Just how broad do you like your comedy? If you’re planning to come here for a feast, be prepared for something more Chuck E. Cheese than Four Seasons.
If you know me, you know that restaurant movies tend to get my attention. I love the environment and, particularly, watching the food being conceived and prepared. When provided enough of that I’ll even, usually, give the action and story that surround it a bit of a break.
Sadly, director Nacho G. Velilla (No Manches Frida) couldn’t decide if he was going to give us a farce or a force for change in this tale from the other side of the passthrough. In the end, it’s just an unpalatable melange that barely held my attention and interest. The acting was only a notch above telenovela in its shrill delivery, though the messages and the intended heart were much more human, and the story was an oversimplified mess.
Unfortunately, in the end, this movie is a meal that leaves you wanting. It has neither a believable tale, nor does it give us enough about the food to keep the audience sated. Frankly, if it had been about 25 minutes shorter, I’d be less critical. In its lack of focus, there are a number of storylines and setups for emotional payoffs that just aren’t worth the effort. Coming in at close to 2 hours, the movie just can’t sustain.
Now, if you like broad, silly comedy that occasionally touches down in reality and that has a sort of positive message, this may be for you. It really wasn’t for me.
[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.
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.
Every bit as silly and bloody as you expect from the title…and, yes, it is bat-shit crazy. It is, in fact, so bizarre that it was even more fun to watch with the badly dubbed English 5.1 track (rather than the original Japanese stereo with subtitles).
Truthfully, I can’t defend this movie on any level. It isn’t quite “so bad it’s good” like the old Ed Wood films. But it isn’t so full of itself that isn’t also punching itself in the face consciously. Writer/director Noboru Iguchi is clearly a prolific, gonzo creator. He has no boundaries and an evil sense of humor.
So, I admit: I laughed a lot. I hope it was in places Iguchi intended. But I can’t say I’d seek out any more of his work. One was enough. You may find him more to your liking.
This film is a triumph of style over result. Part of the problem is the source material, which has been done over and over again. In books as diverse as science fiction (Niven & Pournelle’s or Steven Boyett’s, for example) not to mention too many movies to mention, and mainstream fiction. But the very nature of Inferno is that is episodic exposition after episodic exposition; speech upon speech about morality and the wages of sin.
That may have worked in Dante’s time, and certainly fit the structure of his cantos, but not so much anymore. Even when using it as a foil, it tends to devolve into a playground for airing personal senses of justice about current times or historic figures rather than about the characters in the story. This wasn’t even the only movie to attack Inferno in animation. Just a couple years later, in 2010, there was another: Dante’s anime, though that was adapted both from Dante and a video game.
So what does this movie have going for it? Inventiveness, for one. This is done with paper puppets manipulated by a talented crew headed by Paul Zaloom. This was all clearly a labor of love put together with collaborators Sean Meredith (who was also the primary director), Sandow Birk (also the primary writer), and Zaloom. And they got two capable actors to voice the main characters: Dante by Dermot Mulroney (The Mountain Between Us) and James Cromwell (Jurassic World: Fallen Kingdom) as Virgil.
But it doesn’t really come together as more than a curio. The puppetry is interesting. The political commentary is also unnervingly on point even 13 years later. In the end, however, it just sort of happens and then it’s over. True to the original material, but not quite enough for me to feel satisfied.
This is seriously lo-fi; horrible sound, cheap film, found spaces. But it is also surprisingly sweet and amusing. But that’s what vanity projects can be like…well, to be fair, less vanity and more an actor creating work for himself. James Vasquez (Ready? OK!) wrote and starred in this highly personal and, I suspect, highly autobiographical tale of finally growing up and finding your way in the world. He was lucky enough to have Carrie Preston (who also had a part in Vasquez’s follow-up effort Ready? OK!) take the reins and direct this first feature of his.
In fact Vasquez managed to get several folks to return for that second film after lending talents to this one, including Michael Emerson (Evil), Kali Rocha (TiMER), and others. But the focus of this story is on Vasquez and his semi-obsession with Mike Doyle (Gayby), who is probably the most stable and subtle of the characters in the story.
However, this first effort of his is really raw, though inventively told. It feels like a super-sized thesis film…but it works. Just go with flow and enjoy the truths and humor. I can’t tell you why it works, other than the commitment of the actors and the recognizable human flaws, but it does. And it was interesting to see where he started…even if he seems to have stalled out since then.
Up front, I am not and never was an Office fan. The humor just never worked for me…not that I hadn’t lived the cube-life at points, and not that I hadn’t seen a good deal of the truth in the satire. However, mean humor just doesn’t entertain me, it angers me. So, sort of counter-productive. Because of that, it was with trepidation that I entered into the world of Space Force. And it was pure stubbornness that I delayed and delayed this write up trying to watch more of the show even though it left me empty of joy.
What made The Office work was its core truth and that its audience knew, and had internalized, that truth. This satire has none of that advantage. It needed to find something more human for us to latch onto. Frankly, it reminds me of a lot of the issues Avenue 5 has.
