Was there ever any doubt that Millie Bobby Brown (Godzilla: King of Monsters) had the chops to carry a movie? And what a wonderful vehicle she has found. Not only does she own the screen with her charisma and chops, but her character drives the tale, pushing her brothers Mycroft and Sherlock to the periphery, making it a decidedly female-driven story.
Sam Claflin (Charlie’s Angels) is a perfectly uptight Mycroft, while Henry Cavill (Witcher) is the thoroughly self-absorbed, but surprisingly available Sherlock. Throw in Helena Bonham Carter (Ocean’s 8) as their rather unique mum, and you’ve a family to be reckoned with…and likely a good salary for a mental health professional. But all their performances are tightly controlled under Fleabag director Harry Bradbeer’s entirely capable hands.
Despite these lofty names in her family, the story really focuses more on her adventures with the young Louis Partridge; Enola’s master-in-distress. The story manages to both lean into and avoid the young love tropes without making it insulting to either of them. And with Burn Gorman (Pacific Rim: Uprising) constantly at their heels to push along the danger, there are adventures to be had.
The cast is also chock full of other great talents to help buoy the film. Adeel Akhtar (Murder Mystery), Susan Wokoma (Crazyhead), Fiona Shaw (Killing Eve), and Frances de la Tour (The Lady in the Van) help fill out the film with known and unknown characters from the Holmesian universe.
But it isn’t just all fun and games (afoot). Enola Holmes is a timely flick, in more than one way…and the fun is watching all that play out. The adaptation from Nancy Springer’s series by Jack Thorne (Radioactive) is wonderfully on point for current needs. And the result is also an example of what Netflix can find when it really tries, though it’s a shame this never saw the big screen. I think this film could have found an audience. Certainly the cinematography was with the larger format in mind, though it plays perfectly well on a home setup.
Make time for this one, whether you’ve a young woman at home with you or not. It’s fun, wry, sly, and full of adventure; perfect for a light escape that won’t insult your intelligence. And to see Brown beginning to come into her own just adds to the icing on this slightly savory confection.
Jude Law (The Rhythm Section) is the centerpiece of this latest riff on Wickerman. Only a few months back we had the stylish Midsommar that tread similar ground, so I did have to wonder if a 6 part series was really necessary right now.
Honestly, it’s all a bit boring because you know going in quite a bit of what has to happen. I can guess at the ending as well, but can’t be entirely sure of the route and resolution. However, I can’t say I want to watch the whole thing to find out. It just isn’t that gripping…in fact, it’s more frustrating.
The characters are obviously lying all the time. And even with the wonderful acting chops of Emily Watson (Some Girl(s)) and Paddy Considine (Blitz) along with Katherine Waterston (The Current War), you can’t build in suspense where there is none. Because of the genre, you also have no investment in the characters since you know they’re façades.
In short, I gave up. Because of that, I won’t rate it, that wouldn’t be fair. Should better reviews come out, or trusted sources direct me, I’ll return and update this post. But for now, it’s a show that missed its time and need. A shame give the talent and production level, but there it is.
It’s been a circuitous route through previous series for the Strike detective agency, but by this fourth installment it’s finally on a solid course; the great soap opera mostly resolved. It’s still a bit unfocused as they continue to cram the scope of the books into the series, but it is feeling more thought through than, especially, the third sequence.
Tom Burke (The Souvenir) and Holliday Grainger (Tulip Fever) continue to develop both their individual characters and their relationship; professional and otherwise. The mystery is actually nicely intricate and fun, though resolved a bit too quickly and unfairly (in some ways). But the four episodes cover a lot of ground and many false starts, which keep it all fun. Because of the structure of the show, and the attitude, it isn’t always easy to know when information is accurate or not, but it does stay internally true to itself. I think, perhaps, my expectations at times were being set by other mysteries that would deal with situations differently.
I’m glad to see this show continuing. I hope they can keep up the quality and, more importantly, move the characters further along their paths without slipping back into the silly crap from before.
[4 stars (Tales of Arcadia) or 2.25 stars (Cursed)]
Two very different Netflix shows currently tackle the Arthurian myth. And, surprisingly, the children’s show does it better and more interestingly. Arthur is rich in myth and history with enough room in it to allow for many types of retellings. And these two shows couldn’t have done it more differently nor with such different levels of success.
