darkdaxtervc

Honestly, I think this is pretty much what would happen if a comet actually was headed towards Earth. Political affiliation might be different at the time, but corporations would definitely tip the scales.

I only give it a 9 because of the musical numbers and the husband's subplot. While believable, it was a little cliche. Still the ending was quite heartwarming.

These scenes are interesting, but honestly they deserved to be cut. They are completely unnecessary and would disrupt the flow/tone of the movie for the sake of brief cameos and bad jokes. All of the important missing content can already be inferred from the movie's subtext itself (aside from the schoolgirl outfit).

The only one that I could really see staying is the first half of the extended Baby Laxative scene (the short scene where he throws it would become unnecessary). The last two serve as a decent epilogue to the show, and I honestly would have preferred the Annie scene as an ending to the angel scene.

I can see fans of the show wanting these included. I absolutely hated the show, but I liked the movie as is.

The pilot starts out on a sour note. We're given an intriguing premise right out the gate, and introduced to the town of Twin Peaks. Each character is quickly given a unique trait that is meant to offer some comic relief but is also plot relevant.

Andy -- the cop who cries at the drop of a hat; a complete bumbling fool (you will oft question the veracity of his employment). Over time he is trained to be more proficient, but remains just as sense as his "secret" lover Lucy -- the shallow police clerk who over-explains everything needlessly, at times giving away evidence. She is only less eloquent than Major Briggs, whose monologues could only be for kindergartners. The lone wolf James and his "girlfriend" Donna make a completely inept pair, somehow able to copulate after Laura Palmer's death instantaneously. Donna tries to become cooler and fails miserably. Laura's mother has visions, and her father mental breakdowns until he becomes obsessed with dancing and singing.

Agent Cooper compulsively dictates his every thought and action, a modern day Holmes obsessed with life's simple pleasures. There is very little police work done in this show. Rather they eat donuts, drink coffee, and analyze dreams. All of the characters make consistently terrible decisions, choosing not to involve the police until the very end, only for the cops to bungle the opportunity. The Drinking age doesn't exist, and I am convinced that US law does not apply to Twin Peaks. Fans of cop dramas will weep at how they handle cases, suspects, interact with judges, break confidentiality, retain evidence gained through mystical woo, and fail time and again to protect witnesses. Why even waste a single cop on protection detail, when they could be having a lover's spat?

As absent as law is, so to is monogamy. The vast majority of the cast major and minor is involved in at least 2 or 3 romantic/emotional affairs at any given time. Despite this, every single one will fly into a jealous rage upon learning the truth. The drama is so cringey and characters so wooden and inorganic, that I spent most of the time praying for characters to finally die. It's not so cringey it's funny either; it tunnels right back around like the Oroborous.

I've seen a lot of reviews saying season 1 is better. Honestly the only reason for that is because of the whodunnit. All of these flaws exist in the second, and once the killer is caught halfway through, they become painfully bare. I can't really imagine this show being rushed either with it's dreadful pacing. I just wanted to say I finished it, but like most I was tempted to drop from the first episode. A lot of shows hit their stride later on, but this one collapsed at the starting gate and never recovered. There's a lot inconsistencies if you care to look, most obvious being how much character appearances change over the span of the first 12-16 days the first arc apparently takes place in. I'll conveniently overlook how many "teens" are shacking up with people at least 15 years older than them.

A list of bearable characters: 1. Cooper (How does the man who sees everything not see the letter under his bed for days?) 2. Harry (Why is he so comfortable working outside the law?) 3. Hawk 4. Pete (Grow a spine) 5. Josie, Shelly, and Audrey are hot enough to hold attention, although the latter two become wholly uninteresting in season 2.

Edit: My comments on the last 12 episodes. It seems that all the writers and actors took lessons for the last arc. The direction eschews a lot of the quirky, cheesiness at the heart of the first arc to present an actual crime drama. The worse characters become more bearable, the better less, and the result is a handful of mediocre episodes. Just as so many elements lack a satisfying payoff, the show tries to reclaim its roots and almost immediately corrupts its betterment. New minor characters like Denise keep things watchable, and the awfully written Windom moves the plot forward despite many new pitfalls. The final episode is a complete mess. It's not worth watching this show.

Season 1: 8 Season 2: 3.5

I enjoyed season 1. I found the cop duo super annoying. Eunice was too much of a bleeding heart, and Tira was too much of a jerk. Other than that season 1 was fine.

Season 2 starts out introducing us to Bonnie. In the first episode, I kept flip-flopping on whether or not I liked her character. The more I saw of her; the less I liked her. She spends 70% of the screen-time staring at James and Alyssa like a predator, and everyone makes consistently poor choices. Her backstory really destroys the Koch narrative. How are you going to prey on your living students for so long without a cop connecting the dots? The impression I got in season 1 was a psychologist exploiting, torturing, and killing his patients. Maybe I'm the only one. The sheer fact that the cops aren't contacted until the end is insanely annoying. Nothing is ever really followed up on either.

Episodes 2 and 3 and the very epilogue portrayed what I personally wanted to see in a second season. The first season can get away with the stilted dialogue because of the sheer emotional damage the MCs have suffered, but this same dialogue suffocates the second season. The whole time I was screaming, "Just talk to each other!". I thought James's letter was poorly written as well. All in all a disappointment.

