him090296
A rejoint le juil. 2020
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Avis67
Note de him090296
The Penguin (2024) certainly raised the bar for HBO's recent output. While not without its flaws, this lavishly produced mini-series is a compelling exploration of the iconic villain.
Initially, I was sceptical. Could Oswald Cobblepot, entertaining as he was in The Batman, truly carry an entire series? Thankfully, he did. This show delves deep into his psyche, revealing a complex character driven by desperation and a twisted ambition. Colin Farrell's transformative performance is truly remarkable, and the supporting cast, particularly the enigmatic Vic, delivers strong performances.
The production values are undeniably top-notch. From the stunning cinematography and opulent sets to the exquisite costumes, every detail is meticulously crafted. The script boasts some sharp dialogue and offers intriguing character arcs, though certain plot points feel overly contrived. Oswald's deceptions, while entertaining, stretch credulity at times, and it's difficult to believe that even in the cutthroat world of Gotham, everyone would fall for his schemes so easily.
The series begins with a strong foundation, with each episode building upon the intricate web of relationships and escalating tension. However, the narrative falters towards the end, with several plot points feeling unnecessary and even illogical. The abrupt demise of Vic, a character who was instrumental in Oswald's rise, felt particularly jarring and ultimately undermined the emotional impact of the story.
Sophia Falcone, while captivatingly portrayed, is a frustratingly underdeveloped character. The show portrays her as a victim of her father's machinations rather than an active participant in his criminal empire, ignoring the privileges she enjoyed and the complicity she undoubtedly shared. Her sudden concern for justice rings hollow, given her own ruthless actions.
Furthermore, the series often falls into the trap of absolving women of responsibility while holding men entirely culpable. This simplistic portrayal of gender dynamics within the criminal underworld feels both contrived and inaccurate.
Despite these shortcomings, The Penguin remains an engaging and visually spectacular series. It offers a fresh perspective on the iconic villain, showcasing his vulnerability and exploring the complexities of his motivations. While it may not reach the heights of true greatness, it serves as a reminder of the power of strong performances and high-quality production in elevating even the most familiar of stories.
However, it's difficult to ignore the sense that the series' potential was ultimately squandered. The narrative, while initially promising, descended into absurdity, with illogical plot twists and underdeveloped characters. One can't help but feel that with such a talented cast and crew, the final product could have been truly exceptional.
Initially, I was sceptical. Could Oswald Cobblepot, entertaining as he was in The Batman, truly carry an entire series? Thankfully, he did. This show delves deep into his psyche, revealing a complex character driven by desperation and a twisted ambition. Colin Farrell's transformative performance is truly remarkable, and the supporting cast, particularly the enigmatic Vic, delivers strong performances.
The production values are undeniably top-notch. From the stunning cinematography and opulent sets to the exquisite costumes, every detail is meticulously crafted. The script boasts some sharp dialogue and offers intriguing character arcs, though certain plot points feel overly contrived. Oswald's deceptions, while entertaining, stretch credulity at times, and it's difficult to believe that even in the cutthroat world of Gotham, everyone would fall for his schemes so easily.
The series begins with a strong foundation, with each episode building upon the intricate web of relationships and escalating tension. However, the narrative falters towards the end, with several plot points feeling unnecessary and even illogical. The abrupt demise of Vic, a character who was instrumental in Oswald's rise, felt particularly jarring and ultimately undermined the emotional impact of the story.
Sophia Falcone, while captivatingly portrayed, is a frustratingly underdeveloped character. The show portrays her as a victim of her father's machinations rather than an active participant in his criminal empire, ignoring the privileges she enjoyed and the complicity she undoubtedly shared. Her sudden concern for justice rings hollow, given her own ruthless actions.
Furthermore, the series often falls into the trap of absolving women of responsibility while holding men entirely culpable. This simplistic portrayal of gender dynamics within the criminal underworld feels both contrived and inaccurate.
Despite these shortcomings, The Penguin remains an engaging and visually spectacular series. It offers a fresh perspective on the iconic villain, showcasing his vulnerability and exploring the complexities of his motivations. While it may not reach the heights of true greatness, it serves as a reminder of the power of strong performances and high-quality production in elevating even the most familiar of stories.
However, it's difficult to ignore the sense that the series' potential was ultimately squandered. The narrative, while initially promising, descended into absurdity, with illogical plot twists and underdeveloped characters. One can't help but feel that with such a talented cast and crew, the final product could have been truly exceptional.
While Blade Runner 2049 boasts a visually stunning world and a high IMDB rating, it fails to capture the magic and depth of its predecessor. The film, unfortunately, is a hollow shell, devoid of the compelling narrative and emotional resonance that made the original a cinematic masterpiece.
The pacing is sluggish, with scenes dragging on unnecessarily. The plot twists, while executed well, are not enough to salvage the overall experience. The film's thematic exploration of humanity and identity, while intriguing, is hampered by unexplained plot points and unanswered questions.
The original Blade Runner was a product of its time, a bold and innovative vision that pushed the boundaries of cinema. It was a raw and gritty exploration of existentialism, wrapped in a stunning dystopian aesthetic. Blade Runner 2049, on the other hand, feels like a corporate product, meticulously crafted but lacking soul.
It's a film that prioritises style over substance, offering a visually impressive but emotionally shallow experience. Despite its lengthy runtime, it fails to leave a lasting impression, unlike its predecessor.
In conclusion, Blade Runner 2049 is a disappointing sequel that struggles to live up to the legacy of its iconic predecessor. While it may appeal to casual viewers, it's unlikely to satisfy fans of the original.
The pacing is sluggish, with scenes dragging on unnecessarily. The plot twists, while executed well, are not enough to salvage the overall experience. The film's thematic exploration of humanity and identity, while intriguing, is hampered by unexplained plot points and unanswered questions.
The original Blade Runner was a product of its time, a bold and innovative vision that pushed the boundaries of cinema. It was a raw and gritty exploration of existentialism, wrapped in a stunning dystopian aesthetic. Blade Runner 2049, on the other hand, feels like a corporate product, meticulously crafted but lacking soul.
It's a film that prioritises style over substance, offering a visually impressive but emotionally shallow experience. Despite its lengthy runtime, it fails to leave a lasting impression, unlike its predecessor.
In conclusion, Blade Runner 2049 is a disappointing sequel that struggles to live up to the legacy of its iconic predecessor. While it may appeal to casual viewers, it's unlikely to satisfy fans of the original.
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