Category Archives: Streamed only

Klaus

[4.5 stars]

Honestly, I wouldn’t have bothered with this if it weren’t for the fact that it won the Annies for best feature this year. I mean, seriously, a Christmas cartoon? As it turns out, I couldn’t have been more wrong and I’m even thinking it has a good shot at the Oscar.

It has been years since anyone has produced a holiday-themed animation that has risen to an annual must-see the way some of the old stop-motion animations of the 60s/70s did. But Klaus may have just changed the tide on that. It isn’t a musical bit of treacle like Santa Claus is Coming to Town. And it is more Hogfather in its sensibility and view of life than you’d expect. But it also tackles the season of retail and human nature in a beautifully honest way and weaves it into the story you expect…in ways that you really wouldn’t have predicted even as you see them becoming inevitable. But for all the intelligence and themes, it remains a children’s tale in the best of ways: it doesn’t talk down to them.

Sergio Pablos (who has spent years in animation and who previously helped write Smallfoot and Despicable Me) chose this as his first project where he was both writing and directing, and I can see why. It is a delicate balance of satire and sweetness that would have been hard to trust to someone other than the person who conceived it. Given that it took the top prize at the Annies this year, and it’s up for an Oscar, I’d say he was spot on.

Jason Schwartzman (Golden Exits) leads the cast with just the right amount of sarcasm and genunie feeling. He’s backed up by Rashida Jones (Spies in Disguise) and JK Simmons (Veronica Mars) with Joan Cusack (Welcome to Me) in a nice bit role. While the story is certainly an overblown fable, they all keep it grounded nicely. Simmons, in particular, has a slow evolution through the art and voice that is great to watch.

Klaus isn’t perfect. It is a bit rushed and hand-wavy in some of the story details. It has some inconsistencies. And, ultimately, it wraps up in a way that is heart-warming but, I felt, a slight cheat given the rest of the story you traverse getting there; but the story is what it is, so I just had to shrug and accept it (though honestly, seeing Klaus as a mildly schizophrenic widower was really fun for a while). Those are the reasons for dinging it just a bit on the rating. However, I can see rewatching this annually (along with Hog Father and Rare Exports, which are more to my holiday sensibilities) because it has a lot of great humor and it reminds you (with a soft hammer) what friends, family, and society can be if we just let them.

Bottom line: If you’ve avoided this because you thought it was just empty kid’s fare and not worth your time…rethink that opinion sometime soon.

Klaus

Two hits and a miss on Netflix

Three new Netflix series dropped in the last couple weeks. For a change, I had a chance to sample them near to their release. It was a mixed bag, but quite the range in material.

AJ and the Queen

Sweet and entertaining, without the extreme intensity of Pose and with just enough Drag Race to keep it all moving.  Which isn’t to say it doesn’t get a bit broad but it’s approach is generally very down-to-earth to keep it feeling real. That does make the pacing a little slower than some may like, but I’m finding it cozy. And while RuPaul is his wonderful self and driving the show, newcomer Izzy G. is making quite the impression as AJ with some serious chips. And, as you find out at the top, it is AJ’s story, not his. Hoping they can continue the effort and build on the characters.

Messiah

This is certainly not the first show to posit the Second Coming…in fact, squint a little and the opening episode echos Dune, among dozens of other stories, shows, and movies. But Messiah is intense and fascinating, with multiple threads all being woven into an intriguing tapestry.

With Mehdi Dehbi  (The Other Son) in the title role and Michelle Monaghan (Mission: Impossible – Fallout) watching from the CIA side, the clashes are inevitible, but the message and the commentary are well educated and non-denominationally specific (so far) and intended to challenge. And with James McTeigue (V for Vendetta, Sense8) at the directing helm of more than half the episodes, I’m feeling confident about the show’s ability to navigate the divisive material in an intelligent and entertaining way.

Medical Police

Yeah, couldn’t even get through the first episode. Not my humor, though it could be yours (Reno 911 anyone)? The pacing is off and the wry humor just falls flat more than hitting the mark. I’m out…you can decide on your own.

Mysterious Witchers Lost in Space

Each of these streamers deserves to be seen and to have their own write up. But that felt like overkill and, I suspect, many folks will have been ahead of me already. However, all are enjoyable, intelligent, and all are very different.

Witcher

Henry Cavill (Mission: Impossible – Fallout) was a perfect choice for the lead in this entertaining, if not brilliant, series. He captures the sarcasm and dry wit of the game character, not to mention he is the physical emodiment of Geralt of Rivia. He’s backed up nicely by Joey Batey and Anya Chalotra. There are other, more recognizable faces, such as MyAnna Buring (In the Dark) and Anna-Louise Plowman, but it is generally a lot of semi-familiar and unknown faces.

