The best science fiction takes an aspect of science and uses it to illuminate human nature or present dangers. The trick is that the science has to be real, or at least believable… and you can get away with one really big lie (like faster-than-light travel or communication). Io has some truly human moments and struggles and it is nicely driven by Margaret Qualley (Death Note) and Anthony Mackie (Love the Coopers, Avengers) with a small assist from Danny Houston (Game Night).
The science, however, is truly, horribly wrong from the very opening moments of the film. I had hoped that by ignoring the opening monologue I could enjoy the rest of the movie more, but the writers doubled and even tripled down on their awful understanding of space travel and evolution making it difficult not to grimace. I will admit that director Jonathan Helpert managed to build the tension and keep the story going despite these issues. With only three characters that took some effort, even with the talent he had to work with.
This one is really your choice. Qualley continues to show her talent and Mackie gets to work with a new type of character. If you like these actors or want to see more of their work, you can make it through this flick. But as a story, it is the kind of science fiction I’d like to stamp out.
Bletchley, through a series of clever and deliberate transitions, manages to cross the Atlantic successfully without losing its original sensibility. The ability to evolve a show so dramatically is something I really enjoy watching when it is done well, as it was here. In fact, there are several shows that have tackled that problem recently and successfully. Interestingly, most of them are from the UK (e.g., Father Brown) which is far less precious about their properties and far more focused, typically, on quality of story.
Through the first four episodes of this rebuilt Bletchley, we see a new collection of women with similar backgrounds as the original two series, but battling society in new ways (well, in some new ways). The full series consists of another four episodes, but I’ll get to that.
Julie Graham (Shetland) and Rachael Stirling (Their Finest) from the original series provide the anchor and backbone of the tale. The introduction of Crystal Balint, Chanelle Peloso, and Jennifer Spence (Travelers)manages to resurrect the magic of the first series and fill out the gang despite all the new faces.
The real power of this series isn’t the mysteries, which are clever, but rather the energy and intelligence of the women as they find the murderers, and they do it while fighting society’s dismissive view of them. It is a show that is perfectly suited to the times and shines a light into the dark corners of current society.
Now back to those last four episodes of the series. Frustratingly, I don’t know when or if I’ll ever get to see the other half of the season as that appears locked onto BritBox, in the ever growing and complicated landscape of streaming services. Honestly, they’re all just shooting themselves in the foot…I’m not going to get a dozen different subscriptions, especially as most services only have one or two shows I even care about. But if you have BritBox or an opportunity to see the newly conceived series, you won’t be disappointed. If I ever get to see the rest myself, I’ll update this post to cover the full series.
If you’re a fan of films like Theater of Blood, Vincent Price and Diana Rigg’s 1973 horror delight, you’ll likely enjoy this latest, admittedly imperfect, Netflix release. It is a wry look at the art world but also quite dark. Not a huge surprise given it is writer/director Dan Gilroy (Roman J. Israeal, Esq), though the tenor of this movie is quite a bit more tongue-in-cheek despite the horror elements.
Gilroy pulled together a talented and committed cast that pivots primarily around his reunited Nightcrawler leads Jake Gyllenhaal (Okja) and Renee Russo (Just Getting Started). The other substantial role is delivered with mixed results by Zawe Ashton (Oasis). She isn’t so much bad as without plumbable depths. Perhaps it was part of the point, but the result diminishes her impact and the impact of the story. Adding to the mix in a series of supporting character roles are Toni Collette (Hearts Beat Loud), John Malkovich (The ABC Murders), Billy Magnussen (Ingrid Goes West), Daveed Diggs (Blindspotting), and Tom Sturridge (Song to Song). Each is a forced extreme, but all are entertaining in their ways.
But if you were hoping for a break-out horror, like Get Out, based on Gilroy’s previous powerful main releases, you’re going to be disappointed. It isn’t horrific enough for the horror fans nor intellectual enough for lovers of satire. This is simply some evil fun with a social eye and a mean desire to slam the more obvious absurdities of the art world. Where it fails is in its lack of clear explanation or point and, ultimately, by not providing anything positive about an industry that Gilroy knows has value…and is even using to send his message. In other words, it is somewhat rudderless with some fun moments and serious talent, but that’s about it. That doesn’t make this flick something to skip, but go in knowing it isn’t what you think it is and probably won’t reach what you hope it is.