Tales of Aradia was created by Guillermo Del Toro (The Devil’s Backbone), based on his co-written books. It’s an interconnected collection of series that began with Trollhunters. Then came 3Below, followed by the most recent: Wizards. But the threads that lead to Wizards begin in the first episode of Trollhunters. And, yes, these are really aimed at older kids and young teens, without question, particularly the first couple series. However, I jumped into Wizards without watching the others and it hooked me. It was inventive with the myth, stretching it like crazy, but not breaking it in a way that felt wrong. And while it was clear I didn’t know the backstories of a lot of characters, I was never entirely lost; a credit to the writing of the show.
When I went back to the beginning of the inter-connected series, I was surprised to find references to events I’d just witnessed, and which would have gone unanswered for viewers for three years. In other words, I don’t think it matters which end of the time stream you start, it all comes together in fun ways.
The show is loaded with voice talent, and won several Emmys as well. Most notably in the cast is Anton Yelchin (Thoroughbreds), who began as the lead, and stayed with it through his untimely death near the beginning of season 3. And then the series made some great choices to both continue, and to not dismiss his loss when they changed the character voice to Emile Hirsch (Once Upon A Time In Hollywood).
When you’re looking for some distraction, some fairly solid animation, and a clever tale, this set of shows will work for you. And, more importantly, they don’t insult your sense of the underlying material they plundered to create their world.
Where to start with where this series went wrong… How about the desire to rewrite the Arthurian tale rather than just do a true prequel? How about mucking up Roman/Britannia history so badly as to be embarrassing? How about having people make stupid choices and dialogue that was utterly painful at times? How about an unrelenting dirge of a tale with barely a respite? Well, it’s a start.
I will admit I soldiered on through to the end of this story, though I almost completely bailed about half-way through the second episode. It was close and I did turn it off at that point. But I came back to see if they could rescue it. They sort of did. Sort of. But I was still let cursing (appropriately) at my screen in the final 15 minutes of the series.
Aspects of the reimagining are clever…but they’re also contradictory in their set-up, implying it is way before Arthur’s time, when in fact is is contemporaneous with it. That just threw it all into disarray at the outset. And then there is the religious war aspect, which was half-true, though massively shifted time-wise to feed their hungry beast of a plot.
The cast does what it can with the painful scripts and choices, but they are left hanging on the screen, more often than not, looking less than comfortable with the results. Katherine Langford (Knives Out) and Devon Terrell (Ophelia) bumble around the countryside having to deliver mouthfuls of bad dialogue, and strained protestations of affection. And Gustaf Skarsgård (Vikings) has created an outrageous Merlin, that tries to resurrect Nicol Williamson’s unforgettable turn in Excalibur. And then there’s the sadly miscast Sebastian Armesto (Tulip Fever) as Uther Pendragon, whose been shrunk to a fool and wisp of a man. And that doesn’t even touch the psychotic nun, Emily Coates, who does OK, but who we never get enough about to understand what drives her. At least the young Billy Jenkins (Humans) gives us a full character, even without all the backstory.
Honestly, if we’re looking for strong, female-led tales of the time, and Arthur in particular, can’t we just finally adapt Mists of Avalon or Parke Godwin’s Firelord series? The characters are way more interesting, and the story much more credible and fascinating (and closer to true history and embraced myth).
The point is that if you’re going to do a re-imagining, do it with a purpose, not just changing things for shock value or convenience to muck with people’s expectations. Ultimately, that’s all Cursed does as it slogs through its torturous existence, and without even the courage to finish the story.
Romance, comedy, and time travel, especially when wrapped in honesty and told with some intelligence, is a triumverate always guaranteed to grab my attention. Unlike the recent Palm Springs, the character intent here is deliberate, but they both deliver the story in a similar way that let’s you connect with it immediately and get on board for the ride.
The story, despite its scope, is really driven by just three characters. Asa Butterfield (Slaughterhouse Rulez) and Sophie Turner (X-Men: Dark Phoenix) are the romantic crux of the story. And while that may sound like an odd combo, it’s supposed to be. And yet the two have a believable chemistry between them. More surprisingly, it comes mostly from Turner’s performance, which is the best I’ve seen her do. I actually believed her completely, something all of her previous performances have lacked for me. Butterfield is playing into his strengths in this film, but does so with heartfelt earnestness that wins you over.