The fact is, at least in this household, that despite a cast packed with talent, the show feels surprisingly lifeless. It has moments, but because it isn’t in a familiar setting, and because its inception itself feels like a national joke (something they lean into), it’s hard to relate to or support the characters. We may understand the military, but most of us don’t live it, unlike office life. In other words, we can’t quite grasp all of the intent and, frankly, based on some of the people I know, I know they got a lot of it completely wrong.
With all that said, I couldn’t make it past the second episode, even with John Malkovich (Velvet Buzzsaw) chewing up the scenery in a most satisfactory way. I tried. You may find it more to your liking than I did…humor is highly individual, afterall.
I know it’s a classic, but it no longer (if it ever) works. It comes close, but refuses to gel. Generally, the world agreed that director Jean-Pierre Melville and writer/adapter Jean Cocteau’s collaboration yielded an imperfect translation to screen. It made “classic” status as part of their bodies of work, not this particular work itself.
In all honesty, this wasn’t the movie I had intended to see. Way back in 1995 I was lucky enough to see Indiscretions on Broadway. That was an adaptation of Cocteau’s earlier tale and film, Les Parents Terrible. A story that was a much more interesting, funny, sad, and dark tale of familial life and emotional incest. Over the intervening years, somehow the two titles got munged in my head and I ended up queuing Les Enfants. The two are not comparable.
None of the cast in this film really had much of a career. There is the nice curio that Cocteau himself provides the narrator’s voice-over. But nothing much else about the movie stands out as a reason to recommend it. Save your time and find some other french cinema of the era to sate your education and/or curiosity. Or, if you want, something newer that reflects that era, like The Dreamers.
There is a definite How to Talk to Girls at Parties gone very dark here. Rather than a sweet, if odd, tale of self-discovery begun at an epic house party, this edges into horror. And not particularly satisfying or scary horror at that. It is more suspense and mystery horror, leading to a real moment, but somewhat ponderously getting there.
The cast is relatively untried. Only Logan Miller (Being Frank) stands out. But, I will admit, that Colleen Dengel (Damsels in Distress) and Natalie Hall get some unexpected moments. However the main action is driven by a rather weak Rhys Wakefield. The story is very much on his shoulders and only works if his path makes sense and if we have any sympathy for him. We don’t. Not at all. And without that, the whole house of cards collapses at the end.
To be fair to Wakefield, director Dennis Iliadis (Last House on the Left) took Bill Gullo’s (The Quitter) script and followed its lead, but left it stilted on screen. He didn’t help his actors find their truths in the way he needed to sell what could have been a wonderfully creepy and psychologically challenging tale. He did, at least, keep the story clear in the midst of a complicated concept. And the script, while clever in idea, doesn’t quite go all the places it could have to make it richer and more interesting.
I can’t say I recommend this one, but some may find it satisfying. It has moments if not a completely satisfying delivery. If you gravitate to teen splatter horror (which this isn’t, per se, but it bumps against those tropes) you’re more likely to find it fun.
Here are a few more streamers. Two worth your time and one that is entirely up to your sense of humor. Then again, I suppose they all depend on your sense of humor, but let’s just say I found the first two to have more of an easy entry and wider appeal, but that may just be me…
The Great (Hulu)
If The Favourite had spawned a series, in style and concept, this would have been the result. I know it is actually based on different IP (a play) but you can’t help but see the parallels, especially with Nicholas Hoult (The Current War) in one of the leads.
But this is really Elle Fanning’s (Maleficent: Mistress of Evil) moment, her chance to take the reins and reign as an adult. Watching her navigate her world, and the absurd situations, is a riot and, at times, terrifying. Helping her along in her conspiracy to bring sanity to Russia are Sacha Dhawan (Doctor Who) and Pheobe Fox (Eye in the Sky). And Belinda Bromilow (Doctor, Doctor) and Sebastian De Souza (Medici) add a wonderful counterpoint and humor to it all. Even Charity Wakefield (Doctor Who: The Return of Doctor Mysterio) and Adam Godley (Umbrella Academy) add a sort of caustic and clever nastiness. Honestly, there are too many good performances to call them all out. If you’re up for some (sort of) period comedy, this one is worth the effort.
Upload (Prime) A little bit science fiction, a little bit rock-n-roll… ok, more a little bit Sleeper with a huge dash of Her, though both with backflipping twists on the approach. Robbie Amell (ARQ) and Andy Allo (Pitch Perfect 3) drive this show wonderfully. Allo, in particular, skips through emotional changes like a quick-change artist. Creator Greg Daniels brought his Parks and Rec comedy chops, but with a bit more restraint, to sell this entertaining satire that also comes with a nice mystery embedded. The first series is a solid start, but while it gets to a pause-point, it definitely ends on some serious cliffhangers. Fortunately, it is already renewed, so you won’t be left hanging forever.
Avenue 5 (HBO)
Yeah, I’m sorry, I just don’t get the appeal of this one. And it’s not because Hugh Laurie (The Night Manager) isn’t great fun. Nor is it that Lenora Crichlow (Collision) doesn’t manage to balance out the craziness. It’s that the writing and, particularly, Josh Gad (Little Monsters) just don’t know how to set limits that keep it all fun.
What could have been the black humor counterpart to Aniara, turns into a broad comedy mess without much to say for itself.