The problem is that unlike Marple or Christie’s stand-alones, we know all of Poirot’s life; Christie made sure of that. So remaking the story of such a beloved character is dicey at best.
John Malkovich (Bird Box) tries to tackle Poirot with energy, but he is no David Suchet, nor does he have the accent or the mannerisms to pull off the little Belgian. At least Branagh’s recent attempt was much more palatable in Murder on the Orient Express. Malkovich’s credibility wasn’t helped by resetting the story later in Poirot’s life, and veering off the known path. The push and pull between he and Rupert Grint (Moonwalkers) just feels all wrong, not unbelievable, just wrong for the character.
Eamon Farren (Winchester), as the main focus for the deeds, delivers a delightfully creepy and broken man. Along with Andrew Buchan (Broadchurch), Shirley Henderson (T2: Trainspotting), Anya Chalotra (Wanderlust), and Freya Mavor (Skins) the world is filled out with interesting characters and clues. All of this helps sell an otherwise foolhardy adaptation.
If this weren’t Poirot, it would have been an interesting and fun story. Phelps can write and understands the sense of Christie while being able to update them enough for today’s sensibilities. But, in this case, with the weight of expectations about Poirot around its neck, it simply keeps clunking. If you can keep the spectre of what you know about Poirot out of your mind, this is definitely worth your time. If you’re hoping for a new Christie adaptation that can launch a revival, go elsewhere for now, you’ll simply be disappointed.
I haven’t written Voltron up recently due to the uneven aspects of its story and the odd rhythm of release. But the good runs have been pretty good and this finale season definitely raised the stakes about as high as they could go while also supplying an interesting story.
It isn’t often an animated series, especially one that bridges younger and older viewers, is willing to do a complete cycle and finale. They’re usually designed to keep going and generate revenue as a business model. It is more common for manga series or adult anime where an end was always intended.
Voltron has bridged these audiences by creating a long-form, more mature story with a lot of kids-style animation spread throughout. They also took some interesting chances stylistically occasionally. It isn’t on the level of Attack on Titan, nor is it purposefully adult like Castlevania, but has definitely stretched to make something beyond the typical Saturday morning style stories. If you’ve not found it yet, give it some time and let it reel you in. I have to admit, it surprised the heck out of me, and only a few episodes really put my teeth on edge as too juvenile for my taste.
If you are a Netflix subscriber, you probably have already seen this movie, which has smashed all kinds of expectations for this kind of release. If it had the same attendance in theaters, it would have been a certified hit. As it is, no one knows quite how to judge the results, but they were impressive nonetheless with 45 million account accesses within the first couple days and moving up from there. But is it worth it?
Horror has seen a Renaissance over the last year or so. Get Out, It, and A Quiet Place, even Suspiria, Halloween, and Hereditary have each staked out different corners of the genre successfully, if not always financially. Bird Box lives happily in the Quiet Place corner of that realm, focused on family survival during an unknown and little understood threat. Its story is somewhat predictable, but as it is told in flashback, and there is a lot you can assume from the start, it is intended that the journey and the coda at the end are what you’re sticking around for. And, of course, the cast.
Who would have seen Sandra Bullock (Ocean’s 8) taking on a lead in a horror movie, let alone a streaming only horror? She brings considerable talent and range to an otherwise standard role. Trevante Rhodes (Predator) provides her a nice foil, though not necessarily much of a performance on his own. But he is part of very unexpected cast list. With additional roles by Sarah Paulson (Carol), John Malkovich (Mile 22), Jacki Weaver (Widows), BD Wong (Jurassic World), Lil Rel Howery (Get Out), and Tom Hollander (Bohemian Rhapsody), you’d be understandably surprised. It certainly signals a strong turning in the streaming game.
