Isherwood

I want to see the author's intention for the documentary, because the reaction "So what?" is much more prevalent. The harsh life of the young influencer is reduced to lonely lounging in bed, and her creators, who recruited themselves as managers from Wish, manage to get by with a few cringe poses. I was quite baffled in the movie theater. The principle of the documentary was apparently supposed to be the same from the participants' point of view: to let them have a glimpse behind the scenes, but at the same time confirm their media image. The young virtual "stalker," which elementary schools are full of, is completely burnt material, much like the rest of the documentary. In fact, the poorly managed creative ambitions could be illustrated by it quite well.

The Mazin-Druckmann paradox. I don't know to what extent I would enjoy it as a viewer unfamiliar with the source material, but I wouldn't mind the "tabula rasa" position. Either way, it's a spectacle from an alternative universe where nothing essential is missing and everything extra is just a bonus. If we exclude the long minutes of sneaking and bloody battles, there remain about 8-9 hours of plot material, which is utilized absolutely perfectly. The minimum number of clickers is not the fault of the creators, but it contributes to Joel's experience, who leads the journey thoughtfully, and all encounters with them are moments when the well-thought-out plan falls apart. I discuss my minor objections in more detail in the reviews for the individual episodes. Otherwise, I am extremely satisfied.

It wasn’t time that did it. [Probably spoilers.] There we have it. Joel in a 'raging' mode and especially the memorable final conversation that "made" the game, once again got to me like it did years ago. What is "good," where does the greater interest lie, and what are we (not) capable of sacrificing for others? It cannot be judged; it can only be endlessly debated.

David's community deserves one more comprehensive episode, but even so, they abundantly fulfill Sartre's words that hell is other people. Even though Cordyceps is God.

Attention whoring to the max. Nordic bizarreness taken to absurdity, flirting with the body horror genre, suffering from slight predictability and fierce defense against logic (after the first blood test, Signe would have been sent to the acute psychiatric ward). If you engage in the creative game, you will enjoy a darkly humorous journey into the inner turmoil of a collapsing personality, which, in the end, intertwines its thought processes with reality so ingeniously that you will accept the cleared rooms and group session with great relief.

Spoiler alert: The explicitness of the video game has been replaced by intimacy in the live-action version, and I can't get enough of it. The entire episode is one big bit of girly fun that would work beautifully in any gender mode because you will get flashbacks to your own date, where you're fidgeting, you'll be determined when it finally comes, and you wait with bated breath. And when you as the viewer come to the inevitable, it's over. This is the first time when I find it unfortunate that the filmmakers didn't go further, that they let Ellie's pain mature in the viewer's mind, yet didn't transfer it completely. It could have been an uncompromising minute of a hurricane of emotions, and I find myself despairing at the blown opportunity.

This is a directing masterclass, no irony in that. Or how the Bosnian director of award-winning festival dramas came up with one of the best episodes of an A-series (so far). It has a completely different feel from the previous episodes. The cinematography goes into more detail, making full use of the snowy scenery, the actors are subdued, and the stark dialogue lets the emotions bubble up through the lids of the morose faces. Then when it spills over (the workshop, the children's room) and comes crashing down on the viewer like an avalanche. It’s an intense and exhausting experience in the best sense.

It affects one’s emotions as effectively as Gustavo on the guitar, which confirms the creative intention to ride the (surprisingly) intimate wave that brings those "big" audience-appreciated moments rather unexpectedly, and only for a while because it is necessary to escape from them. I do really appreciate this, but I don't deny that if the rampaging Bloater had raged a little longer, I wouldn't have objected.

I'm actually amazed at the hunger everywhere, for action and terror, incidentally confirming all the rumors about the toxicity of the gaming community. The series is gradually breaking free from the shackles of the video game and following its own path, whilst keeping a finger on the map. Pedro and Bella were already parked in it like an old pickup truck at a diner window. I am no longer a spectator, but rather pure "cargo" that these two have taken with them.

It takes a lot of creative courage to put a spin-off episode in the middle of a series that doesn't really move the plot anywhere, stretches a short section from the video game to 80 minutes, and manages to piss off fans of the original and newcomers alike. It's every liberal's dream come true and yet it doesn't have a drop of woke ideology in it. It's just an endlessly sad story of two elderly guys who have created their own world of reason, sanity, and love in contrast to what was going on behind the fence. When Ellie reads Bill's letter, it becomes clearer than ever that in this mycological marasmus, every single person is in fact "the last of us."