While the main couple certainly carries the story forward and keeps it focused, Skyler Gisondo (Santa Clarita Diet) adds the final element that makes it all work: comic relief and, often, common sense. This is especially amusing as he’s a complete screw-up. This isn’t the basis for comedy I usually enjoy, but it works here due to its restraint and evolution. Even Will Peltz’s (In Time) side character, as extreme as he takes it, manages to find ground often enough to add to the depth of the tale rather than distract from it.
Writer/director Andrew Bowler expanded his Oscar nominated short into this truly delightful and funny exploration of life, love, and relationships. The cleverly written script spends the first third in familiar territory. And, honestly, even if it hadn’t expanded on that, I would have enjoyed the movie thanks to his control of the performances and pace. But it is Bowler’s willingness to try to explore the characters and plot more deeply that makes this particular run at the sub-genre something worth seeing.
When you need something enjoyable and not entirely devoid of logic and intelligence, queue this one up. You won’t be sorry.
There is only one reason to see this rather predictable, if nicely tense, movie…and that’s Simon Pegg (Slaughterhouse Rulez). His complete transformation and performance is really quite amazing.
Unfortunately, the rest of the cast isn’t quite so engaging. Lily Collins (Tolkien) is completely miscast as a highly respected and tough NYC DA. She just doesn’t have that gravitas…and her reactions through much of the story are, well, not from a woman who should be more prepossessed. Chace Crawford (The Boys) is fine, but sadly typecast in his role; there are no surprises there.
And then there’s the story. To be honest, as director Vaughn Stein’s follow-up to his more stylish and satisfying Terminal, I was rather disappointed. His handling of the script is fine, but he should have pushed for something beyond the obvious. There was an opportunity for a more interesting conclusion that was completely missed. By taking it just one more step to complete Collins’ journey, a bland and obvious ending could have been elevated; but that isn’t what’s on offer.
Certainly, there is some good tension and by-play in this piece, but I can’t really recommend the cost of nearly two hours. However, if you do tune in, Pegg alone may keep you nailed to your seat to stick it out. Just don’t expect revelation at the conclusion, merely an ending.
For 22 minutes of silliness, that mirrors real life a bit too much at times, this is a great choice. It manages to be both funny and sad while defending and skewering its characters.
Now the real question is why in Atari’s name did the CW ever purchase this show when they have to bleep it every few seconds? They don’t even offer an uncensored version online. Honestly, it was unwatchable on broadcast, but worth finding online or on disc elsewhere.
This continues a trend of reinventing and revisiting established mystery icons and tracing their genesis. Young Montalbano or Endeavour come immediately to mind, and they are both good touchstones for considering this latest entry into the “Young” phase.
There are some interesting and unique aspects to this series. First, much like Casino Royale, it is a contemporary prequel to its original. And, like Casino Royale, it somehow works. Honestly, an approach which tackled similar character issues, but made them time period appropriate, would have been fine too. But I can see the beauty of setting it now and tackling the issues in more familiar terms.
Adam Pålsson (Before We Die) takes on the title character well… he even has two Wallenders to draw from, Krister Henriksson and Kenneth Branagh, which is another unique aspect to this series. It isn’t entirely clear which he focused on, though I think it leans more heavily to the Swedish version. Certainly the initial season arc is very Wallander in its structure and resolution. You know that from very early on in the first episode.
However, the show is less about drawing the early years for the later man than it is about just setting up some good mysteries, at least so far; but that’s OK too as long as they keep up the quality. Which isn’t to say we don’t see the initial threads of his rumination and dark sensibility. It’s there, as are some of the threads of his family issues.
There are a number of good roles around Pålsson. The standouts are primarily the women in his life: Leanne Best and Ellise Chappell (Yesterday). They are very different from one another and yet both buffet Wallander through his leap to detective-hood. Of the men in the cast, the standouts are Richard Dillane and Charles Mnene. Again two very different influences, and both essential to Wallander now and the Wallander to come. How they go forward from this initial foray is going to be interesting to see, assuming it’s renewed.
I really should have gotten to this sooner, but I didn’t realize it was in English and not Swedish. I was in the midst of three other subtitled shows; I just couldn’t add another at the time. But now that I have, I can definitely recommend it to lovers of the original series and those just looking for something new to feed the beast.
