Noël Coward is known for his witty dialogue and comedies of manners. He thumbs his nose at society while embracing it utterly as a goal. Pulling off a Coward script requires an open-eyed love of what all that means, and rapid fire repartee with a dry wit.
Dan Stevens (Solos), Leslie Mann (Welcome to Marwen), and Isla Fisher make a wonderful trio to tackle that challenge. Each embodies the 1930s pre-war sensibility nicely, as well as the broad comedy of the story. But even with the assist of the wonderful Judy Dench (Staged), the movie lacks any chemistry between the characters. And without that chemistry it becomes only a collection of performances…it just doesn’t quite work.
The end result isn’t the Twentieth Century or Thin Man it needed to be. It isn’t even Death Becomes Her (with or without all its flaws). Somewhere, shortly into it all, director Edward Hall lost the rhythm and energy. The bottom falls out of the movie and it all just drifts along to a funny, but not punchy ending. Of course much of that has to go at the feet of the new adaptation by the collective that brought us such varied comedies as St. Trinian’s and Finding Your Feet. In their attempt to update the story so it was less arch, they lost the focus and the point. The ideas were great, but they never went quite far enough.
The movie makes for a shortish distraction, with some really nice locations and costumes. And none of the individual performances are bad; there are some truly laugh-out-loud moments. However, while the parts all work, the flick fails to impress on the whole. But with the kind of talent it has on screen, it was certainly worth the attempt even if the end-result fell short. Ah, but what it might have been in better hands or a better matched cast.
I wanted to like this a lot more than I actually did. In no small part that was due to Thaddea Graham’s (Letter for the King) solid performance and presence. She’s at the center of this dark reinterpretation of Holmes that is dominated by its younger cast. Jojo Macari (Cursed), McKell David (iBoy), and Darci Shaw (Judy) work well together and with Graham to form the famous street gang who know or can find anything in London. And Harrison Osterfield (Catch-22) adds an interesting spin to their collective.
But the adults don’t fare as well. One of the main detractions was the choice of Royce Pierreson (Line of Duty) as John Watson. Pierreson just never felt comfortable in the role, the choices, nor in control of the scenes. He was just too unlikeable and unbelievable, pulling me out of the story every time he spoke for 6 of the 8 episodes. (To be fair, I wasn’t particularly happy with aspects of his character’s journey as written either.) It’s as much the fault of the script as it is the directing, but it was an irritant in an otherwise entertaining collection of main characters. Henry Lloyd-Hughes’ (The Pale Horse) Sherlock and Eileen O’Higgins (Mary Queen of Scots) help, ultimately, balance out both Pierreson’s choices and the story’s.
Mind you, most of the adults have the same issue as Pierreson. For instance, the utterly vile Lestrade, played by Aidan McArdle, is pushed so far as to be questionable. Again, a story and directing choice, but it sets a consistent tone for the adults, none of whom seem trustworthy or pleasant, other than Clarke Peters (Harriet). But Peters is unique in the series.
In the end, this latest Holmes remake isn’t going to top the lists of those already out there…even the Guy Ritchie features are better rounded (if so not Holmes)…but it is a fun ride of a show with a lot of potential to come. This set-up season has a lot of promise and some solid new talent to help it grow. Give it some time and see if it doesn’t pull you in as well.
UPDATED 04 May 2021: Well, while this does hold together as a stand-alone, now that it’s cancelled it may leave you feeling a bit hanging. Still worth giving it a shot, but know you won’t get to see it find its full footing and potential.
Well, damn if they didn’t get it more right than they had yet with Godzilla, Skull Island, or Godzilla: King of Monsters. And while Max Borenstein has been a consistent thread in the scripts, the addition of Eric Pearson (Thor: Ragnarok) no doubt provided the extra energy and humor that really sells the remake of this story. And director Adam Wingard (Death Note) knew how to bring it all together.
