Reviews

Of how absurdly inflated - and in rapid decline - Hollywood was at approach of the new millennium. Trashing through feebly understood Russian literature, whipping the living dignity out of non-existing dialogue. A not-even concealed vehicle for male "actors" with hairy muscle chests and no talent, who moved on to haunt us with the same hollow trashing to this day.

Submerged historians will potentially include this parenthesis as a clear sign that the US of A's vice like grip on massproduced media fodder, was reaching a decline simultaneously to losing its mind structurally. If there ever was a perfect show symptomatic to the ongoing mindnumb-apocalypse of the very cultural region it was depicting - it still wouldn't surpass Boo B. In this endeavour.

All movies of this genre come from an "as you desire"-mill of lackluster productions. Barely connected to anything Swedish, they're only goal is to serve as a vehicle for actors who simple cannot find other work, while also filling coffers with coins from people who believe every tired trope and fabricated stereotype imaginable. Call it a knee-slapper, call it a crazy flic, but don't worry - if you had better thoughts of Sweden's capacity for wit and script your dreams may stay intact.

What were the writers and actors ever hoping to accomplish with this cringe nonsense? Ignorant and hapless, each episode seems to with the next at undoing all the good that brave forces in entertainment and society have constructed and established since the late 1900s. By absurdly pretending that diversity in ethics is anything but good for women's sexuality and identity, this awkward- dialogue driven mess ends up ridiculing women more than most who have actually reached for that very goal.

With this crap fête, the 1990's most self-involved celebrity gave himself his fifth sports' related title. Unfathomably bad script and directing. Don't do this damage to yourself - and rejoice that Hollywood almost doesn't allow this anymore.

If this chronicle was called "Only how it started, then we gloss over the rest and lie about the end" or "The 80's, then we got tired, lazy and didn't actually finish this story" all would have been fine.

NB: there's nothing about the 90's in here, which is when the major impacts and 50% of all MTV's world impact formation is deployed. And the narration abruptly ends with "then youtube came around and we weren't needed anymore" - a gigantic fabrication since youtube appeared nearly a decade after MTV stopped showing music.

A US citizen watching may find it very difficult to perceive how much effort has gone into making sure Everyone Else comes off as Scary Bad Nations while The States modestly admit to some The End Justifies Our Means-garbage TV. Avoid this show unless you like imperial brainswashing.

This film only comes through as an attempt from a sup-par film maker trying to use lauded and seasonen actors to get Big Industry attention. An education in writing and directing is supposed to prove you know better. The editing - including the 1990:s fad 'cold opening' - is drenched in feeble high-school entry level garbage water. Yet another Swedish, painstakingly Hollywood horny wannabe 'auteur' copy-pasting tedious North American narratives, to no value or suprise.

Every brilliant actor did the director the hugest of favors, to the movie universe loss.

Neelix really is one unsavoury character from start to end. Or, as one might say from a mentally sane standpoint, a violent emotional abuser and repeated aggressor. Because of production trying to shuffle his many crimes and trangressions around, this episode ended up back to back with another containing his absolutely psychotic behaviour. Enjoy - or watch an informational film on how to save friend from a toxic, physically threatening relationship.

The 90's really suffered from fillers due to the archaic format of 20 episodes seasons. And, the notion that jealousy is a necessary spice of life when it actually is a repugnant condition that needs treatment. Any anomaly could obviously suffice as framework for a plot entertaining mental abuse.

Why would you comically call someone 'Jack Bruno' every time you have dialogue, when you evidently know the the distinction between first and last name, and yours is Sara and you don't do this when speaking to your brother Seth? Far from the worst Disney children action movies - excellent acting from everyone involved indeed - yet far from the more thought-through scripts.

And what you get is guns, guns, guns and some high heels and mutants of perfectly fine intelligence making the least intelligent or logic decisions in tedious 'battles'. With a dash of pandering sentimentals - and fistfuls of preg.nant. pause. s. in. every. (predictable) dialogue.

1999 called and want this script, dialogue and inflated purpose back, to trash them along everything else that 1991 instigated.

A film that minutes in unwittingly reveals how every word and scene will be nothing but pretend clever, constantly mocking the themes it claims to "uphold". A film that ridicules everything of substance beyond the US grasp of "reality", while sacrificing anything woman at the altar of story. Harassments and attempted assault are blaimed on the female lead herself - by her own words, no less. This one can not be blamed for "its time" - it is a blatant failure of script and purpose, which the reviews of its time also lamented. Reviews from outside the US publicity machine, that ia.

Good grief the term "struggling actor" needs redefining! Characters are shining in the dark, the dark being this 4-page script. The actors are not payed enough - the writers too much. Cheap stabs are galore; the Snowpiercer is its own analogy for a shallow story that struggles with momentum.

A pandering sequel to an already pandering tirade of christian superiority? No thank you. File shared out of generosity and modern thinking, blessed by the director? No, a publicity stunt for cyber-missionaries. Avoid at all costs. Indulge in real philosophy and ethics instead.

What could have been great is yet again destroyed by tired, worn-out christian regurgitation. All other spiritual and philosophic perspectives are kept as amusing pets. This is not a sci-fi marvel, this is not a mindboggling masterpiece. This is torrid affair between humanity and christian Hollywood number umptieth million.

The visuals suffer greatly from the curse of good looking straight men being encouraged to take on gay parts. Slight redemption rests on the shoulders of the adult actors and down to earth story.

4 minutes of story dragged out for 2 hours. Abhorrent jokes about 17-year old girls being valid for plucking, then boys screaming about who has the bigger sword - then nothing of the Ni no Kuni world, no exploration of the realm, no adventure, no substance. Just formula jammering, formula villain, formula formula, then the end. Avoid at all cost if you are a fan of Ni no Kuni. Avoid at all cost if you aren't.

Who learns anything about reading or lettering, from jumping around and filibuster cringe rapping? This light show is all smoke and mirrors and no experience. Never gets to any point, never fills with anything but filler. Zero education/edutainment, just Vanilla Ice:ing seasoned with white guilt extras and complete lack of support for the child mind. Expose your child to actually stimulance or accept the blame for them falling behind in life.

Portraying sexual abuse is nowhere near the same thing as problematizing or even fighting it. Who needs this show? Why does this show go to such great lengths of depicting reduced, abused, dehumanized, hapless, helpless, tortured, raped and trembling, animalized women - if it isn't going to also do something about it? This isn't eye opening, this isn't a talk piece or a questioning of anything. This show is pure fear propaganda aimed at demoralizing both women and men to no meaningful end.

Clarity combined with competence is a treasured commodity by 2019. The inclusion of Reza Aslan adds to any and all credibility in this production, showing insight and courage in the field that concern global destruction of societies and families.

A brilliant time for anyone who appreciates the richness of Show, Don't Tell. A story told in dialogue that says the inbetween rather than on-the-nose. A movie asking the actors and interactions to be observed to, rather than catering to box office goers' need to feel smart. A tender visit to a pivotal time for a gallery of people deployed in a obnoxious graveyard of United States' imperialism. A compelling movie, painfully displaying lovely bonds, to an honest backdrop of shameful disregard.