Director Susanne Bier (The Night Manager) brought all of her suspense know-how to bear on this story. Even when the adaptation by Eric Heisserer (Extinction, Arrival) isn’t quite to his previous crafting, she helps pull it together with the actors and directorial choices. Ultimately, this is a story about people, not about events, which is what, I’m sure, attracted the cast and Bier to the production.
Depending on your love of the genre, you will like this to differing degrees. As a pure horror, it is only OK. As an examination of the human condition amid calamity it fares better. Purely as a movie, it is entertaining and gripping, but not brilliant. But if you like Bullock, or any of the other cast, it is worth some time and popcorn. For me, the ending was more than a little obvious and forced, but since this really is about the journey, as I’ve said, I’m giving it a break. On the other hand, you might find the journey itself questionable, depending on your interpretation (one interpretation is quite cliche, while another is a bit more broadly acceptable). Most folks will be able to go along for the ride and enjoy it without the over-intellectualizing I found myself unable to escape. Give it a few minutes to see if it hooks you…I’m betting it will for most.
As a side note, this is quite the double punch for Netflix, whose technology setting Black Mirror: Bandersnatch also released this past week.
For anyone who thought Netflix was just an aggregator or simple studio, think again. They just created a whole new set of goal posts for the competition and for mass entertainment.
OK, I’ll admit, my rating is high here, in part, because of the technology and novelty of the piece, but Avatar got that kind of reaction as well, and let’s face it, that script and story were appallingly bad. But Bandersnatch has a good script, is very clever and fun…and I can’t wait to watch it again. My first time through, even with multiple loop-backs, I hit a 90min version, which is likely close to the happy path, even though that wasn’t my intention.
Fionn Whitehead (queers.) drives the movie with a bit more excess energy than is probably needed, but it is certainly consistent. As his father, BBC serial standard Craig Parkinson (Line of Duty) gets to ride a roller-coaster of a part, much depending on your selections moment to moment. Similarly, Alice Lowe (Sherlock) gets to have some fun as Whitehead’s therapist. But those two stabilizing beams in the story aside, a real special mention has to go to Will Poulter (The Little Stranger), who completely transformed himself for his role; he wears the accent and British intellectual toff rather well.
Of course this twisted piece of mental suspense came from the mind of the Charlie Brooker, creator and writer of the Black Mirror series. Brooker always puts technology at the center of his stories, though what makes them work is how the characters respond to that tech. Making tech part of the experience now is just a natural evolution of his approach. Director David Slade (Hannibal, American Gods) took Brooker’s vision, and its many branches, to create a series of paths and endings that all feel right for the story at hand and Black Mirror generally. I found three endings on my first watch, looping back each time to try something else. Each was satisfying, though there is clearly an intended ending that is very much in Brooker’s vein.
You can’t even think about Bandersnatch without thinking about how it was made and delivered. And, of course, the technology is bloody amazing. Sure it watches sort of like a high-end video game. But it plays like a movie and the transitions are visually seamless. Angel Devoid tried to do this years ago, but hardware quirks and other weaknesses left it working only marginally well. Bandersnatch is the payout on the promise of branching movies, and manages to do it at scale. That achievement is pretty astounding when you think of the number of concurrent watchers, each making their own choices, and no one seeing a break in the action. There are some drawbacks to how it all works. For instance, you have to watch it on a supported device and you are forced to break the wall between you and screen by being involved. However, neither overwhelms the piece and the latter works into your watching experience interesting ways given the plot.
But, tech aside, it is an engaging and interesting story. The mystery is thick and the stakes are high from near the very beginning. There are some obvious aspects to it all, especially if you’re a Black Mirror fan, but not so many or much that it ruins the fun. The story is highly rewatchable as well. I know there are huge chunks of info I’ve yet to unearth and I absolutely intend to go back and find them all. Once you see the movie, you’ll understand the delicious irony in that as well. I wouldn’t want a steady diet of this kind of entertainment, but an occasional, well-done piece would always be welcome.
Make time for Bandersnatch…it is history in the making, no matter how the eventual reception of it goes.
