Da 5 Bloods
On the Record
I May Destroy You
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Amazing detail and art direction, but the plodding dialogue seems difficult to chew. Interactions lack natural cadence.
The feel is heavy and dreary, there's no contrast, no levity or beauty. In the end, that robs the graphic gore of its impact.
I haven't read BRAVE NEW WORLD since high school and after bingeing this series, I was quite satisfied with the adaptation. The critics, however, seem to have read the book yesterday and are clamoring for more philosophical depth.
How many adaptations have reached for philosophical depth, only to be slapped down by critics whining that it's confusing or not precisely aimed?
Forget about the critics on this one: it's a great ride, a wonderful look at a world where values have changed dramatically from the Judeo-Christian Patriarchy of today.
Creators of this show did exactly what adapters must do: THEY MADE STRATEGIC CHOICES. And in the case of BRAVE NEW WORLD, they made correct ones and present them with robust energy and beautiful vision.
This plays out like a pop song. The title came first: WARRIOR NUN! That sounds cool, people will definitely be hooked into that. And I was, so job done.
The result: everything feels like it serves the title, not any narrative.
Formulaic and goofy for the sake of being goofy.
It's unusual to see this particular level of "automatic comedy" without a laugh track.
As for a swerve or payoff at the end of each episode: that's like having to eat a bowl of flour for one bite of a Dollar Store snack cake.
This show is a fantastic confection with a surprising moral: the woman who thinks she's totally in charge can't recognize her own shame -- even though it's made perfectly clear to viewers.
It's a bit SEX AND THE CITY, with gorgeous fashion, hot sex and sharp wit. The show is well cast -- Bell (Billie Piper) proves that one need not be a glamazon to be sexually alluring. We learn Belle's vulnerabilities, kind side, and see plenty of her temper. This is a fully-dimensional portrayal.
Critics are just trying to mask their own embarrassment and fascination behind prudish protestations.
This is not a masterpiece, but Christoph Waltz and Liam Hemsworth are utterly watchable.
It take several episodes for the action to begin, but I found it a welcome distraction from watching cell phone videos of white police brutalizing people gathered to protest racist police brutality.
Watching this because I'm a huge fan of Aneurin Barnard's work.
Firstly: "This is from National Geographic?" It boils down to a formulaic soap with a huge budget for gore. Perhaps the person in charge of Indigenous People Piñatas should have been in charge of the confused narrative that can't corral all its characters.
I don't feel attached to any of the players or their stories -- even Barnard's.
If I hadn't seen the original movie by Bong Joon Ho, I might not have found the TV version so lacking: flat characters, story jumps, hammy acting, and expository dialogue that seriously lowers the caliber of the tale.
Fans of 2014's PENNY DREADFUL, which I am, won't find the same intricate reweaving of well-worn horror tales. 2020's PENNY DREADFUL is a new proposition, which I'm still figuring out whether or not I'm intrigued or being strung along by bits of impact that take a long time to arrive. These would benefit greatly from being edited to half-hour episodes.
This series commits one of my all-time most hated offenses: the actors are not credited in ways that indicate who did what in the film. It's not only discourteous to the actors, but a disservice to audience members like me who want to find out more about the players.
This show has interesting twists, but so do the competition. Unfortunately, episodes are constructed so that the lights dim and the installments end with a whimper.
Fans of Wally Lamb know what to expect and won't be eating dinner or texting or "popping in and out" during this program. The screen adaptation feels very real to what I remember about the book. This is not a happy story and some just aren't -- and some authors are more prone to honest difficulty than crowd-pleasing.
Mark Ruffalo astonishes in dual roles as twin brothers -- one saddled with serious mental illness and moments of quietly observed clarity that is incisive. The other brother has average mental struggles and average real life failures.
Any reviewer who uses the phrase "Debbie Downer" must be a real "Karen." This film has grit, limited joy, and doesn't buy into the great American mythology that one must be "happy" at all times.
If you're gorging fare with wide appeal like THREE BUSY DEBRAS or FAST AND FURIOUS 31, then stay away! You probably won't like this program. If you're introspective and appreciate programs and films that move from page-to-page without requiring popcorn or pizza to add interest, this might be in your alley.
