Stargate was a fun and long-running show. Even its spin-offs managed to be entertaining, if not long-lasting. They never quite found the chemistry of the first show again, try as they might. So, when it ended, there was a sense of relief (much like when Enterprise finally died).
But studios are loathe to give up properties they think they can milk, and so Origins was born as a way to sell one of the first digital streaming services. This movie is a compilation of the that one-season attempt of 10-ish minute episodes. It is…well, not very good.
The story picks up a well known storyline from the original series and movie, and shoe-horns in a tale that, by the skin of their teeth and with obvious tricks, manages not to entirely blow up canon. But the acting is cardboard at best. The story is forced and retreads a lot of different aspects of the shows that came before. It is far from satisfying on its own, and leaves little sense of how they could build on the story. Especially true given how many of the holes have already been filled through our time-travelling and flashback buddies over the years in the previous series.
What is clear is that the brains and abilities that provided over a decade and three series of shows were nowhere to be seen. The look is similar and the background established, but the talent is a gaping void. In other words, the only reason to torture yourself with this movie is a sense of complete-ism. Expect to grit your teeth a lot and to feel you haven’t learned much of anything new or, for that matter, of value to the original series.
It is really impossible to talk about either of these shows without referencing the other. They are both reactions to the previous decades of Trek and are being run by competing ex-Trek production staff with (clearly) different visions. Their first seasons established unique directions and sensibilities from what we knew as Trek and from each other. However, both Discovery and Orville somewhat lost their way in their second series. Oddly, while at opposite ends of the spectrum (dark action vs satire), they both moved more centrist. In doing so, they both lost their edge and uniqueness but never quite gained the chops to carry off their more standard action/adventure sf intentions. And what makes them even more comparable again is that they tackled similar uber-arcs to their seasons, which I won’t discuss, but certainly stood out for me.
Let’s start with the official franchise. Discovery has drifted slowly and deliberately from its very bleak prequel universe. That darkness had really set it apart from previous series and allowed for some good characters, all of whom have now become somewhat bland. Worse, the move for the series was from a female dominated to a male dominated one; very disappointing. Sonequa Martin-Green (The Walking Dead) is still the focus of stories, but she has taken a backseat to new arrival Anson Mount’s (Inhumans) Pike and other men on board rather than being the main driver of the action and plots. Her Vulcan-ness has likewise diminished, though I can see an argument for that choice. There was a drive for the first several episodes to inject wry humor to balance the sturm und drang, but it was often tossed off and felt forced, or simply got lost amidst more important information. Eventually, they just gave up. Basically, it has become more standard Trek and less something unique. In fact, in some ways this season as a whole could simply be titled The Search for Spock.
I have to admit, I had trouble letting go of the dark roots of Discovery’s first season’s going into the next iteration. And make no mistake, season two is a whole different animal. In some ways I love the tight banter and wry humor, even if the audio mix often made it challenging to hear clearly. I like that they didn’t just forget season one, but grew on it, even though they remade the show entirely and left a lot of what made it something new, something not standard Trek, behind. Bryan Fuller’s vision for Discovery was refreshing for me. Even if he didn’t get to see it through, you could feel him in the bones of season one.
And then there was the season finale, which was unforgivable. Loaded with, and led to by, stupid choices and bad writing. It also had a critical element only from the Short Treks, which I’d not seen. The frustration is that if you’re going to make something an integral element of the season, it should be part of the season. Otherwise, it is fine to have nods and gifts from the other material (SHEILD and others have done this), but nothing core as not everyone would have the information necessary.
I will grant that the scope of the season, in terms of the overall plot and ongoing arcs, was impressive and gripping. It managed to be somewhat episodic and still have a much larger story pulling it along. But as a rehash of Enterprise’s failed attempt at the same idea it is full of the same kinds of plot holes and issues. It also took a stab at the now standard trope of revisiting the original series that began with the Tribbles episode in DS9; but they didn’t manage it effectively or with any real emotional weight.
But worse, depending on how they resolve the finale in the next season, the reset of the universe was more than a little cheap and frustrating (both in choice and method). I don’t quite know how they follow up this season in a satisfying way…but they have succeeded in bringing what was a brave new show back to the well-trod Trek center, and making it a lot less interesting.