The series is challenging thanks to its narrative form (which is part of the secret of the first season, so I really can’t discuss it here). I think it could have been handled more clearly, but it ultimatley comes together in interesting ways and I appreciate that they didn’t treat their audience like idiots. Much like Watchmen, it lends itself to rewatching once you understand it all. I’m definitely on board for the next season, but that isn’t coming till 2021, so you’ve plenty of time to watch the series and/or play the games if you want beforehand.

Lost in Space 2

The first season reboot of this show surprised me completely. Netflix transformed the silly Saturday morning show into something richer and darker, if still with a child’s sensibility of adventure. And if you thought Dr. Smith was complex and dark in the first series, you ain’t seen nothing yet. Parker Posey (Cafe Society) has definitely found a role she’ll be remembered for.

This season is incredibly well constructed, even if some of the writing still takes too many character and plot short-cuts. Still, I admire the risks they were willing to take even if getting there has some flaws. And every major character gets their moment to grow and expand in some very nice ways. The new season pulls you along with barely a chance to breathe, making it a great binge show, but also means it is over too soon. Series 3 isn’t officially confirmed, but expect it to take another year, if for no other reason to complete all the f/x needed for the show.

Scooby-Doo! Mystery Incorporated

This wonderfully self-aware reconception of the cartoon classic is more Buffy than kid’s show. Conceived as a complete 2-season arc, and loaded with adult nods and layers of mystery, it is both wonderful nostaligia and entertaining distraction in 20-minute bites. It’s also loaded with surprise voice talent in major roles and guest roles. Give it a shot, you’ll know in a few minutes if it is for you or not.

Dark Crystal: Age of Resistance

[4 stars]

This series, a prequel to the classic and beloved movie, fully captures the sense and production design of the original. That is both its blessing and its curse. But that said, this story grew on me as it played out, unlike the same-day-launched Amazon fantasy Carnival Row, which diminished over time for me.

Let me get the “curse” comment out of the way. Having just rewatched the original flick, I was looking forward to some significant updating of the approach, particularly the Gelfling designs to make their mouths move more naturally. I can see the bind the producers were in…update a classic and risk the wrath of fans, or cleave closely to the original and risk a more dated feel. Definitely no-win. But there were subtle updates, especially to the Skeksis, whose tongues were truly a thing of creepy beauty.

Also, in order to provide a launching pad for the series, they twisted the known facts a little. If you haven’t seen the movie, don’t worry about it. If you have, you’ll need to be more than a little patient to accept the setup and await it all to make sense. Of course the big question is how long before the movie does this series take place? No one seems to know or want to commit. My best guess was about 100 years or so, though it could be longer. The studio was purposefully vague and won’t pin it down.

The voice talent is an astounding list of folks; far too long to enumerate here. The puppeteering is top notch. The production design clever enough to link to the movie but still make it their own. The world of Thra is expanded and gorgeously designed. There are familiar characters and new ones to enjoy. The story is richly complex, despite its clear aim to pull in a younger audience as well as adults. And this installment of the story finally plumbs some of the dark depths the original movie touched on but wasn’t willing to dive into. In fact, the writers and director Louis Leterrier (Now You See Me) helped marry the tale to current times in wonderful ways.

They also left plenty of room for more stories and a whispered about second season, but not in an unsatisfying way…well, at least if you know the movie. However, if you’ve not found the movie yet, wait to see where the series goes and then get to the end of the story.

As both a revival and a continuation of the tale, Dark Crystal: Age of Resistance is a winner for me. There is something about the craft of bringing these inanimate creatures to life that sparks the imagination in ways CGI, or even most stop-action animation just can’t touch. Here’s hoping they get to continue the story and fully complete the sequence.

Carnival Row

[3 stars]

If Ripper Street and Copper had a magical baby, this is pretty much what you’d get. For me, however, the poor child took on the worse qualities of both parents. A shame as it had the potential to tackle the current issues of immigration and xenophobia sweeping a good part of the globe.

In the end, Carnival Row is a marginally thought-through bit of genre, full of strife and demons (personal as well as real). It is a by-the-numbers fantasy with few surprises and cliche characters; the pacing commensurate with its genre, which is to say: slow.

The show isn’t helped by its female lead in Cara Delevingne (Tulip Fever), who has the look of a Fae, but the emotional credibility of cardboard. Despite Orlando Bloom’s (S.M.A.R.T. Chase) backing her, and with some interesting tension between them, she just never became real for me. Even the host of solid supporting actors are generally forced into tiny boxes of behavior, by script and directing, that does little to show off their talents.