So this movie is pretty terrible by all conventions. It's also weird to see how old all these people are now. But Lapkis does keep the movie interesting and lends it a strange charm. I wouldn't recommend it, but at the same time it has an endearing quality.

I love Bojack, and I like the cast. Their comment about hate-watching also intrigued me because I thought this was going to be a more serious feminist dialogue. I really don't know what I'm supposed to hate about this. Pretty much every element is grossly excessive, but that tendency is established immediately and feels in line with the show's world and sense of humor. I feel like this is just another case of people assuming how I think and feel. But I'm a socdem Egalitarian, not a far-right traditionalist... so yeah.

This show is boring. 90% of the jokes are outright strangled by poor timing and pacing. All of the characters are one-dimensional. When they want to introduce a new aspect to a character (like Pastry Pete for instance), the character just completely changes. There aren't any complex motivations, and there really isn't much character growth. It doesn't feel organic, but instead like an alien hijacked the character's body.

The main characters are intensely unlikable to me. Tuca is a terrible, selfish person. She hurts everyone around her and bullies Bertie throughout the show. For example, Tuca willingly sabotages Bertie's Yeast Week (what even is that btw), but Bertie still throws it all away to sit in a waiting room for her all night. I understand that having the wild friend is a well established trope, but apart from a few isolated moments there just isn't much chemistry. Tuca's relationship with her aunt makes no sense. Why would you talk so positively about someone you recognize is horrible to you?

Bertie is a spineless coward that NEVER speaks her mind. It's extremely frustrating watching her because her "attempts" at communication are downright pitiful. She consistently avoids and/or ghosts her boyfriend, even while having a strange sexually-charged affair-ish situation behind his back. I can relate to the spirit of her character, but that spirit isn't really conveyed in this show. I want to see more of her inner monologue and her past, but neither she nor Tuca is ever truly fleshed out.

The plot is all over the place. Tuca's antics really only serve to show how broken the world is. There aren't any rules. The laws of physics don't apply. Tuca is above the law, even though all of the damage she does is permanent. Despite being anthropomorphic, the characters have almost no connection to their animal representations, rather they can perform any number of fantastical feats (like separating a body part into it's own autonomous being). There aren't any consequences in this world.

Nothing of importance happens until episode 9, when they finally reveal that Bertie was molested. Despite building up the concept the whole episode, they completely gloss over it and never address it again. The confrontation with Pastry Pete is lackluster, and I really don't get his character or their relationship. On the one hand Bertie is fantasizing about him, and on the other his creepy nature understandably makes her uncomfortable. It seems like that's his entire character and just doesn't mesh well with his introduction in the pilot without any other information. It also begs the question why he's invading personal space in the first place, especially considering he never goes further. Bertie's behavior also clashes with her reaction to a single rude remark (which was honestly pretty tame). I think telling Dirk off, putting a pin in it, documenting her interactions with Dirk for a few days, and then approaching HR with the evidence would have been a far better approach.

The art is the only strong point of this show in my opinion. The voice acting and animation leave much to be desired. There is no world-building or character development. The best part of the show is when Speck finally unloads on Bertie, but she is quickly forgiven (even though he says he needs time). Bertie apparently becomes more confident but really only changes to a job she enjoys and is talented at. Tuca supposedly learns the importance of family, but the series cuts off beforehand.

This show seems more like an attempt to rile up "the enemy" than anything else, but it's that kind of thinking that drew me away from feminism and towards Egalitarianism in the first place. I understand that the skeptic movement has completely fallen apart with most of the remainders heading full left or right authoritarian (truly heartbreaking), but I like to imagine there's more Leftist libertarians like me out there. I think Bernie, Tulsi, and Yang brought that to light, and it's a shame we're still so misunderstood. Like manspreading was the dumbest thing here, but even that I didn't HATE. But as far as civil rights, I don't understand how people could think I'm against that. After all, I doubt many Bojack fans were far right. There's a lot of wasted potential here.

I can definitely see people being bored with this movie. I've seen a lot of movies like it that fail miserably and are relentlessly boring. This film is different. I liked ALL of the characters. They all carried a distinct persona despite limited screen-time and are very relatable. Each person is layered and genuine, none of whom are wholly good or bad. The humor is subtle yet gratifying and conflicts are handled maturely.

In a sense this movie connects all the disparate parts of the self: the quiet and anxious Abbi, the desperate showoff in Cera, the gloomy brooder in Ray, the arrogant insecure teen in Wendy, the insecure lovestruck teen in Melanie, and the passionate local "hero." Nothing feels forced or contrived. I can definitely see myself watching this many times in the future. I honestly didn't mind the lack of action and drama because I just wanted to sit with each character.

I can assure you I'm not a paid shill either. This movie isn't for everyone, but if you give it a chance I think you'll be pleasantly surprised.

I started out into the idea and enjoying how over the top the parents were. Then the baby came in and things took a turn for the worse. Once the nanny showed up, the whole thing was just ruined. The jokes got really old by then too.

Am I the only one disturbed by how Tim was treated in this movie? He got punished for his siblings antics by their parents. He mentions it once, and they drop the subject. No apology. The more he pulls away from the nanny, the worse she treats him. She assaults him while he's sad (with a pillow sure but still). To top everything off, the movie ends with him essentially learning that he's been useless to his siblings their whole life. The only time he's ever contributed is when he follows a Barnaby plan.

