Tag Archives: grrrls

Dark (series 3 – finale)

[5 stars]

I’ve been talking up Dark for a while now. And having rewatched it from front to back again, I plan on continuing.

The series starts as a fairly standard mystery and then rapidly evolves. By episode 1.3 you have some sense of the complexity. By the end of the first series your brain is likely bleeding. In the second series it only gets more complex and convoluted and yet…. either it was all planned brilliantly or retcon’d seamlessly because on every major point it holds together. There are some minor bits and pieces that are left hanging or glossed (and yes, I look at you episode 2.4). And I admit there is one choice in the series 2 finale that makes me grind my teeth as it wasn’t necessary for plot, but simply contrived to get a visual and then they got stuck with it. Then, at the end of series 2, you’ve taken a hard left turn.

But the big events, the important confluences, all work as one.

And here we are at the completion of the tale, series 3; it makes the first two runs look simple…in fact, the penultimate episode left me exhausted. More importantly, the finale brings it all together in a fair way, given the story that’s been laid out before us–the clues are all there. Even the title finally gets an explanation.

Ultimately, this is one of the best attempts to both philosophically attack and support a deterministic universe. There are characters on both sides fighting to defend and break it. And not a one of them is telling the truth. We know that early on, but never actually find solid ground till the end, when their intentions are truly revealed. Sure the science is, at best, fantastical at times, but not all of it. Some is well-established theory, and the mix of the two allows you to swallow the conceits in full; even when they get it horribly wrong.

One of the aspects that makes this series work is their, mostly, amazing casting. Only This is Us has come close to the need and quality of finding actors to portray characters at different ages. And, honestly, Dark has done it better. Some of the actors you will swear are the same person, just aged. It helps tremendously with keeping track of the story and the credibility of the plot. They also weren’t afraid to try new ways to work with the audience visually. Each series experiments with new visual cues and approaches to help you navigate the insanity. Series 3 even uses more than one approach over the eight episodes.

Dark lives comfortably with some of the great time-travel tales of the last few decades, including Timecrimes, Primer, Edge of Tomorrow, Predestination, Doctor Who (Blink), Looper, Safety Not GuaranteedWatchmen, The Magicians (ep 5.6: Oops..I did it Again), Babylon 5, and even (despite its flaws) Terminator: Genisys. If you haven’t tackled it yet, make the time…and watch it from start to finish in a straight go (no more than two episodes a night). There are so many subtle and wonderful moments and echos that will get missed if you stretch it out too long.

Penny Dreadful: City of Angels

[4.5 stars]

City of Angels is a richly appointed and complex tale of murder, espionage, love, and religious devotion (as well as religious hypocrisy), with a good helping of prejudice and capitalism thrown in.  It is also topical and historically well done, resulting in a beautiful and brutal series.

Natalie Dormer (Patient Zero) is a revelation in 3 of the 4 characters (she really can’t pull of the white Mexican well). It is obvious why she took the role. Likewise Nathan Lane (Carrie Pilby), who gets to play to all his strengths from wry humor to deep pathos. Bouncing between them is Daniel Zovatto (Lady Bird), who serves as the main spine for the series. From the opening scene, he is the man in the balance trapped between outcomes. But until the moments, he is stuck in the gray. We watch him struggle to be part of some world, any world, where he fits and can live with the choices. And it is a compelling tension.

A number of driving roles keep it all moving as well. Rory Kinnear (Years and Years), in particular, has a many layered story to navigate. Through him we see duality in detail: humanity and the inhumane. It is done without any nod and wink, nor any apology. And Michael Gladis (Extant) provides a suitably vile and craven political climber in a world that he wants to crush before it crushes him. Even Zovatto’s screen brother, Johnathan Nieves (See You Yesterday), brings in a set of layers born of hopelessness and anger. It’s a little one-note, but it doesn’t lack credibility even when his ultimate choices are a little forced. There are some nice treats along the way too, like Patty Lupone (Last Christmas) in concert and Brian Dennehy’s (The Seagull) final effort before his passing in April (though he may have other footage still to come in a couple projects).

This time in LA, the lead-up to WWII, has been often visited, but rarely with the kind of scope this series pulls off. Usually you get hyper-focused stories, like Zoot Suit, or Chinatown, or any number of mystery/suspense/noir stories that pull apart the high and low of society, or the gay and straight. City of Angels navigates all of these aspects, and then some. And it does so in a way that makes sense and shows the connecting threads. For that alone, it is worth seeing.

However, while I loved seeing a different take on the era, I have to admit that I was also somewhat upset that it removed primary responsibility for the horrors from the humans. Dormer’s character, as the sweet-tongued devil in many guises, becomes the main impetus for all the action. She really does much more than talk to make it all happen, which is where the trouble lies.