Ultimately, I’m still not sure if I enjoyed this first season or not. It is clear that the it was built around the first episode and final moments in the last…with a whole bunch of stretched out filler in-between. It is, in fact, more of a prologue or setup for a story to come. You may find it more engaging than I did, but despite the grand production values, I found myself frustrated far too often to settle into the tale and become a fan.

Ms Fisher’s Modern Murder Mysteries

[3 stars]

This expansion of the Miss Fisher mysteries by Acorn TV isn’t awful, but it isn’t the Miss Fisher we knew and loved. It is simply a fun set of mysteries and characters.

The core issue is the title character. Geraldine Hakewill is fine, but she doesn’t have even a small portion of the energy and charisma that Essie Davis brought to the original character. And though surrounded by a fun group of well-executed characters, she just doesn’t dominate the stories the way she needs to for this role.

Basically, much like The ABC Murders, Acorn is trying to capitalize on a property without being able to deliver the same quality. It is a shame as the story and characters are entertaining…they’re just not what you want or hope for even though it is substantially the same production crew from the original.

Geraldine Hakewill in Ms Fisher's Modern Murder Mysteries (2019)

Another Life

[3 stars]

Imagine Close Encounters of the Third Kind, 2001: A Space Odyssey, and Nightflyers all melded into one. In many ways, this is what Nighflyers wanted to be, but missed on so many levels. But Another Life is much more space opera than it is science fiction. Science is, at best, a convenient idea to be used or changed as needed (yes, even worse than Star Trek because it feels more like science fiction). Knowing that going in, despite the trappings of the show, will keep you from getting agitated later (assuming you care about such things).

Katee Sackhoff  (2036: Origin Unknown) delivers a complex and strong female leader. Admittedly, the script has her doing some stupid things at times, but her emotional core is solid. The rest of the shipboard cast, with two exceptions, do well too. Samuel Anderson (Doctor Who, DCI Banks) navigates a difficult road to sentience…your mileage may vary on the results, but it is still a complicated performance. Likewise Blu Hunt, A.J. Rivera, Alex Ozerov (Cardinal), and JayR Tinaco created shipboard life that is at once interesting and, in some ways, ridiculous. But that is more a problem of the Space Opera approach than it is the actors.

Unfortunately, there were also some weaker, or at least uneven performances as well. Top among those were Jake Abel (Love & Mercy) and Jessica Camacho (The Flash). Neither had a subtle bone in their body and, in the case of Abel especially, no presence whatsoever. Back on Earth, Selma Blair (Anger Management), who I normally enjoy, was just as imprecise and unreal in her pivotal role, which was a shame.

The other main Earth-locked cast was fairly solid. Justin Chatwin (Doctor Who: The Return of Doctor Mysterio) and the young Lina Renna make a great anchor for Sackhoff’s character.

Creator Aaron Martin has a diverse writing background on shows from Degrassi: The Next Generation, to Being Erica, and SyFy romp Killjoys. He isn’t afraid to push limits or relationships and it shows. This series takes a very matter-of-fact approach to the broad spectrum of sexuality that only Sense8 has really challenged in the genre so far. This isn’t the driver for the action, but it certainly adds some nice aspects to the characters and story.

The story also attempts, rather ham-handedly to be honest, to raise the challenge of understanding an alien mind. How much human psychology can you assign to actions and questions an alien raises? How closely will AI evolve to be like or dislike its creators?

I can’t say I ever was sure of the title: Another Life. It has interesting resonance throughout the story, changing as it goes. By the end of this first series I was still unsure of the intention, but had flipped through various options. Perhaps that was the point, but it never felt reflected in the characters.

This show is also a great example of being better streaming than it would have been on broadcast. The story is relentless, ending episodes on intriguing points or cliffhangers and starting off, often, with new situations. In other words, it pulls you along nicely for a binge. If, however, it had been released on a 1-a-week schedule, it would never have hooked in a audience because of that rhythm.

For some interesting distraction, this is a fun series. I’m hoping that it not only gets a second round, but that they learn from this first and take the scripts up a notch. It wouldn’t take much to take it to a higher level and really build out a franchise.

Frankenstein’s Monster’s Monster, Frankenstein

[2.5 stars]

For the title alone, I had to check out this silly satire, and clear vanity project, by David Harbour (Hellboy, Stranger Things) on Netflix.

The short film is full of nods and winks to the History Channel, Dark Shadows, and Documentary Now among other shows. It also takes many hilarious slams at the acting craft generally. Against this background Harbour explores his family’s fictional past in search of… well, that would be the problem overall. We never really understand why he’s doing this, what “questions” he has to answer. And, in the end, we don’t know what he’s discovered or embraced. Perhaps the open ended aspect was part of the satire, but it left me as a viewer wondering why I’d spent the half hour.