That's pretty atrocious for a kid's movie in my book. 1 star for Ricky Gervais and 1 star for the art.

I watched the first five episodes hoping it would eventually get better, thinking that there might be a more interesting guest on the table next. I must say that each episode is a downright chore to sit through. Something like this should be right up my alley, and when I saw Pendleton Ward's name and read the description I was thoroughly excited. Ever the cynic, I watched the trailer and had my hopes dashed immediately. Slogging through episodes has only strengthened my feelings.

One of the top and most extensive (and well-written) reviews here claimed that the animation is often metaphorical to the conversation. I must disagree completely. Sure there are very loose threads here and there, but it's more of a general theming (i.e. stoner ideologues are zombies for thinking weed is good, deer-dogs wax on death while going through a meat processing plant, a robot cat Fisher talks about Western spiritualism while bursting out of a larger version of himself), but aside from that theming the two are entirely unrelated.

Just what about giving an old witch (who milks crow teats to make potions out of her eyeballs) a child bomb, before slaying a pirouetting demon has ANYTHING AT ALL to do with listening and fostering a sense of community and compassion? I'll wait. Exactly nothing. Aside from that very loose theme in the setting of a knight questing to save her boyfriend in this dangerous and lonely world, the actual episode itself has nothing to do with the topic at all. They don't capitalize on this theming to enhance and explore the message either, it's just there.

As amazing as the artwork looks, the animation is terrible. I'm generally opposed to making this complaint, but I can't help but do so here. I watch a lot of anime and cartoons, generally shaking my head as elitists screech about dropped frames, cgi, and any cost-cutting measures by the respective studio at all. In my opinion, the story and characters far outway the graphical fidelity; I just want a passable product with an engaging world and characters. The Midnight Gospel has no real characters, and while it has a variety of imaginative worlds, neither of these concepts nor the overarching main plot have any depth at all. They are merely cardboard cutouts that attempt to distract you from the boring conversation.

And, oh boy, is the conversation boring. I don't understand how people consider this deep. I was one such stoner waxing philosophy for a time, and I can assure you that the conversations I had with my friends were more substantial than the drek presented here. This level of discussion is so basic that it's essentially two people completely blitzed out of their minds given a more extensive vocabulary. There's no real insight. There's no real passion.

Each speaker may have a tentative grasp on their subject, but they fail to convey that subject to an unfamiliar audience. The end result feels trippy (I've been there with other products) and mind-blowing, but that's because they are bloviating about, drowning the topic in endless jargon and unnecessary personal references, without ever getting at the true ESSENCE of it. Of course the end result feels profound and difficult to understand to the uninitiated. In reality a whole lot of talking is going on, but very little is being said.

In my case, I have no knowledge of the spiritual practices of Aleister Crowley or LeVayan Satanism. I find both quite interesting but never cared to delve into the topic myself. Therein lies the greatness of a podcast-- it can whet my appetite in a low-effort manner (on my part anyway). And yet I learned absolutely nothing of value from that episode. It actually made me not want to think about Crowley ever again because of how steeped the discussion was in literal psychobabble. The skeptic in me was screaming the whole time, 'Will someone please challenge the idea that you can crystallize your soul in solar energy and use it to reincarnate and astral project!' but alas my pleas went unanswered, hindering the discussion by keeping it disconnected from the real world. How else can those ideas be applied? What other interpretations are there? What use are these practices to a person uninterested in Nirvana? Exactly how are these practices different from intensive forms of meditation? What would you say to someone advocating for those instead? What is referenced by the word magic? Are there rites and spells? Do you hold sacrifices? Is this term merely for differentiation from Eastern practices? How does your magic differ from the various popular conceptions of magic? Not a single one of those questions is ever posed or answered. This episode barely even dipped its toe into something outlandish, and left me entirely disinterested and bored. It fails as an introduction to the topic and would cease to be relevant for a higher level discussion among those familiar.

I think this is indicative of their guest list as well. Up to this point they've all been pseudo-deep people making their living in the self-help grist mill. Dr. Drew alone made me cringe. If these are the most poignant discussions Duncan Trussel has in his podcast, I don't think I would enjoy chatting with him in person very much.

So I went into this expecting a cheesy romantic comedy, and it started out that way, before going full Lifetime- tv movie. We start with a generic shot of the boy, T. Despite having zero friends or any real social interaction after middle school, he has no problems whatsoever communicating with others. He calls one such former friend on a lark, revealing an extremely beautiful young woman with a seemingly perfect life. Fast forwarding through the boring parts, we hit the first two major stumbling blocks: 1) He insists she change her clothes off cam, and 2) He calls her "weird and desperate" when she starts to stripteasing him. So as everyone can now easily guess, turns out that despite being seemingly smitten with and flirting effortlessly with this girl for the first third of the movie-- surprise, surprise, T is gay. Not only that but in nowheresville, USA circa 2017 this is quite the tragedy. So we blind ourselves and pretend that even though he doesn't live in the Bible belt, most of his community probably doesn't care, and the entire media culture around homosexuality has been revolutionized, that somehow he's going through highschool 40 years ago. We will also excuse the rude behavior because he was bullied for being different and beat up once by his insecure crush's two jock friends; surely one of the most terrible tales of gay men suffering ever >_>