There are many historic revisions lately: MAN IN THE HIGH TOWER, YESTERDAY, THE PLOT AGAINST AMERICA, etc. This is Ryan's vision for Hollywood in all its eye-popping, mind-numbing Murphyness.
As the episodes advance, it becomes an Herculean effort to suspend belief. Couldn't Murphy have met reality somewhere in the middle? When Jim Parson's slick agent renames Rock Hudson in three seconds, then opens the doors to his office-adjacent boudoir and announces dispassionately that he will now go down on the would-be star, it's stupid and boring.
Just as Murphy makes blowing Rock Hudson boring, he drains the blood from many possibly juicy scenes.
No amount of quarantine boredom could make this crappy laff-tracky sitcom retread interesting. From the forced dialogue that isn't funny, to the stupid premise, this feels like a skit from Saturday Night Live that pokes fun at sitcoms, but it's not satire.
Like Julian Fellowes' most prominent achievement, DOWNTON ABBEY, BELGRAVIA is a TV soap of the highest order. Class struggles, how women operated in the early 1800s; and like DOWNTON, a significant historical marker to indiciate the period: the series kicks off on the eve of the Battle of Waterloo in 1815.
There are positional fears and concerns, embarrassments, scandals, treachery, kindness, calculation and cunning. All while Fellowes sets about a machinery entwining upstairs nobility and downstairs servants.
At the center of this season is one character who seems noble and oblivious to the swirl of attention and activity building momentum with him at its eye. The secrets being kept — which we know about, but not completely — maintain a long simmer, and threaten to boil over. Who will be served and who will be scalded?
Fellowes is a master at creating a tableau, then setting multiple pieces into motionin ways that define and distinguish them. The clockwork is partially visible, which generates intrigue.
The casting coup is pulling Tamsin Grieg and Harriet Walker from supporting roles into the fore. Both actors have formidable skills, and move fluidly between contemporary and historic roles. It's mesmerizing watch them maneuver, weigh-up each other, and make choices between individual interests and shared concern. As always, there is the unseen major player: "Society" — what will they think, will there be acceptance or ruin, who ultimately decides?
This is a fantastic dance, and no toes are stepped on... unless intended.
Average for American TV: Pretty bodies and faces, smart townies, stupid rich people, corrupt cops, lots of thinking aloud, the dialogue is expository so writers and directors don't have to figure out subtle or intelligent ways of making a point or advancing the plot. It's a shame, because the overall plot might have been really original. Instead it's "Different hanger, same shirt."
On it's own, the reboot of AMAZING STORIES fails to punch through the onslaught of TV programming now available. The episodes feel stretched, as if they would have fit better in half the time, requiring tighter editing.
COMPARED with the original three-seasons of AMAZING STORIES in the 1980s, these fall short. The strength is in the diversity of the stories and cast, but there are blatant holes in the stories and padding to fill the time slot. The 1985 shows felt loved and nurtured, and these shows feel disposable and forgettable.
This show is the definition of TRYING TOO HARD. The element that make French and German absurdism successful (when it succeeds) is believability on some level. Someone in the film is giving a straight-ahead serious delivery. In THREE BUSY DEBRAS, everything is a put-on. It's robbed of humor, surprise or absurdity; and left with a measure of conniving stupidity
From the dialogue to the direction, to the sets and wardrobe; everything is concocted and ham-fisted. The effect is overdone and seen-before. THREE BUSY DEBRAS comes off like a tepid Saturday Night Live skit that won't end, and during which the players are laughing and winking, but nobody is entertained.
Zoe Kravitz character isn't "charming" or "curmudgeonly," she's beautiful and bored, and that's been done way too many times. Everything is beneath her. The entire idea of a sprawling vinyl store that doesn't carry collectible swag or CDs -- in Crown Heights, Brooklyn --- is hilarious. When a couple of side characters are more interesting than the star, there's a problem.
Were this a symphonic orchestra, half of the musicians would be playing the same note while the other half stand up looking at them.
Magnificent cast in a series that fails to establish a strong central thread and pull it through the entire series. Tense scenarios crescendo into ... meetings and people watching screens. This series seriously has blue balls.
There are hundreds of protesters and insurgents, but we know nothing about them -- they are simply "angry mob" and nothing goes any deeper -- we don't know any of their stories or personalities, other than just being told what "intelligence" finds out about a few of them.