Well…mostly. This is still a Godzilla flick with some truly painful moments and decisions. But it is also full of misdirects and enough surprises to keep it interesting and moving along without distracting from the two kings who dominate the flick.
And rule they do. The fights and interactions between the titans, including the sly and subtle expressions they flash, make the movie. Even when the plot becomes inevitable, watching them is one of the best popcorn fixes in a long while. Even seeing it on a smaller screen it manages to stay completely entertaining.
You may have noticed I haven’t mentioned any of the humans. There’s a reason for that: humans don’t matter in this movie. They drive the plot and fill in the gaps, but human life is super-cheap in this latest installment and no one, let alone our monster friends, seem to notice (unless it’s one of the very few they care about). Wingard knew this and played into it.
Even with their demoted status in the stories, the cast is generally pretty good and knows their purpose in the tale. Rebecca Hall (Mirai), Alexander Skarsgård (The Hummingbird Project), and Millie Bobby Brown (Enola Holmes) really help drive the story but never take focus. Even the over-the-top Brian Tyree Henry (Superintelligence) and Demián Bichir (The Midnight Sky) add something between the cringing moments of pulling furniture from their teeth; I really do wish the more extreme moments of their performances had been smoothed over.
If you enjoy watching Kaiju in a battle royale, this is for you. It may be the best fight scenes in the genre; certainly among the top. The effects and choreography are really impressive and well thought out. And, of course, there is room for more movies after this, as there always is. But this story wraps up the overall series comfortably and with a great deal of fun.
Timing is everything in entertainment and The Stand, well, it couldn’t have picked a worse time. Despite the long anticipation, and the desire to see this epic tale told with the breadth it deserves, watching a story of a pandemic (even if it is just a McGuffin) doesn’t quite ring right at the moment.
But timing isn’t its only issue. The show suffers from all that was good in the book and all that was bad. Some of the casting works nicely, like Amber Heard’s (Aquaman) Nadine, Odessa Young’s (Shirley) Frannie, and even James Marsden’s (Sonic the Hedgehog) Stu. Other characters like Owen Teague’s (It: Chapter Two) Harold Lauder, and Nat Wolff’s (Admission) Lloyd, aren’t credible…and, in fact, Lauder isn’t even afforded some of his evolutions from the book despite the available time in the series.
Other changes to the story, like making Flagg the actual devil and Mother Abigail potentially an angel (though really more of a prophet) removes too much of the interesting aspects and struggles. Part of the real suspense in the book is that people have to choose (including Flagg and Abigail). That Flagg actually has a supernatural hand in causing the pandemic is just so frigging cheap a choice and shows no imagination on the part of the writers. It’s too easy and lets people off the hook. I do admit that Alexander Skarsgard (The Hummingbird Project) is a near-perfect choice for Flagg. Whoopie Goldberg is a bit less perfect as Abigail, but that felt more like the writing than her efforts.
There are also some nice smaller appearances that work nicely. Natalie Martinez (Self/less) gets to have a nice arc. And Brad William Henke (Bright) delivers within the limitations of Tom’s boundaries nicely. Even Ezra Miller’s (Fantastic Beasts: The Crimes of Grindelwald) Trashcan man, for all its outlandishness, works for the need and the part. But Nadine’s story gets rushed at the end. And the Vegas crew, generally, is just so over the top as to be entirely ridiculous. You never wonder about the outcome. Only the Colorado side feels real and sustainable (which has its own commentary and point eventually).
When the book came out 40+ years ago, it was something really new. That just isn’t the case anymore. And, worse, it feels culturally old. Despite having been updated in time the characters and situations haven’t been updated for a 2020 sensibility in politics, identities, nor culturally. That gap is squarely on the writer’s and directors. While a lot of the plot is sadly timeless, how we deal with one another has changed and the rhythm and language just feels off.
