Westworld

The potential of the scheme "Red Dead Redemption MMORPG by Philip K. Dick" is unprecedented, but still suffers from excessive exposure. Because most of the time only future great events are implied and the world is being explored including its specific rules on the spot and behind the scenes, so as a result there is somehow no necessary space for the characters themselves. In mostly badly affects the living characters, which are sadly too one-dimensional. In any case, this multi-layered moral reflection is so well played out and captivating that the viewer will dive deep into it. I'm just wondering if the short story form à la The Black Mirror wouldn't fit more, because the power of these themes is based on how each viewer will approach them deep inside. Thus, only time will tell whether the creators will deal with this pitfall with honor or whether they will keep repetitively doing the same all the time. (10/11/2016)

Truly excellent material that clearly called for a series adaptation to fully utilize its potential. I haven’t seen the original by Crichton, but I might make time for it after this experience. From the start, you can immediately see the massive financial backing behind it. But of course, it's not just about how it looks; the script also has to succeed for us to call it successful. The younger Nolan brother has repeatedly shown his skill in this area, so why not give it a try, right? Besides the well-crafted script, which throws one twist after another at you and keeps you glued to the screen with meticulously crafted dialogues and a touch of philosophical depth, I enjoyed the harsh, gritty Western environment, which over time delivered such a dose of pessimism that you wouldn't believe it. The story is high quality, and the central idea around which everything revolves is breathtaking at times, showcasing the high creative level of those who created it. I have few complaints about the actors; the Man in Black, aka Harris, is undoubtedly the most interesting character, and I hope he gets more screen time in his storyline in the second season. Even Hopkins, with his slow speech, somewhat reminded me of Hannibal; he's a wonderful storyteller. The ending is quite action-packed. I’m leaving room for improvement, as it’s possible, and we’ll see if the quality standard is maintained. The first season gets 87%. (05/21/2018)

Season 1 – 90% – Behind every dusty town corner, behind every distant mountain, there is such potential hidden where during chills were running down my spine the first few episodes from all the possible scenarios of how I would handle each complicated situation. Jonathan Nolan and Lisa Joy cleverly tell the story at a measured pace that presents many questions but also manages to quickly answer the most pressing ones with subtle clues, so that an attentive viewer can guess the twists ahead of time. But when such dark suspicions are confirmed, with the assistance of phenomenal performances by Anthony Hopkins, Jimmi Simpson, and Thandiwe Newton, it becomes a genuine delight for the audience. Westworld is not perfect yet, but with each episode, it refines its edges faster, and despite the painful loss of some beloved characters, after closing a surprisingly large number of doors in the finale, I know one thing above all: I want more and I am glad that I am not alone in that. Season 2 – 60% – A forgiving assessment that goes hand in hand with polished visuals, captivating performances, and special effects that turn each episode into an event. However, in combination with the almost insulting pace and the need for shocking twists in the finale, the second season is possibly the biggest disappointment of recent times. HBO's attempt to turn Dolores into a new poster Daenerys Targaryen is absurdly forced, especially since her storyline perhaps gained significance only at the very end. Otherwise, the whole endeavor paradoxically loses strength the better we get to know the main characters. It's as if these creations, by losing their influence, have lost their mystery and have become two-dimensional figures with no surprises hidden in their progress or apparent development. Without William's memories, I would definitely rate it lower. Like this, I consider the second ten episodes a misstep that is still redeemable. Season 3 – 85% – I can't remember the last time a new character became the savior of an established series. The human element of unpredictability is brought by Caleb, portrayed by the brilliant Aaron Paul, and it is thanks to him that the symbiosis of philosophical ideas, meticulously crafted shots, and thoughtful action works. Despite its breakneck pace and reliable cast, it's not a knockout despite its breakneck pace and reliable cast because the friction between Dolores and Maeve is perhaps a bit too calculated and the trajectory towards the divine machine is too straightforward. Nevertheless, I was pleasantly surprised by how much I look forward to the regular dose of robotic emotions and savor every twist. For some, the line between good and evil may be too clear-cut, but I am happy that one of the most ambitious shows of today is not afraid to come closer to the viewer with such a decisive step. (12/06/2016)

The skeptical half of me seethes with rage at the memory that during the first half, the personal validator highlights so many glitches that would get the average programmer kicked out of school during their first exam. The second half, however, is a reminder that the whole time it's been loading up on a pack of spectacular revelations in which you sense Abrams' classic "everything is different" but appreciate Nolan's "let me pour it into your head in a whole new way." Even if you find something out, guess something differently, and something really surprises you in the end, after the initial indignation you will eventually reach a slight sense of satisfaction. Anyway, rather than a weekly allotment, I'd appreciate Westworld in a unified "Netflix whole." The way that it is, the initial slowness is more annoying than interesting. (12/06/2016)

Once again, HBO took on an incredibly interesting story and so they’ve recruited Nolan’s brother, signed a contract with A-class actors such as Anthony Hopkins or Ed Harris and had the title track prepared by the composer of The Game of Thrones’ soundtrack. It is a shame that they tell the whole story very complicatedly, coldly and without emotions. There are indisputable qualities in a number of scenes, but on the other hand, you have to look hard for a reason to keep watching. However, the idea of Westworld was so strong that I lasted until the very end and I was duly rewarded.Despite the absence of emotions that is preventing this show from being perfect, the creators have prepared such a flawless ending that it is impossible not to look forward to the second series. And I sincerely doubt that they will disappoint us. (04/05/2018)