Like his previous Honourable Woman, Hugo Blick’s Black Earth Rising has a unique tone and flavor determined by its story’s origins. The approach sets his work apart keeps them feeling new, despite recognizable venues, structure, and format. The 8-part road is twisty and complex, but laid out logically and credibly to bring you along, though you are unlikely to get ahead of it. His ability to find strong and capable talent doesn’t hurt the result either.
This story, also like Honourable Woman, is driven by a powerful female character…given terrible life by Michaela Coel (Chewing Gum, Black Mirror). Coel dominates the tale from her first moments on screen until her last in a complicated and dark role. It is riveting and heart-breaking to watch this woman come to terms with her past and her present. She is fiercely intelligent, physically powerful, and with a magnetism that takes over the screen when she appears. She doesn’t steal focus, but she cannot help but remake each scene around herself.
She is joined by John Goodman (Atomic Blonde) who brings us a troubled and layered lawyer seeking justice and happiness, though often watching both slip through his fingers. Harriet Walter (Donmar Project), as her mother, is a study in conflicting emotions; a tight and warring collection of memories and intentions expertly controlled and utterly riveting.
While these performances alone are a great reason to watch the series, it is the writing and the story that make it worth tuning into this dark but fascinating story about international justice and questions of truth and history. That quality shouldn’t be surprising given it is from Blick as the creator and writer/director for the 8 episode sequence. He also employs some interesting visual approaches to both expose the past and pull themes through the series.
Blick is unafraid of complex questions, politically and personally. He does have a penchant for high conspiracy but, in this case, it feels very logical if disturbing. The point of Black Earth Rising is to raise awareness and to force viewers to recognize some very hard truths about the world and how their own desires help drive it. But it is also a highly personal story and one that is deeply emotional and healing. Whether or not the story gets the accolades it deserves, Coel’s performance will certainly be identified as one of the best of the year.
Tig Notaro (In a World…) is a comic with a unique delivery and an even more unique story. I know I’m late to discovering this one, but I was impressed enough with the docu to recommend it to those who also may have missed it up till now.
Notaro was a rising star when events conspired, in an avalanche, to try and derail her. What followed those events was a study in perseverance and, yes I’ll say it, moxy. She took tragedy and coped with it by turning into something of value. Not immediately and not easily, but she did it. That is one portion of this docu.
The other aspect of this documentary is a smaller portion, but adds an interesting layer. You get to watch the evolution of a routine and the honing of a joke. I was reminded strongly of the ongoing edit sequence of the comedian’s efforts in All That Jazz till it was perfect. It is a lesson and a wonder to watch the choices and the subtlety of the effort (not to mention the bravery of a stand-up trying out work to see what’s ready or bombing).
I will admit that while I very much enjoyed this Tig installment, her more recent 2018 special Tig Notaro: Happy to Be Here is less solid. I don’t fault her for that, and it makes a fascinating companion piece to see what three years and life changes offered her comedy. I imagine that will continue to evolve because, if nothing else, this docu and her specials prove she is a comedienne through and through, and one to be reckoned with who will continue to surprise as life offers her material. And, regardless of your interest in comedy, Notaro’s story is ultimately an empowering and positive one.
A six part series that can keep you off balance to near the end is a rarity. The Bodyguard delivers on this point. Richard Madden (Oasis) is the largest part of that success. He brings painful and unexpected layers to the character willing himself between ice block and utterly vulnerable.
In addition to Madden, UK mystery/suspense stalwarts Keeley Hawes (High-Rise), Gina McKee (Line of Duty), and Pippa Haywood (Scott & Bailey) each bring different kinds of strong women to the tale. There are some other familiar faces, such as Stuart Bowman (Versailles), but despite a male lead, this is a heavily female-driven tale. One real standout is Anjli Mohindra (Bancroft) who has really grown up since the Sarah Jane Adventures.
The finale episode is this show’s only real stumble. The breathless rush to the ending confrontation is well orchestrated but is done primarily to (hopefully) keep you from noticing the bad plotting and choices. It works emotionally, but it is utterly wrong technically. Squint a little and you’re fine. It frustrated me mainly because up to these moments it had been so well done. The show as a whole is still very much worth the viewing time, but it is a slightly flawed resolution.
Art, writing, life explained… or at least commented upon…