Fast forward a little more after a failed attempt at forcing T out of the closet, Maddie reveals that she was raped. Not just once or even a handful of times in the past, but that she is the ongoing victim of weekly perhaps even nightly incestual rape. Much like how the "lonely/ antisocial" T had no problems actually interacting with others (aside from low self-esteem), Maddie's life is one of the idyllic teenage girl. She's smart, popular, fit, extremely hard-working, etc. Thus far the extent of her inner demons has been a twinge of perfectionism, one night drinking too much, and that her shitty popular friends ditched her after that night. I know every victim deals with this differently, and that some can put up a very convincing front during or after the traumatic experiences, but am I alone in thinking that level of raw betrayal can't be scar-less? Where's the drug problems, the binge drinking, the eating disorder, the mood disorder, the personality disorder, a period of slipping grades, truancy, hypersexuality, cleptomania, extreme risk-taking, agoraphobia, trust issues, constantly going back to hang with the bad crowd, gambling, something, anything!?!?!?!?!? I just don't understand how I'm supposed to believe these extremely well adjusted people have experienced the levels of suffering they claim, especially her! Most of the time, bits of madness peak out when you start getting close to someone and peel back the layers, but there are no symptoms to be seen at all!

T goes on a road trip to save her after revealing that he was low-key suicidal in the beginning because of course by this movie's logic, and we get an extremely unsatisfying, anti-climactic, rushed ending.

I'm not trying to make light of the subject matter at all, I've had many friends deal with these problems. But as a young man from nowheresville, USA who watched his little sister go through an even more tolerant education, I do know that while bullies and bigots will always exist, gaybashing is quickly disappearing. Indeed, most of that pressure isn't coming from peers anymore, but religion, parents, and especially their own teenage insecurity. But the fact of the matter is that this movie is terrible. It was hastily thrown together as fodder to be propped up by virtue-signalling Twitter mobs as a realistic movie. And again while many suffer in silence, you can tell most of the time if you actually pay attention and get close to someone. I mean not even a stutter or a scar from cutting? You can't just put up a normal teenager and say their life is hell without somehow referencing how they changed it for the better. Who is actually supposed to relate to this? Just makes me angry and wish they were more human, more flawed. I can't see how a gay boy in Atlanta or an actual victim of incest wouldn't hate this movie.

I liked the idea of astral projection and how it fit into this movie, but beyond that this movie is pretty boring. All of the characters are one-dimensional and frustrating in their own respects. The art style, while interesting is one I've never found particularly beautiful. The best character is the villain, but his backstory is never revealed, and he is treated like a joke the entire time. It's actually pretty accurate, considering after his initial appearance, he's little more than a common thug. I feel like the original French voice acting would've been better (maybe enough for an extra star), but I doubt it could save the film. In the end, normal people will probably appreciate the loving family depicted, but for those like me, they will annoy the piss out of you.

There are some really good critiques here already, see Harsha's and Tributarystu's reviews, even Maurice's -- although I profoundly disagree with his political angle and see corporate Democrats as equally terrible for this country and this past election and Trump's presidency as the oligarchy unmasked. It's shocking and disgusting people because it's out of the background, but too many still refuse to peel beneath the veneer and actually turn towards populist ideals. That being said I do have a slightly different interpretation of this movie and its characters.

Our first real look is at Paul, and he is instantly unlikeable. Having been the scapegoat and black sheep in his family, a victim of cyclical child abuse; he is crass, cynical, and annoying. You question why Nina even stays with him. But he eventually won me over because I could see myself in him. Most people don't like living reflections of the darker recesses in the human psyche; we're off- putting and even upsetting at times, and when things get bad we must change everything about ourselves to suit society, not necessarily to heal ourselves but ease our loved ones. Growing up he looked upon Stan, the smooth-talking Golden child, with disdain, always claiming to support him but never actually there when the chips were down. Rather Stan comes around to ask favors and subtly remind Paul of the status quo and to just grow up. And now Paul's life is in shambles, he's agoraphobic, and no one respects him or his ideas at all, as he lives trapped inside the seething anger of a festering psychic wound. It's hard to leave the anger behind, and Paul is currently incapable of doing so.

We next focus on Stan who appears noble in this movie, and yet Paul still disdains his career choices. Knowing Stan's childhood, it's easy to assume that this bill is a passion project, a one-off of a guilty conscience. We don't really know whether he's a good person, just that he's a slick orator trying to do the right thing THIS time. Deep down he knows his own parental failures destroyed all three boy's lives and turned two of them into selfish monsters whom lack empathy for the meek and disenfranchised (Rick is practically a sociopath).

There are many parallels drawn between characters here. Paul and Claire both sick, dying, and portrayed as prejudicial. Paul definitely comes off as racist, but is he really? I think rather that he hates Beau because he is Beau, the difference being that Beau holds maternal affection and support. Claire and Kate on the other hand viciously demonize the poor and the homeless, stubbornly insisting that someone can be violent while lying on the ground (and enough so to warrant immolation).

My major gripe with this movie is that the characters, while portrayed as deep, really aren't very deep at all. Beneath their superficial exteriors are one-sided caricatures. After all, did Stan really take Micheal away for Paul's benefit, or just to put his brother down? The empathic nuanced Barbara isn't in this movie much for a reason.

