatterbox and airhead who flaps her gums non-stop and changes her focus faster than a machine gun. She does that all astonishingly. 2011 was a big year for her, no doubt.

Now, the humour. It's what I'm mixed on: as I said, it's very darkly comedic, with Daffy often being a downright manipulative sociopath, Lola an obsessed stalker and even Bugs a caffeine addict. Daffy loses very repeatedly (yet deservingly) an aside of being so dumb, selfish and melodramatic, it's pretty funny, can become tiring and intolerable at times, just like Lola. He also often does the worst kinds of things to Porky and uses him a lot (e.g. Lying to him about a kidney transplant and persuading him to give him all his savings, with which he buys And although he can be just a horrible person, the descriptions of his possible mental issues are pretty accurate, which signifies he was the BoJack Horseman before BoJack Horseman ever existed. The show still understands the characters well and ads a ton of adult-oriented parody and jokes that many people may like. The first season is definitely darker and edgier, while the second a bit more tame. Another parallel is that while the first season depicts Bugs repeatedly succeeding and Daffy always miserably failing, the second one depicts Daffy getting more on his own feet and enjoying some successes while it's Bugs who miserably fails more than him. I wish they went more into that stuff. And some of the comedy and episode structure can be really hilarious.

Overall, it's not that bad of a show and it's very underrated. I personally love dark comedy, I just don't expect it from Looney Tunes. I am actually quite happy it's getting more recognition now and I kinda hope it will get revived for a third season. But first there's Space Jam 2 to see. Don, I'm coming!