All you need to know to understand this wonderful, poignant tale of life in Georgia (as in former Soviet Union) is in the credits; a special thanks to the choreographer, who couldn’t be named, but without whom the movie couldn’t have been made. That statement, which comes after the story, crystallizes it all.
Writer/director Levan Akin and newcomers Levan Gelbakhiani and Bachi Valishvili picked up a pile of well-deserved awards for their efforts. The two leads not only deliver sweetly nuanced performances, they can also dance…like, seriously dance.
This is a paced film that slowly unfolds and ultimately builds to its climax in the final few minutes of film. Sustaining that, and building the tension as it moves along is all very subtle, but effective. And without that effort, the final scene would have been cheap theatrics rather than an unequivocal statement. Forgetting the character relationships that need to be established, the audience needs that time and day-in-the-life moments to learn some history and culture to put it all in context.
This was a perfect film for Pride month, absolutely. But it’s also a great view into a world few will have experienced, even while presenting universal emotions and struggles.
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.
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.
I know, I know. This has been on my list for years, but I hadn’t gotten to it until now. And it was entertaining, if a little out of time (especially one or two very un-woke scenes that couldn’t be done now).
I have to admit, I’ve no idea what attracted director/writer Richard Lowenstein to adapt this odd travelogue of life through the eyes of a slacker. Especially as his main focus has been music videos for years. But something about the story spoke to him. I can’t say the characters or story spoke much to me, but the presentation and path of the story kept me mostly entertained.
Noah Taylor (Free Fire) plays it all with a flat, who cares sort of attitude, even while clearly wishing there was something more. And in his wake drift several people who keep washing up on his shores, for better or worse. Emily Hamilton, Romane Bohringer, and Brett Stewart continually bounce off Taylor’s character, changing with each encounter, even as he remains primarily unaffected and unchanged. But Taylor watches and clearly considers each evolution even when he’s unsure in what way to react to it all.
It has a resolution of sorts. It isn’t overly satisfying, or wasn’t for me, but the journey was amusing, if both dark and a little gratuitously violent at times. And I didn’t feel like it ever got to any substantial point (even if I did see the visual joke and commentary). This is definitely a movie that many will enjoy and just as many will find inscrutable. You’re just going to have to make up your own mind.
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 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.
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.
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.
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.
I wasn’t looking for this one. I tend to find alternate history shows more than a little frustrating as so few really find a good hook in or follow through with their logic. Motherland is sort of a grown up Charmed (or rebooted Charmed if you prefer), though still aimed at the younger, and particularly female, set. But it is more empowering and with significantly more grit than the CW show.
One of the things that sets this show apart is the complexity of the magic and the depth of the rules. Eliot Laurence (Welcome to Me) spent time on his creation to be sure it remained consistent rather than just inventing rules as he needed them to support his plots. This is what makes great fantasy, and it’s a rare commodity. It is building to be as complex as Buffy, though without that level of dialogue and cast chemistry (but what does?).
That doesn’t mean to say the cast is bad. Taylor Hickson (Deadly Class), Amalia Holm (The Girl in the Spider’s Web), and Ashley Nicole Williams form the primary triumvirate and center of the show. They’re not an entirely balanced ensemble, but they slowly come together over the season and each has a particular charisma. With the help of Jessica Sutton (Escape Room), Demetria McKinney (House of Payne), and Lyne Renée (The Hippopotamus), among others, the world is filled out and made complicated.
The inaugural season as a whole starts strong, but does make one huge and cheap leap to take the turn to the finale in the final episodes. It is only one major miss-step, so I’ll give it to them, but it was unworthy writing compared to what had come before. And it was completely avoidable and lazy. The finale was also rushed, pulling together a number of threads, not entirely satisfactorily, and leaving you with multiple cliff-hangers rather than a comfortable pause. In other words, it was sort of cheap. Those two aspects, more than anything, are why I dinged its rating. That said, I’m glad they’re renewed and I’m looking forward to seeing where the series may go. I just hope the quality that I can see in there is nurtured more in the next round.
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.
It isn’t perfect, and it’s certainly predictable in many ways, but The Half of It is also down-to-earth and earnest in the best possible sense. And I say this even with the framework of Cyrano with echos of Love, Simon and Hedvig and the Angry Inch paving the way. Director/writer Alice Wu (Saving Face) really came through in her Sophomore outing. She navigates the sea of high school awakening and romance with confidence, honesty, and a good dash of fantasy to allow for dramatic moments. But she never loses credibility, despite the well trod ground.
Much of the success here goes to the three leads. Leah Lewis (Nancy Drew) as our Cyrano is heartbreakingly lost in her world, trying to balance life and family. Daniel Diemer, is surprisingly effective as a “inarticulate jock” with hidden capacities. And Alexxis Lemire, as the object of affection, walks an interesting line without stumbling. With Wu’s guidance, each of them manages to remain both aware and innocent, intelligent, but naive. In other words, very much of their age rather than adults playing at being teenagers.
This is where the movie sets itself apart from another similar outing in 10 Things I Hate About You. 10 Things, while practically a classic, leans into its classical underpinnings and loses the pretense of reality. The Half of It leans more into life, and embraces the joy and the suck (at least to a degree) that is being a teenager in love.
There is also one wonderful bit part worth mentioning, as it is a real standout. Becky Ann Baker (Girls), as Lewis’s teacher, has a few fabulous moments that also serve to expose the town at large with a few brushstrokes.
Make time for this one, if you haven’t already. It will put a smile on your face without rotting your teeth. And the story, humor, and moments are certainly worth revisiting again down the road.