Only 9 stars because there's a bit too much profanity for my taste, but rest assured every bit is poignant and hilarious. Where so many are quick to blame everyone else, he reminds us that we're all partly responsible for the tragedies in life. Definitely a must watch, in my opinion. I hope he releases more specials in the future, because I'd really like to see where he goes next!

I've always appreciated it when comics have chosen to open up their soul and put pieces of themselves into their acts; it makes the entire experience feel more genuine and relatable. This performance felt like the most fabricated, overly manicured drek I've ever seen. 90% of his act is watching him wiggle his hips and bat his eyes like the most effeminite little schoolgirl imaginable. I don't buy for a second that, 'This embarrassing thing totally just randomly happened during my heavily improvised Netflix special.' Your audience isn't stupid. We understand that comics memorize/rehearse, that many utilize plants/fluffers during recordings. It's like you looked at all the comedians doing well by getting personal in their bits and decided to manufacture a "hilarious autobiography" for the illiterate masses. Instead of connecting with you as a person, I felt like my intelligence was insulted. It's so carefully inoffensive that it offends, so over- processed that it feels wooden and empty. This belongs on a mediocre sitcom, not an arena. You had so many opportunities to craft good jokes and ever so daintly even touched upon them, but in trying to turn it in to a preschooler's storytime, you eroded any substance therein. 'Oh no, something almost kind of mildly offensive in 2017, SHOCKING! Oh my, this man acting as stereotypically homosexual as possible is in fact straight, HILARIOUS!"

Only it's not at all. Plenty of people weave similar material into witty and entertaining routines because they are legitimately poking fun at themselves. There's no real introspection or honesty here, just cold-hearted statistical analysis. Maybe it's just not my sense of humor, after all there has never been anything funny about a man in woman's clothing in my opinion, and that kind of joke has been a consistent staple in British comedies. To me it's just like a girl in a tuxedo; it just is. But I feel more like someone dictated their boring one-man-show to me in monotone and told me it was a supremely honest comedy act rather than the other way around. A zero out of ten through and through.

I hated the first Hostel 1 star, and this film is leagues worse in every aspect. If I could, I would gladly rate it 0. They simply dumbed the main characters down even more and gender swapped them. I thought the pornographic stuff in this first movie was excessive and irrelevant to the plot, but it was at least fun in its own way. Here they reduced any sense of eroticism to pure trashiness (there isn't a single sex scene in this or even much kissing), which begs the question, 'Why is it even in the movie at all?' Even the gore is severely downplayed here with almost all of the action taking place off screen or being shoddily done.

One of the few good points of the first film was the believability in the kidnapping and general functioning of a kill club. Now it's somehow an international criminal syndicate with it's dark tendrils in the recesses and pockets of every corner of society (cue the evil laugh). If that were the case, why even bother hiding the club away? They might as well just kidnap people in broad daylight... Which they practically do in this film. I guess drugging people and spiriting them away was too easy, because they forcefully kidnap and restrain each victim here. And then they auction them off. So much for the anonymity. So much easier to torture people when you know their names. So much easier to hide your activities when you leave a paper trail...

The kill club worked in the first movie. They didn't show any sort of organizational hierarchy, only goons and scouters. Each client showed up, paid a lump sum in cash, and were presented with a body and a shed's worth of tools. This kept victims expendable. If you promise a specific person, then you have to maintain the merchandise. The rooms were smaller and grittier. It felt almost like a dungeon, but here it feels more like Dracula's cathedral. Not to mention the clients themselves were interesting in the first, but here they aren't compelling at all. It's always disappointing when an artist crafts something, and then destroys a piece of it you thought they understood perfectly in a sequel.

I had to force myself to sit through this abortion, watching it in three parts. I mean, seriously, how is the intro even longer and blander? How is there even less action overall? I guess we're putting on kid gloves for the girls because we're supposed to be extra horrified. Anything you thought was done well in the first was lost in translation, and all of it's flaws were amplified tenfold. Don't even bother.

Everyone else has already mentioned the drawn out intro, the lack of character development, the bland characters, and the senseless plot. I will not continue to harp on those points. What really took me out of this movie within it's meatier bits are the stupid antics of the survivor. Movies are no stranger to the idea of someone surviving massive blood loss, but most make some attempt to couch this in reality (unless it's the villain), and normally I wouldn't much care. This movie shoves it in your face.

He has his hand sliced open with a chainsaw (not to mention the other wounds), and at no point does he bandage or cauterize or even disinfect the wound in some way. The entire time I was waiting for him to at least get dizzy from it, but he runs around the rest of the film completely fine. He winces when he puts on gloves, but that's about it. And he can't even curl his "missing" fingers into the palm in later scenes.

He miraculously makes it to a car undetected, but then runs back to save Kana, only to cut off her detached eye. A) Going back in was a ridiculous decision, and it makes no sense that they got out again just as easily. B) A doctor could have saved the eye as long as the optic nerve wasn't severed, you idiot! But it's fine because they somehow miraculously run over the scouters, only to ditch the car instead of having a car chase. Like hmm, maybe a hospital or a police precinct in another town would be a good idea? At least when you hit Germany, I mean, sepsis, anyone? But no, revenge!

Even though her injuries aren't that bad, Kana kills herself, and yet the train keeps running. Even if the city was completely lawless, police would've stopped the train at least long enough to identify the body. I mean someone's got to clean it up. Can't be driving a bloody train over country lines.