Given director Daniel Gray Longino’s background with Portlandia, and both he and writer John Levenstein’s involvement with The Kroll Show, the sensibility of this 30 minute distraction shouldn’t be a surprise. Mainly, it’s just disappointing, or was for me. But at 30 minutes, it isn’t a huge chunk of your life to lose for some funny moments. Just don’t expect it to hold together or pay off in a great way and you’ll be fine.

Veronica Mars (series 4)

[4 stars]

You just can’t keep a good detective down….or at least an obsessed one. We all thought the fan gift of the Veronica Mars movie was the end of the line for the intrepid investigator. But having left High School behind, Mars Investigations continues on in this engaging bridge season that maintains the wonderful noir sensibility of the original series, for all the good and bad that can bring.

The good is very much in the dialogue and twisty plot. Kristen Bell (How to be a Latin Lover) is as acerbic, witty, and broken as always. She and  Enrico Colantoni (Travelers) continue the father/daughter love and comedy in style. The return of Jason Dohring (iZombie) adds some character evolution and fun, while the addition of Izabela Vidovic (Wonder) provides some reflection on the once and future past.

And then there are the new characters bouncing around. Patton Oswalt (Nostalgia), Max Greenfield (What Men Want), J.K. Simmons (The Front Runner), not to mention the Pulp Fiction-esque Kirby Howell-Baptiste (Barry), Clifton Collins Jr. and Frank Gallegos add plenty of pop to Neptune’s known residents.

Where it is weak is where it has always been weak. Procedural accuracy isn’t a top concern of noir, never has been. And Mars has always played loose with the rules and the realities for the sake of the mysteries. We trade that for the rest of the fun, though I’d really like to see what Rob Thomas could do with that added aspect. But all those aspects that may have brought you to Mars in the first place are still there, though admittedly not much more. But if you liked what came before, you’ll enjoy this latest expansion. And do make sure you watch the opening credits through the whole season for a subtle, small extra.

22 Hot Zone Heroes, or More Streaming Fun

The Hot Zone
This is an old story given new, and surprisingly terrifying, life given we know the outcome and that Preston’s book is well over 20 years old. It is a little uneven in acting, though the issue is more casting than performance. While Julianna Margulies (The Upside) is solid as army research doctor, James D’Arcy (Survivor)  just didn’t work for me on multiple levels from his accent to his whiny nature. But that aside, the story is surprisingly gripping and the warning not a little unsettling.

Catch-22
The real question with this one was: How do you film the impossible book? Well, up till the end, apparently really well. This six-part look at the absurdity of war and humanity generally is funny (till it’s not) and gripping through till its final moments (when it isn’t). On screen, the reason for its success is unequivocally Christopher Abbott (First Man) in the main role of Yossarian/Yo-Yo. Without him, it all falls apart. Around him are a cadre of characters that are, basically, absurdist creations that remain all too connected to truth. On its own, this version of Heller’s classic has a point to make. But if you’ve read the book, you might find the finale more than a little frustrating, especially after having been teased along so expertly for the rest of the journey.

MARVEL ACROSS THE GENERATIONS
Marvel is everywhere and, it seems, represented on almost every major channel or streaming option. Hulu and Netflix have some of the most interesting offerings. And, between them, they reach out to a range of ages.

Jessica Jones (series 3)
Jessica Jones is, by far, the most adult of the range. Since its inception, Jones has been one of the most interesting characters. As a flawed, powerful anti-hero, she was instantly engaging, even when those around her weren’t. This finale to the series is worthy of her journey, even if it was somewhat cut short.

Cloak and Dagger (series 1 & 2)
This teen-oriented, but delightfully dark story of two teens tied together by happenstance is lots of fun and often shocking for the places it’s willing to go. It is much more fantasy than science fiction, leaning heavily on New Orleans hoo doo. But the show maintains its consistency and drags you along into its weird and wonderful world. It isn’t perfect, often dipping heavily into clichè, but Olivia Holt (Same Kind of Different as Me), Aubrey Joseph, and Emma Lahana (Haven) get to have a heck of journey over the first two seasons…and a lot of fun, sweat, and tears getting there.

Runaways (series 2)
Of all the Marvel shows, I was actually most interested in this one, till I got to see it. Mostly it had my attention because of the various writers of the comics over the years. But the result is something aimed to the tween audience (or younger) and rarely with any credibility. There is enough of a mystery to keep me semi-interested, but I grind my teeth way too often while trying. The writing is weak, the plotting forced, the characters willfully ignorant or just plain stupid, and the purposes just downright confusing at times. Ultimately I fell away halfway through the second season, though I may pick it up again to see how they resolve it all.