The Orville has swung in from the opposite direction, trying to become more Trek and less satire of that genre. It essentially gave up what made it unique and left us with middling writing and lackluster plots for most of the season. However, a lot of that middling slog was worth it to get to Menosky’s Sanctuary, which picks up the Moclan tale from season one (Ja’loja) in earnest. It is loaded with guest stars and great moments and hits the exact balance of honest and satire that made the first season so much fun. It is also one of the few MacFarlane didn’t write this Sophomore season.
The final few episodes of the Orville season redeem it…right up through the finale. I am hoping that it indicates a recognition of where they drifted from their mission and that they will return renewed and refocused. Orville may never have been great, but it was entertaining and a good escape. Sure it catered to the geek crowd, especially in its humor, but it had potential. Making the Trek-like universe something a bit more realistic instead of aspirational in its society is not only a rising trend in the written genre, but a hunger in the audience who are tired of the sanitized worlds that had been on offer for decades.
Yes, I will be back for both of these shows, assuming both are back. Only Discovery is officially renewed as of this writing. There is potential in both and both shows have a willingness to take chances and change. I just hope they learned the right lessons from this past year.
At the core of The Missing was the calming and obsessive Detective Baptiste, played by Tchéky Karyo. He was never the focus, but was the uniting factor of the series, and in many ways one of the more interesting characters. Well, now he has his own series. With the story solely on him, it is a bit lower energy but just as dark. Tom Hollander (A Private War) adds an interesting counterpoint, and a very complex character to the mix. And Alec Secareanu (God’s Own Country) provides a suitably evil opponent for both. There are some strong women in this series, and some damaged ones [Jessica Raine (An Adventure in Space and Time), Anastasia Hille (Tulip Fever), Barbara Sarafian, Talisa Garcia] but it is driven by the male characters.
There is a nice mix of mystery and suspense, though Karyo’s Baptiste seems to get to move with near impunity through the legal system of more than one country. But the show also continues the threads of his home life and past, which expands on what we know in interesting ways. Whether this show can be sustained over more than this limited story, I’m not sure. Karyo isn’t young and the character himself is winding down in his abilities as part of the plot. And the end of this clever and twisty six-parter was a bit rushed and, in some ways, forced. To their credit, it is satisfying and allows it to feel complete without closing the door to further stories.
Shakespeare and Hathaway (series 2)
The first series of this silly series was amusing…even more so if you know the plays of the Bard…but the mysteries were never brilliant. This second round is still fun, but the writing is much more hit and miss. In fact, the first half is painful at times, but they finally find their footing about episode 5. The main issue is more around police procedural and willfully stupid choices by characters. But this isn’t necessarily a show you want to over-analyze anyway. If you liked the first series, the second will happily distract you. If they can get more consistent writing, it has a chance for a long and amusing life.
Trapped (series 2)
The second series of Trapped takes on immigration and hate crimes on top of the delicate politics of country and family that the first series tackled. It picks up some time later from the first go-round, with some significant changes and some continuing tropes and battles. The mystery gets off to an immediate start and spins out from there intriguingly playing in the overlap between the far right and environmentalism. While the first series traps its characters literally, this series a more psychological reading of that title. Many first series characters recur and their storylines and tensions continue. The story itself unfolds very slowly, constantly going in new directions until the full tale is revealed and resolved.
Endeavour (series 6)
The latest 4 installments of Endeavour are coming back around to establishing the quirks and mannerisms of Shaun Evans’ (The Scandalous Lady W) titular detective. The last couple sequences laid some groundwork, but it was all inferred rather than direct. One of the things that made the first two series so great was watching Morse being born. This sequence really sets the stage for the relationship with Sean Rigby’s DS Strange and James Bradshaw’s Dr. DeBryn, as well as tackling some challenges with Roger Allam’s (The Hippopotamus) DI Thursday and Anton Lesser’s CSI Bright.
There are still a few years to go before the series hits the wall it cannot pass (overlap with the original series and the elevation of Morse to DCI in the 80s). With the next series, they launch into the 70s… but they could continue there for years at a paltry four episodes a go, which either means great news for lovers of the show or danger of spinning wheels and driving it into a hopeless rut. Given how carefully Russell Lewis has tended to Colin Dexter’s characters and has conspired to give us this early slice of Morse, I’m hopeful he can sustain the effort.