This film asks you to suspend your disbelief over and over throughout, and while I normally have a large tolerance for that, but this is ridiculous. Not in an over-the-top fun thrill ride sort of way, but in a nagging, 'You are watching a terrible fake movie,' sort of way. The more I think about it, the lower the rating gets!

This movie had an interesting premise, and I appreciated the atmosphere it built. I also appreciated how faithful they were in showing survival techniques, and the minimalist approach they took to the film. But I can't help but feel very bored by this movie. We know exactly how things will end when the other two characters (finally) make it on screen, and they drag this out perpetually. Despite everything he does for them, the mother insists on stealing and trying to force her daughter to kill him, so they can take the farm for themselves (even after he saves Milja from being raped). I wanted them to just make a decision and kill someone, but they refuse to until almost the end. Thankfully they make the right choice, but even this comes much too late.

When we finally see some action and the farm is raided a second time, they only manage to kill three people. I have to wonder how he survived so long without at least trapping the perimeter. The ending is unsatisfactory and begs the question why they didn't consider larger communities before, if the mother was indeed so concerned for her daughter's health and well-being.

There are way too many artistic shots that serve no real purpose other than to make another character naked. The subsistence farming/foraging is all shown in the first 45 minutes, so seeing it again and again throughout the movie serves no purpose other than to drag out the film. The severe lack of dialogue or even any real story to pass the time ends up making the entire movie choke itself in its own claustrophobic melancholy, but even this isn't very compelling so much as it is autoerotic asphyxiation. This movie and its fans are a little too full of themselves. I appreciate what it was trying to accomplish, but it could've been done far better. Or at least been given a shorter run- time.

It's absolutely true that the writers and producers destroyed the original concept of the movie, creating something that most fans hesitate to even call part of the franchise. However, in doing so I feel they've actually done something great.

I really enjoyed the character-driven first trilogy, feeling that the second trilogy that focused more on the killers was only mediocre. I always hated Hoffman's character, as he is a poor substitute for Jigsaw. Despite the praise the 6th installment gets, I felt it was the worst yet. Hoffman can't act. He has no charisma or likability. Here, they've unintentionally redeemed his character. He barely acts at all, instead only doing the one thing he's good at: killing everything. Essentially this forces a pretty plausible arc onto the previous films of Hoffman's decline. It's always been about the brutality with him, not the message, and here he's finally been untethered. He let's go of moral superiority and merely kills the people he doesn't like, forcing them to play nearly unwinnable games, so that when the victims waste those precious seconds panicking, he can still delude himself with the idea he's following Jigsaw's rules. Only he isn't at all.

The opening scene is a great example of this. I hated it at first (and I still hate how the crowd acts) because he's sentencing teens to death for adultery. The Bobby Dagen game makes no sense either. Technically he's spreading Jigsaw's message to the masses, so there's no reason for Jigsaw to test him. Both of these scenes have nothing to do with Jigsaw. Mark Hoffman merely doesn't like these people, so he's going to kill them. After all, he controls the games now.

This is also the only movie the cops have been smart in (apart from the final spree). They stay in constant contact, calling (and waiting for) backup wherever they go. They aren't standing in a room with a man they suspect to be a serial killer completely defenseless. They didn't invent a way to throw out the former evidence and explain why Hoffman is totally not a suspect anymore. They only really make stupid mistakes during the final killing spree.

And at the end, the inferior Jigsaw is dethroned for having an impure vision. The terrible actress that played his wife is dead. If there was a character you hated, rest assured they are dead too. Everyone is pretty much dead. There's an awesome kind of finality to it. A cleaning of the slate.

Everyone else has already adequately pointed out the flaws in this movie and where they came from. I merely propose that this is the best resolution possible for Hoffman's character: to go out in a blaze of death and gore. When you look at the movie that way, instead of just as a Saw movie, but as a Saw gone haywire correcting itself movie, it's actually pretty good. Despite the numerous plot holes.

First off I must say I really enjoyed this movie and the inventive the props and costumes, as well as all the classic horror/thriller homages, and nerdy cultural references (I mean the whole magician seen looked like they took people from Comic Con, and many people in this movie make stuff for conventions like it).

Razor starts out as a humble soldier hired into an elite gang of mercenaries (The Wolf Pack) protecting/serving a prestigious government official in a post-apocalyptic Spain. This government official seeks to trade the new Satanic Messiah's corpse to a powerful Archdemon in exchange for power. He breaks the rules for negotiating with demons, showing disrespect and angering him, resulting in his own death and almost the entire wolf pack, save Cortes 'The Wolf' himself (saved by Fulconi's magic, essentially playing possum) and Razor, who naively makes the deal instead. The Archdemon gives Razor demonic power by marring his flesh (similar to the Messiah), but in the process this warps his mind and personality. Razor begins calling himself Razorback and begins a bloody coup, taking almost complete control of Spain, leaving his pregnant wife, Lisa, at home. Mimicking his own ritual, Razorback has cursed his best soldiers (which is why they also have white eyes). The official's wife and a rebel squadron kidnap Lisa with the plan of forcing Razorback's hand.

