
Star Wars: The Force Awakens Part 8
The coincidences here are huge and glaringRey’s piloting skills start out rough, but before long she’s weaving through a downed star destroyer with ease.
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Rey’s piloting skills start out rough, but before long she’s weaving through a downed star destroyer with ease.
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The TIE fighters would make sense if the pilots knew someone was going to fly off the planet, but they have no way of knowing that.
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The point behind the “boy on a farm” trope is that the character must grow into the role of hero.
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There are plenty of flawless or powerful characters in storytelling. Sherlock Holmes has flaws, but he is powerful in the respect that his intellect is unparalleled, and his character has defined a genre of storytelling.
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I can’t recall a single time where an entire movie, let alone a trilogy, is completely driven by such choices and coincidences.
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Several ships are descending to this planet, and inside them are stormtroopers waiting to attack.
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The whole reason the sixth movie was called Return of the Jedi was because it was assumed that Luke would train more Jedi, and this is an audience expectation, and the title crawl is surgically destroying such expectations.
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The main problem with The Force Awakens is that it’s the most strategic—and by that, I mean cynical—films I’ve ever seen.
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God would be the God of them too, but of course, this statement begs the question of what could be considered human-like, and that is a conversation unto itself.
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YouTubers are quickly replacing the A-list celebrities, and while I’m surprised to see the studios going along with this trend, I’m not at all disappointed, and, for the first time in a long time, I’m hopeful for the future of entertainment.
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Let’s say robots were to become sentient, humans would still be the cause of that consciousness, even when they began to self-replicate, their understanding of the world would still come from humanity.
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Ideas like love, beauty, and so on are part of the human experience because humans sense them; they don’t always agree on the particulars, but they intuitively know that these ideas exist.
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Spielberg fails to understand that obsession is not love, and if David were really human, he would know that.
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Whenever David talks about Monica loving him, he’s always bringing up the things she’ll do for him, not what he can do for her.
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David mentions that the first thing he remembered seeing was a bird with outstretched feathers, but it turns out that this initial visual was not a bird at all but a man with feather-like symbols beneath his feet.
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Spielberg, and presumably Kubrick, are going to use this botched retelling of a fairy tale to give you an ironclad case for atheism.
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Even if reality were an illusion only perceived by spirits, then there is still a source of order for that illusion, a core source of reality.
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These writers sometimes present the opposing points of view through unlikable avatars in an attempt to peer pressure their audience.
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The robot shouldn’t have the ability to lie unless programmed to do so under certain circumstances, but even if the robot were capable of lying in the event of a murder, the robot keeps records of its whereabouts.
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Spielberg needs to depict David in this obsessive way because, otherwise, he might find himself having to justify why the father doesn’t try to save David or why Martin doesn’t grow attached to him over time.
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