From three minutes into this movie it’s just a suspense run. Not a particularly surprising one, but fairly well engineered to keep you on the edge. Of course, that’s often mucked up by the challenge of figuring out who’s in trouble when and where since so much of the time they’re in heavy gear, but that’s a different aspect to discuss.
Certainly, at least, Kristen Stewart (Charlie’s Angels) provides a relatively strong lead. She’s even somewhat believable as the mechanical engineer “sciencing the shit” out of stuff to survive. OK, really more Macgivering it, but you get the idea. The others… well, you do have to wonder why the hell the company even allowed them on their multi-billion dollar rig in the first place. I couldn’t figure out their value-add or purpose even by the end of the movie.
Her colleagues are a diversity panel’s dream, for no particular reason. They all do fine with what they have, but what they have isn’t a lot. Vincent Cassel (Jason Bourne), Mamoudou Athie (The Front Runner), Jessica Henwick (Iron Fist), and even the cypherish John Gallagher Jr. (The Miseducation of Cameron Post) create characters with some depth and sympathy, if not credibility. Only TJ Miller (Deadpool) is less than a complete person, serving entirely for comic relief that feels very out of place and makes him seem a fool.
Basically, this is a bit of Abyss meets Cloverfield meets Alien meets, oh, figure it out for yourself if you dare. It’s a 90 minute romp with a lot of fun effects, some good scares, and an absurdly thin plot. Director William Eubank (The Signal) didn’t really bring what talent of his I’ve seen before, other than the pacing. And the script by Brian Duffield (Insurgent) and Adam Cozad (The Legend of Tarzan) just didn’t hold together well. But it may be enough to get you through.
And, yes, my rating is splitting a lot of hairs, but I just couldn’t live with giving it three stars given all the plot and other issues. What I will say, however, is that it’s certainly a story of heroism and drive; for that it got to survive. And the “Live Bunny Montage” on the extras is definitely worth the viewing after the flick.
Movies of all types have been trying to capture the challenge of space travel for years… and, for some reason, even moreso in the last few years. From Passengers, to First Man, to Ad Astra, or even Aniara, they all run into the same challenge: being in space may be pretty, but it’s boring. This is what Dark Star tackled decades ago, though with a great deal more tongue-in-cheek. This isn’t to say that these movies were bad or boring, but that they manufactured tension to embrace and carry that basic reality. And only Aniara comes at all close to the truth, though aspects of the others include it.
With that as prologue, consider Away. There is a lot about its science that is, let’s just say creative, but they try to capture that trapped sensibility and the challenge of the time of flight. The result is mixed and just a tad soapy. Even with some really good performances carrying it along, and some nicely mirrored plots Earth-side and on board the ship, it all feels forced and improbable in the results. Which doesn’t make it bad, just not particularly accurate much of the time. For instance, even an international coalition is going to be sure that the crew all get along and are solidly stable, because they want it to succeed.
In between tense, potential disasters that are manufactured each week, the story revolves around several relationships. Primarily it is around Hilary Swank (I Am Mother) and her husband, played nicely by Josh Charles (Freeheld). In a world of entertainment where married couple stories are about marriages at odds, this is a supportive relationship that is strained by their very concerns for each other. Their daughter provides a young-love perspective as well, which Talitha Eliana Bateman (Geostorm) and Adam Irigoyen (The Last Ship) navigate to varying degrees of credibility.
The rest of the crew have both inter-personal challenges and revelations of their past. Vivian Wu, Ray Panthaki (Colette), Ato Essandoh (Tales from the Loop), and Mark Ivanir each get their moments and without whom the rest would have been boring.
But ultimately the real question is: Is it worth taking the journey with Away? And, generally, I’m going to say, yes. Even with the “adjusted” science and forced events, it’s a tense, but entertaining 10 episodes delivered by a talented cast and some unexpected maturity in the relationships. And it is a rare, solid example of near-term science fiction. It also definitely feels like something new and different, and it can stand on its own or go forward. Frankly, I kinda hope they will leave it as a stand-alone event series and not try carry the story any further. It made its point and can only get repetitive or become pale reflections of other shows and movies that have come before. If they chose to leap forward a number of years, there are possibilities, but I’m not sure what it planned.