After month's of torture (and a miscarriage), it becomes clear that Razorback no longer cares for her, so their best assassin Arteeka trains Lisa with the promise of revenge against her ex-husband. She becomes Shabira (a sexy bondage ninja), and while trying to infiltrate Razorback's training compound assists in killing Ursula (his second-in- command). Upon seeing the box's marking on a rebel, Razorback becomes curious and eventually discovers the truth: That the Messiah's corpse will eventually be reborn in Hell, giving the Archdemon immense power, and allowing him to freely crossover and rule the world. The time he has left is represented by the dual helix blood hourglass. Furious, Razorback hunts down every magician he can find and orders them to slow or reverse the process. Unfortunately, they only speed it up (he is pained at each incremental drain of life force), so he executes them all.

He then changes tactics, building up arms, and seeking to summon the demon again before he reaches full power, and to kill him first. Thus he targets Falconi and puts up a random. Cortes' goons find Falconi in the slums, and he narrowly escapes capture, teleporting himself and Rebecca to the middle of nowhere. It is here he describes how she came to be. She is actually the Archangel Azazel, who came down to conquer Earth. When the Messiah made the original pact with the devil, he gave their magic to humans and used it to imprison her, as she was too powerful to kill at the time (decimating her legion afterwards). Razorback freed her, cut off her wings, surgically wiped her mind, and created three autonomous clones of her (claiming she was one as well).

Falconi tries to contact the rebels and stop Razorback's plan but ends up getting turned over instead, and the entire rebel faction is wiped out. Razorback summons the Archdemon, only to have his demonic powers taken away and the demon-hybrid soldiers revolt. Most of his forces die as well (including Kato), leaving Rebecca to fight the demon. Her powers gradually awaken, leading the demon to go Super Saiyan and a fight straight out of your favorite fighting game. Rebecca regains her memories and is about to kill everyone else, when her schoolgirl clone stops her. This reminds Azazel of her kindred angels (and Rebecca's kindred droids), but is a trap to kill her before she finishes regrowing her wings and regaining her power.

I don't know why people had such a hard time following this, quite honestly. I only rate it a 9 because it was a bit melodramatic, and there wasn't enough magic. Regardless how you feel about the movie, I think we can all agree that Caro Angus is one of the sexiest beings on the planet.

Like most reviwers, I was thoroughly confused by the end of the film and decided to watch it again. I still found it entertaining, and kept looking for clues and symbolism and have come up with a hypothesis.

First answering some of their questions. In the break room scene before lockdown, they are heating coffee up not making it. Darby could not just stand up because he had no leverage; he kicks the chair away and stands after they remove the duct tape. He was also unconscious from his head wound till they found him. Going by the information on the screen windows, all of these children are "wards of the state," in short orphans. Some have deceased parents or no parents at all. Jenny's virtual apartment is in Los Angeles, so it's reasonable to assume the bunker is there too (also going by the pop-ups). Or at the very least it's in the United States. They could not leave past the burning man (who is actually the guy checking the "elevator camera") because the door was still locked. Lastly, in Darby's death scene, the children are holding him down not hitting him. It still looks like they aren't using any force at all, but it's at least somewhat more plausible.

On to my hypothesis. I think the major problem in the writing/directing is that everything is rushed. There is no distinct time marker between various days, but I suspect they spent a decent amount of time underground (probably a couple weeks to a month). They tried to squeeze too much into the movie and ended up with an inferior product. For example, I feel that Tiggs is a reference to Antigone, or at least her name alone ("worthy of one's parents"), and Darby of John Nelson Darby one of the fathers of dispensationalism (the idea that God tests us differently throughout each period).

The opening scene makes more sense if you accept the following assumption, Jenny is an orphan sent to this place back in 1980/90 (then the surroundings make sense), after essentially leading a murderer (her mother) to her father. I expect the VR room is the real exit and one of the ways to win (She would never leave if she visited her mother). The hidden portion of the bunker gives Jenny the transport experience and leads to the elevator. I believe Darby isn't real at all, rather he is a manifestation of her father that she continuously leads to his "death." Tiggs is her mother, whom she stubbornly trusts until everything is taken away (and who supposedly dies in a cell somewhere).

The main problem here is that she shakes Tigg's hand and hugs Nina, something outside the scope of visual hallucination. Whether these are just strong suggestions or actors remains to be seen. But I suspect that at least part of Tigg's scenes aren't real either as we see her throat slit on one side of the air vent, and her dragged away on the other. The other way to win would be to actually follow the rules and not touch or interact with the children (people who do so are removed). As for why they punished her, I think she was probably one of the first students back in the 80's. Having failed and with smarter minds and new technology, she was an easy target for ridicule. The psychic communication allowed them to read Jenny's mind and discover her secret, demonizing her further. They bullied her more and more until finally taking control of the facility, wherein they delight in torturing her. After all, if she was smart enough, she (an adult) would pass the test!

The most frustrating thing about this movie is that no one checks visual irregularities with their hands or ever takes off their visors. With a longer run-time or tighter focus, this movie could've been a lot better.

P.S. There's also the possibility that each time there is a new real "Darby" and that she is literally sentencing someone to die each cycle.

First of all, I must say I really enjoyed this movie. This is a very good character study, and this movie builds tension and suspense quite masterfully. My major problem with it is that starting from the bar scene most of her actions make no sense. There's clearly an increased potential for danger in the dead of night during a blackout, so why she so stubbornly refused the accompaniment home is strange. I get that she felt rejected after being so forward with Benny, but he didn't exactly say no to sex, so much as 'let's call it a night.' The night would've ended the same way if he'd said yes anyways. She was obviously way too drunk to be by herself too. In this case, while his actions are creepy, in a way he did the right thing by making sure she got home okay. The scene where she's talking to herself doesn't make sense without context. Is she schizophrenic? Was that the pill she was spit out? If so, why smoke weed to make the hallucinations even worse?

