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There are some good character moments throughout, like Eastwood’s utter inability to have a conversation with Adams about anything other than baseball. An insider’s look at the baseball scouting process and interactions between scouts and the front office is mildly diverting, and the character beats are marginally intriguing, but the film, much like the young man being scouted, fails to deliver on its potential. The trouble with the film is its ending: contrived to the point of absurdity, the populist notion that a kid who’s never played on a baseball team can strike out a slugger at the top of the draft class is reassuring and heartwarming, but utterly ludicrous. Adams’ decision to leave behind a promising career in law to follow in daddy’s footsteps is also oversimplified and overly idealistic. It’s just another populist climax for viewers who get off on that type of roses and rainbows ending. Also, and not that a film must always tie up all of its loose ends, but we never learn if Eastwood undergoes eye surgery or if he decides to stay with the game or retire. With the film’s pedigree I expected a lot more from it; maybe not Field of Dreams (1989) but perhaps something comparable to The Rookie (2002). Unfortunately, this film isn’t as magical as the former or as inspirational as the latter. Trouble has a few solid innings, but strikes out in the end. It’s as if the word Oscar is subliminally inscribed onto each individual frame of the film. As the movie languidly rolls along, all you see is Oscar. scar. scar. Whether or not the film’s formidable array of talent and production values translates into actual statuettes remains to be seen, but a more obvious example of Oscar bait you’re not likely to find. Paul Thomas Anderson’s direction is utterly mesmerizing, aided in subtle yet profound ways by Mihai Malaimare Jr. s sumptuous cinematography. Philip Seymour Hoffman is typically terrific as a charismatic cult leader and Joaquin Phoenix is masterfully magnetic as an aimless, restless lush—he’s taken his performance as Johnny Cash in Walk the Line (2005) and slathered on new layers of physical ticks and mental neuroses. Amy Adams is effective in her role but there isn’t as much meat on the bone here as there was in her last outing with Hoffman in the dramatically taut Doubt (2008).

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Don't think that would happen and the reaction would be enormous. I kind of don't want him to align with Danerys, because everything in this damn story falls into her lap so perfectly. Dragon's aren't the best weapon to use in an internal revolt, too much collateral damage, so why the need to release them. A brunette who seems to be a follower of the Red God, the same faith that Milesandre has. I gotta sign up for this religion. 'm getting strange feelings when I look at these women, some sort of calling. But if that's the case then what was the point of the Tyrion travelogue across Essos to get him there. It's definitely the throne room, you can see the shadow of the Irone Throne to the right, but I think it's either Pycelle getting stabbed or, more interestingly, a flashback to Jamie stabbing Aerys. If you look at the shadow you can see vague hints of a crown. Why would they need a flashback to an event that's already been explained by Jamie. Perhaps there's more to the event than Jamie has admitted. Actually now I think no 48 is the High Sparrow being stabbed in the Sept of Balor. Probably not a horn (which makes me sad) but a weapon of some sort since the handle that's visible over the left shoulder aligns with the horn shaped lump at the right hip. I'm really curious to see if 6x01 will open with it, since they did Cersei's flashback in 5x01. She looked badass in that Stark clothing with the embroidered wolf. Despite my fears about this tv only season, still so excited for it to start. Sitting high in Mireen seems like it's a pretty relaxed lifestyle. But that whole plot line doesn't exist, since there Doran's children appear to be limited to just Trystane.

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GoT games have been disappointing in my experience. I am a huge Skyrim fan, and can't help but think that Dragonrend and the right enchanted arrows should take Drogon down easily. This just has text, so you can draw the appropriate conclusions. IMO, there's too much wish fulfillment and too much focus on high school-ish romantic angst. They may play as fast and loose as they like with other aspects of the timeline like travel by sea, but we all know a pregnancy lasts forty weeks, so theres no way to rush her through it and back into the fray unless she actually chose to fight pregnant. With a pregnancy she believed could not ever happen. She doesnt need Jon's permission of course but I doubt he'd be down that either so it would at least be discouraging to her. If season 8 follows suit then Dany could probably get to the end of the season and only be 2 months along (negating the need for a fake preggo belly). That should mean she can still ride Drogon without being physically hampered by boat! aby. Once Jon is revealed as a Targaryen, Dany will insist that he marry someone else to continue their family line and produce heirs to the Iron Throne. However, her pregnancy would mean that they could marry and rule Westeros together. This would likely be occur in the last episode of season 8 since I anticipate that Cersei will be around to nearly the very end. I could see them pushing the miscarriage back a season solely to bookend it with Dany's happy news. It will probably cause Cercei to go even further off the deep end if her little birds tell her about Dany's boat baby. Euron hires the Golden Company and takes over KL, holding Cersei prisoner. Arya (still wearing Jamie's face) kills Cersei and Jon kills Arya. Theon and Jon work together to kill Euron - throwing him to Drogon for roasting.

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The garage-dwelling patriarch of the family is a sociopathic genius with a portal gun that can access infinite number of universes. Couple this with Rick not seeming to care about anything, having masked motivations and an unexplained backstory, and as viewers we can’t begin to guess what the hell is going to happen in the next scene, much less the next episode. It supplied commentary on the evils of capitalism, the corruption of absolute power, the falseness of bravado, and the protective fabrications of youth. All the while it continued to develop its characters without dimming any of the brilliance from its previous seasons. Rick and Morty continues to redefine how characters interact with the narrative around them and pushes comedy writing further, into a place of highly intelligent social criticism--without losing a single fart joke along the way. That father-daughter relationship drove the story forward, even as Rick and Morty spent entire episodes destroying heroes, annoying presidents, and battling corrupted versions of themselves. To be fair, you have to have a very high IQ to understand Rick and Morty. The Good Place dares to answer this question in the form of a sitcom, giving us a fresh, hilarious take on the afterlife from creator Michael Schur ( Parks and Recreation, The Office ). The show is delightfully absurd, giving us a perfectly crafted first season and going off the rails in season two. It’s the one of the funniest, and by far the most original, live-action comedy series of the past year - with a talented cast of ridiculous characters led by stars Kristen Bell and Ted Danson. There she meets Michael (Ted Danson, at the top of his game), the architect of this perfect utopia, who commends her on living a righteous life which granted her passage into The Good Place. She has been mistaken for a human rights lawyer with the same name, but actually lived her life as an awful, selfish, and inconsiderate human being (as illustrated through hilarious flashbacks) who made a living selling fake medicine to the sick and elderly. Eleanor must hide her moral imperfections from Michael and the rest of the Good Place residents, and attempt to become a good person in order to stay there. If they catch on, she’ll be sent to The Bad Place - a hellscape filled with endless torture. Not finishing the season and dismissing the sitcom at surface value would deprive you of the incredibly rewarding treat that is the season one finale. Now 8 episodes into Season 2 (returning January 4, 2018), The Good Place is even more zany than before, twisting and turning at an unrelenting pace, and anything can happen. Creator Noah Hawley, showrunner for Fargo, is no stranger to invigorating rich source material with new life - used his uncanny powers of storytelling to share the tale of David Haller, one of the most powerful and troubled X-Men. Oh, and let’s not forget Pink Floyd which was the perfect soundtrack for a story this trippy.

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