In addition, there is a challenge with the plot decisions that bothered me. While the presentation of how LGBTQ people were treated and viewed in the era is relatively, sadly accurate, the series also has no LGBTQ character who isn’t, for lack of a better word, evil. Not just tragic, but actively doing wrong. That feels a shame in a story as big as this and one that has so many levels of detail. And particularly wrong during Pride Month. It isn’t that the characters aren’t human, they just all feel irredeemable.

But, ultimately, this show is so on target for the current situation across the country, the awakening and mobilization of frustration and anger, that it’s uncanny and upsetting. All in an intentional way. City of Angels marks a brick in the path that leads to its own historical volatile times, but it is also a reflection of the powder keg that is today. It insists we look not only at the past but at how we want to navigate the future. And it also forces us to admit the perils of not paying attention to those lessons. Despite its slightly rushed wrap-up and some of the dangling threads, this is a definite must-see for our times and, should these times move on, a must-see for the historic scope and lessons of the past; and yes it’s entertaining as well.

Penny Dreadful: City of Angels

Les Enfant Terribles

[2 stars]

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.

Les Enfants Terribles Poster

The Valet (La doublure)

[3 stars]

There is nothing quite like a well-controlled French farce to help put a smile on your face. And director and writer Francis Veber (Dinner for Schmucks, La Cage Aux Folles) certainly understands farce. His main strength is almost always going for the understated response from his main characters, while allowing the peripheral ones to go  broad. It keeps the entire story from ever getting too shrill or ridiculous, even when it is outlandish or ridiculous.

He also has a great touch for casting. Gad Elmaleh (Mood Indigo) is wonderfully comfortable with his life and choices, even when offered something much more. And Alice Taglioni and Kristin Scott Thomas (Tomb Raider), as pawns turned queens, provide some great moments as well as implying some deep backstories that we never really get to learn about directly.

There are many other amusing, smaller roles, some created by faces you’ll recognize from French and International cinema. They all add sparkle and entertainment, pushing the story along with many laughs.

For a bit of warm escape, this is a great choice…and also a good one to share with someone you care about. Pop the corn, pour the libations, and curl up together on the couch for a good laugh.

The Valet Poster

Some COVID Fun – No, Really

There has been a wave of lock-down art recently. Well, what do you expect with a bunch of artists stuck at home with no outlet? Even the some finales (like All Rise) embraced the situation and wrote it into their tales.

Most of it has come in the form of at-home/garage concerts up till now. But, recently, a number of short video stories have begun to surface.

While there are many, these two really stood out. One for its sheer amusement and the other for its scope. Both are BBC, but I would expect them to be more generally available at some point.

Staged

What happens when David Tennant (Doctor Who, Good Omens) and Michael Sheen (Slaughterhouse Rulez) try to mount a play during the lock-down? Well, with the help of relatively unknown Simon Evans as writer/director/actor and their families, hilarity ensues. This series, comprised of 6 short episodes is self-aware, self-deprecating, and utterly irreverent. Find it…and remember to pay attention to and watch through the credits. The fun just keeps on giving while touching on the realities of the world as it is being reshaped.

Staged Poster

Unprecedented 

There are too many people involved here to list. In several half-hour episodes, each comprised of 3 10-minute plays, you see a huge scope of pandemic life. Some of it is is funny, some uncomfortable, and some just poignant, but all are worth seeing and none are so long as to get boring.

Unprecedented: Real Time Theatre from a State of Isolation Poster

American Adobo

[3 stars]

This isn’t a great film. The script, by first-timer Vincent R. Nebrida, is painful at times. And the effort to overcome those lacks by director Laurice Guillen doesn’t help her break into the States, despite being widely celebrated in the Philippines and abroad. Even the fairly experienced cast had trouble finding an even rhythm and delivery.

But, there is a sweetness to the story and the performances that made it engaging. Certainly the peek into Philippine culture was interesting (even if aspects were overblown at times). In between cringing at the dialogue and some of the acting, it will reach you and make you smile as you grow to understand this group of friends who bond over the past and food while negotiating their way into their futures.

American Adobo Poster

In the Mood for Love (Fa yeung nin wah)

[4 stars]

Director/writer Wong Kar-wai (The Grandmaster) has a beautiful sensibility about film and about characters. It isn’t just about the framing, which is always impressive, it is about his awareness of the moments. He imparts emotion by virtue of how they are presented, adding a layer to the performances and story.

When paired with subtle performers like Tony Chiu Wai Leung (The Grandmaster) and Maggie Cheung (2046), the result is riveting. We swept up in their lives as they reevaluate their marriages and each other. It is always as much about the silences and what we can’t see that expands the story, sometimes even more so than what is on screen.

Beyond the story itself, Kar-wai plays some entertaining games with the film. Cheung, for instance, has an astonishing wardrobe that rarely repeats. Some characters are never fully in frame or seen from the front. Rain and smoke become motifs for emotion and thought. And the episodic nature of the film ultimately drives unexpected aspects of the tale. It is no wonder it picked up so many awards; it pulls you along with inexorable curiosity, longing, and hope.