Throughout she continuously leaves the door unlocked, often locking it only after something weird happens. She keeps the window to the fire escape open, and keeps leaving the room to peer into the darkness, away from the safety of her home. She even abandons her flashlight because she can't see the bottom three stairs. The entire scene on the fire escape is stupid. It's like she's intentionally making herself as vulnerable as possible. Also, how does a grown woman not understand power outages? She let out all the cold air in her fridge and tried to connect to the internet.

I do like the ending, and her realization of events. I find her fear and disgust for her male neighbor realistic and saddening. Only in the end does she laugh and realize how similar they were. It gets a 6.5 from me.

P.S. I didn't see any undercurrents alluding to rape, but maybe I missed them. Any past trauma could've led to her behavior, so I'm leaning towards abuse. I just saw it all as depression and self-harming.

I have to completely disagree with the other reviewer. I went into this thinking it would be pretty bad and ended up enjoying it. It's definitely cliché and certain scenes are annoying (the entire ending pretty much), but it's definitely worth a watch. First of all, the male lead is not supposed to be likable, you're only supposed to relate to him in whatever small way. That's why they establish what an @$$hole he is right from the get go. Second, I didn't find the humor forced at all, definitely over the top but not forced. I enjoyed all the references and memes, right down to the gifs in the credits, so maybe we just have different senses of humor. I didn't mind the video game scenes, aside from the Ragnarok tournament at the end (which made no sense to me). All in all, if the male lead hadn't been a jealous idiot (and had kissed her the first time), and if they had teamed up at the end, and if they found a more clever way to get their accounts back, this could have been a great movie. Instead it's you're typical indie fare. My rating is a bit generous out of enjoyment, but this should definitely not be a 2 in my eyes.

Also, what's with the English title? "Life is not a bonus level" fits much better.

I don't understand why people are rating this so highly. All of the characters are absurdly stupid and uninterested, aside from the homeless man. Time and again, he proves to be the most intelligent, the most helpful, and the most compassionate of the lot despite being crazy. They made countless bad decisions, every single one obviously made to force the plot in a direction. They should have shot Trini right away. All she ever did was cause problems and make things go from bad to worse. Instead they tried to redeem her character: a waste of time in my opinion. Every person is cliché, and unless you count unintentional humor, this movie was not funny at all. They all deserved to die. I'm happy the hot girl survived, but the homeless man should have too. Also that's not how Ebola spreads, so the whole pandemic and militarized quarantine made no sense.

P.S. Nacho is one hands guy. Every single time was creepy and made me hate him more. If she had so much as slapped him once, it would've made the movie better. But I guess it's only bad when homeless guys smell your hair apparently.

This is definitely a grisly documentary series that shows very fundamental flaws in the way police investigate cases and the way courts try them. Very few officers, prosecutors, and even judges come off as anything but reprehensible filth and the evidence for innocence is overwhelming in all but two cases.

The first is in the case of arson. In all this time, the defense failed to offer up any sort of plausible explanation aside from suicide. Their only hint towards this is that she was a "troubled youth who got involved with the wrong crowd and started experimenting with drugs," a statement that describes the vast majority of teenagers worldwide. They couldn't even remove the mother from the scene of the crime, stating only that she loved her daughter. Immolation is one of if not the most brutal method of suicide there is and just makes no sense to me considering the absence of self-harm or suicidal behavior prior to the event. They try to establish that her chin wasn't burned because she lit the match, something equally explained by nocturnal shifting in response to smoke inhalation. Especially given the past abuse, I'd say she's still the most likely suspect in spite of the forced confession and mishandling of the case. After all it's hard to explain closing the door or the fact that she suffocated to death otherwise. And just because she believed in her innocence and was forced to confess does not mean that she didn't go crazy and block the experience out. The defense definitely dragged their feet here.

The final case with the car as well is extremely suspect, and aside from the moronic judge and the parasitic media, I didn't really come off hating the cops here. They gave him so many legitimate outs and he just dug his own grave. If a cop is telling you to leave and get a lawyer, you probably should. He didn't get a fair trial to be sure, but aside from serving time in a psych ward, I think the right person went down for the crime.

There is very little good to say about this movie. None of the characters are likable, and only two characters in this movie can act (nerdy friend and bad guy (albeit over the top at times)). A ton of nonsensical absolutely horrible choices that don't make any sense. The girl's character doesn't even seem real to me. You just happened to fall in with a dangerous drug dealer? Really? And then decided it was a good idea to cheat on him. Really? And then keep the bastard baby even after the adulterer is dead. Really? After he literally just killed your paraplegic dog? (Freaking awesome scene by the way)... Really? And then to ask a complete stranger to kill him for you? How am I supposed to feel bad for this person? To some extent they made intentionally terrible choices. I could see a girl trying to convince a new romantic fling to kill her current lover... But a stranger... At the dinner table? A character that stupid deserves to die at the hands of a hyper-masculine mongoloid who randomly picks up a Southern accent at times. Skip this movie.