Shetland (series 5)
Shetland continues its travels with its characters and its dark mysteries across harsh landscapes. And, if its been a while since your last visit it may take a bit to get your footing with the characters and their relationships. Douglas Henshall’s (Collision) dark but seethingly emotional detective remains at the center of the mismatched family on the tiny and battered island. Mark Bonnar (Line of Duty), Steven Robertson (Luther), and Alison O’Donnell remain core to the story with him and to each other. In many ways, this is one of their best crafted seasons; it has a complex mystery with many switchbacks and character growth in parallel over the six episodes. Not that previous series weren’t equally complex, but this one felt the most evenly put together. Interestingly, series 5 is also journeying along similar ground as Baptiste and Trapped, taking on human trafficking as a core issue.
Another bit of marginal science fiction that is more horror and misogynistic tripe than it is a good movie. A surprising result given the strong female lead in Maika Monroe (Independence Day: Resurgence). Ed Skrein (Alita: Battle Angel), as her nemesis, is cardboard at best and a mustachio twirling black hat at worst. Even Gary Oldman (The Darkest Hour) as the recently generated AI is without a lot of impact, though he gets a moment or two.
For a first feature as director, Federico D’Alessandro does a reasonable job with what he had, and got a very nice look for the movie. Not a surprise as he has a long history in storyboards and animatics. It is really Noga Landau’s (The Magicians) script that is the big problem. There are moments of thoughtfulness in the action and issues, but mainly it is an excuse to raise mayhem, torture, and revenge. If you’re in that kind of mood, I suppose you could do worse, though you’re better off with something more like Assassination Nation which has all of that and better writing.
What you’ve got here is a rainy night flick that is way better than most of the SyFy offerings, but still not a great movie in and of itself. Enough to distract and, perhaps, maybe consider some ideas (stress on maybe). But this movie isn’t going to win awards or get massively recommended other than for Monroe in skimpy outfits and Skrein in tight clothing. Some nights that may just be enough. Your call.
Yeah, I’m a bit late on this one. I started to watch it early and, frankly, while it had caught me, I wasn’t driven to get back to it too quickly. I am, however, glad I went back.
With Emma Stone (The Favourite) and Jonah Hill (True Story) driving the tale, and Justin Theroux (On the Basis of Sex), Sally Field (Hello, My Name is Doris), and Sonoya Mizuno (Crazy Rich Asians) supporting it, there is some serious talent brought to bear. That talent saves the series, selling the odd and weird with commitment and nuance. Because despite all the clever aspects to the story and presentation, it really is a tortured and overly drawn-out metaphor, however entertaining.
Ultimately Maniac is an intriguing look at love, life, and schizophrenia, helping to make it one of the oddest love stories ever devised. Cary Joji Fukunaga (Beasts of No Nation) and Patrick Somerville delivered a series that is, at turns, intriguing and amusing…and ultimately affecting.
What a wonderfully weird and dark world. There are enough twists and turns amid the obvious and predictable to keep the inaugural 10 episodes of this series gripping. The production rides the line of comic book and real life beautifully, crossing back and forth between the natural and the absurd.
The ensemble is varied and impressive, much like the Academy was meant to be. And they all commit and deliver at every step, with their (eventually revealed) back-stories supporting their choices nicely. The core group is primarily lesser known talent with Tom Hopper (I Feel Pretty), David Castañeda, Emmy Raver-Lampman, and Robert Sheehan (Mortal Engines) each having some great stories to tell. And then there’s Ellen Page (Flatliners) in a truly challenging role, who does well, but she is the least credible for me. Page delivers, but a lot will depend on the anticipated second season as to whether I fully buy into her choices. However, if there is anyone who really gets to dominate this series it is Aidan Gallagher as Number 5, who graduates from Nickelodeon to adult fare. Coming across believably as a 50-something year old man in a 15 year old’s body isn’t easy at the best of times, but Gallagher has an amazing energy and ability to pull it off.
Umbrella is first and foremost a comic adventure. Expect extremes and complexities. Expect the unexpected and the genuinely obvious. But mostly expect to be entertained and to have a rollicking good adventure that will have you trying to put the pieces together till the end. This sits in temperament somewhere between the Marvel and DC universes, delivering humor but also the gravitas and the dark. Think of it as a twisted, dark X-Men sequence by way of St. Trinian’s. It even echos a lot of the sensibility of Utopia (which is also being remade for US television). I had a great time with the result and, if you like these kinds of stories, you will too.
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.
Art, writing, life explained… or at least commented upon…