In the Mood for Love Poster

Homecoming (series 2)

[3.5 stars]

The first season of Homecoming was a twisted tale of mind-bending fragments that coalesced into something more pedestrian and down-to-earth. That wasn’t a bad thing…it was honest and logical. The perspective was from inside the mystery and it added great suspense and confusion. But now we know the truth.

What we get with the second series is a look at some of the peripheral aspects and the extension of the fallout as we follow the thread left by Stephan James’s (21 Bridges) character. And there are some interesting paths and aspects to explore.

But the best reason to see this second round is Janelle Monáe (Welcome to Marwen) and Hong Chau (Watchmen). They are natural and unforced as a couple. They also each have their own stories and arcs to travel. Chau’s starts in the first season, but this provides another angle on the wonderful final moments she is part of. And Monáe fits seamlessly into the twisted world we traversed as if she’s always been there.

Like the first round, there is a mystery to unravel, though with fewer surprises. And it is full of suspense with bursts of activity. I was with the story completely (despite some willful stupid moments) until the final 10 minutes or so.

The ending didn’t ruin the ride for me; I can understand the decisions that were made. However, it left me very conflicted. To my mind it was out of proportion in scope and depth for the plot. Basically, it violated my sense of balance and left me without sympathy for the characters we probably should have had some sympathy for. Was it a fair choice by the writers? Maybe, but it wasn’t the satisfying punch I think they were hoping for. More importantly, it makes me question whether the third round, assuming it happens, is something I want to see.

Homecoming Poster

 

See You Yesterday

[4 stars]

If you just avoid thinking about the hand-wavy science and focus instead on the logic, story, and message this is one powerhouse of a flick. First-time feature director Stefon Bristol co-wrote this topical and clever tale with another first-timer, Fredrica Bailey.  The two shared the Independent Spirit Award for their efforts for good reason.

Not only is the tale entertaining and a nice variation on well-known theme, it’s also topical and honest about the world in unexpected ways. And, to top it all off, it is aimed at a younger audience while satisfying adults. While different in tenor and intent, this film would live comfortably with Attack the Block or Chronicle.

The film is driven by Eden Duncan-Smith (Annie). She brings a flawed, real person struggling with the realities of her life and the fact that she’s smarter than almost everyone around her. Her friends figure heavily, given life, if not quite as much depth, by new-comer Dante Crichlow and up-and-comer Johnathan Nieves (City of Angels). But as her older brother, Astro  (Luce) adds a number of  important and challenging levels.

This isn’t an easy film to watch, especially right now, but it is probably exactly what you should be watching. It is clever, entertaining, and even funny at times, but it also exposes aspects of reality that is rarely tackled with such honesty and sympathy. It also has a near-perfect ending for its purpose. You can think of it as a science-fantasy tackling of Waves or Do the Right Thing, but that would lead you a bit astray as well. Maybe it’s closer to being Run, Lola, Run in Flatbush if you still need a touchstone.  But, really, it is its own story, and you should see it. And I know I’m looking foward to seeing what Bristol and Bailey come up with next.

See You Yesterday

Paradise Hills

[3 stars]

There is a lot to unpack in this movie. It is, above all else, sumptuously designed, rich in visuals, and minute in its detail. That alone makes it worth seeing. The story, an interesting twist on the old Stepford Wives trope (either version: 1975 or 2004…, though, better yet, just read the book), isn’t nearly as strong. The plot just doesn’t come together, even if it is a gorgeous trip getting there.

In short, director Alice Waddington Waddington produced a wonderful style over substance response to #metoo. Which isn’t to say there isn’t a message, just that the message is obvious and the path getting there is a bit weak. However, it is almost an entirely female cast, which is always a nice surprise.

Emma Roberts (American Horror Story) is the focus of the steam-punkish tale. She’s a fighter and has a brain. She’s joined by Awkwafina (Jumanji: The Next Chapter), doing Awkwafina, but it is entertaining. Completing the female fighting faction are Danielle Macdonald (Bird Box) and Eiza González (Baby Driver), who add some interesting moments, if not some depth.

Lording over all of them is a somewhat stilted Milla Jovovich (Hellboy). Some of her attitude becomes clarified during the tale, but it isn’t what you call a compelling performance.

And then there is one bit of boy toy in Jeremy Irvine (Stonewall) whose role is about what you’d expect.

As I said, this is less about the story and more about the visuals. If you can turn off your brain and just go with the story, it’s kinda fun and angering. If you look at it too hard it falls apart. Take from it what you can. I’d love to see what Waddington could do with a better script, she certainly has an eye. Though, to be fair, this was her story idea… but Nacho Vigalondo (Colossal) and Brian DeLeeuw either couldn’t turn it into a cohesive story or Waddington didn’t recognize the gaps.

Paradise Hills