No, you’re fine. The first one is a legitimately excellent spy thriller, and the third one tries for an emotional core (it’s probably Tom Cruise’s last attempt at acting in a movie, and he’s pretty good in it) but it stumbles trying to subvert genre tropes and collapses under its own weight.

But this is classic B5 storytelling, in that it is copying a well-worn trope and pretending like no one has ever done it before.

But the need to make it a showy action movie just bloated it out and reduced the focus on the ideas.

You can’t say...

Except Alex Kurtzman was never the showrunner for Disco or Picard, which is what some fans now mean when they use “Kurtzman Trek” as a slur. He’s the same amount involved in those shows as he is in Strange New Worlds or Lower Decks, or Picard’s old-fan-service-y season 3.

This is the problem, as you said, with having a puzzle where you “guess” the creators’ “intent”.

The game is brand new, by the way.

For fucks sake. “Lower Decks” and “Strange New Worlds” are “Kurtzman stuff.”

Well, I hate to nitpick you, but that isn’t part of Star Trek canon because “Sabotage” isn’t in that scene.

It doesn’t show up until later in the film, as an audio source for a technobabble solution, which was very good and fun in the grand tradition of Star Trek.

I’ve never been happier as a fan than when I heard that that wasn’t going to happen. You could lock Quinton Tarintino in a cell for a year and spend the entire time explaining what Star Trek is to him, and he’d still come out of it like “so babes and lasers, cool!”

You’re wrong: Beyond is one the the best Trek movies ever made. But you’re also right: that’s an extremely low bar because Star Trek belongs on television.

Did none of you finish the first Assassin’s Creed? It ended on a cliffhanger heavily implying that the sequel would be set in Japan.

It seems that the only reason Insomniac can play coy about this is because most people don’t finish AAA open-world video games.

I’m sure the designers and developers would have liked that too.

Kotaku reached out to Komesarj for comment.

Anatomy of this article:

I don’t get it. You’re not arguing with the critic’s point, so what are you trying to say?

This is a reference to the critically derided Godzilla movie from 1998

Fincher projects are enormously VFX heavy, it’s just a lot of compositing work rather than explosions and lasers. A prime component of Mindhunter’s larger budget was its VFX.