Ultimately, I wish the writers had been willing to really rework the story without losing its main premise and tension. Good vs. Evil doesn’t have to be extremes. In fact, some of the biggest impacts on both sides are often small gestures or choices that ripple out. Sure, we want it to build to a great crescendo, but the series even pulled that moment from us in an odd throwaway, supernatural event that doesn’t even really fit with the rest of the tale. In fact, the choice utterly cheapened all the efforts of the people involved because, ultimately, they didn’t matter. I do like that they had a coda episode that shows that stories just continue, that they don’t end just because of a plot milestone. Using it to create a second climax, another Stand, was clever. However, again, it cheapened everyone else’s choices and lives by forcing the God/Devil fight directly into it all rather than done at a distance. Deus ex machina is not a satisfying solution for a 9 part series, even if it can be used as a point in shorter fare.
Despite some good performances, incredible scope, and solid production values, this version of The Stand still isn’t the one we deserved after so long. Much like Dune, it struggles to find an artist who can breathe life into its rich and complicated world without making it feel like a farce.
I’ve not written up some of the new and returning shows over the last few months, so dropping them together in a bunch here. More will be coming in the next few weeks, but this was getting long enough already…
Call Me Kat
This odd offering by Mayim Bialik (Big Bang Theory) is a unique and not entirely comfortable show. It may eventually find it’s feet, but it’s best to think of it as a sketch show or comedy half-hour rather than a story so far. And the abuse of the great Swoosie Kurtz is near criminal. By way of context, this show is based on the UK’s Miranda, adopting the quasi-stand-up nature of the original but trying to push it more toward ensemble…. BTW, if you haven’t caught Miranda, it’s a fascinating to compare the two and it boasts Tom Ellis (Lucifer) in the wish-he-were-my-boyfriend role.
If you loved The Office, this is probably a show for you. I didn’t and it isn’t for me. It’s just too broad and full of, well, stupid people who aren’t supposed to be stupid or, worse, couldn’t be that stupid and be where they are in life. Given the talent involved in this show, it’s a real shame.
Call Your Mother
This is a show on the bubble. Kyra Sedgwick (Ten Days in the Valley) manages to walk the line between very broad humor and honest emotion. Whether the writing can keep up with that challenge and create storylines we care about long term…the jury’s still way out on that one, but I’ll give it some more time.
Oh, god, just no. Awful, unbelievable, absurd, insulting, frustrating, and painful.
The Expanse (series 5)
Twenty years ago, the end of the first season of Farscape was termed “the multipart cliffhanger from hell” by its creator. And it was…and it took a good part of the next season to resolve and cover what happened. The current season of The Expanse reminds me a lot of that structure. After bringing things to a huge climactic pause at the end of the previous season, the various characters are scattered across the solar system pursuing various storylines that will, by necessity, be intertwined and eventually bring them back together. As the show preps for its final season, this is level-setting and putting all the pieces in place for the final confrontations to come. A good season with revelations and some resolutions, especially for Dominique Tipper’s (Mindgamers) Naomi and Wes Chatham’s (Escape Plan 2) Amos, but mostly it serves as set-up for the end.
Zoey’s Extraordinary Playlist (series 2)
After its heart-rending and brilliant opening season, I was worried the magic wouldn’t last. It has. And the show, at least so far, continues to build on its characters and conceit. If you’ve yet to try this one out, you absolutely must…and start at the beginning. Yes, it gets heavy, but it builds to one of the most beautiful finales you’ll ever see. And it never loses its sense of humor or love of its characters.
Niki Caro (McFarland, USA) wasn’t a likely choice to direct this Chinese fantasy, but she pulls it off with heart, and not just a few wire tricks. More interestingly, she manages to bridge Eastern and Western sensibilities in the storytelling, arriving at a comfortable blend between Crouching Tiger, Hidden Dragon and any Disney princess film you’d like to consider, though perhaps Pixar’s Brave is a better point on that end of the spectrum.
I admit I went into this one full of trepidation. There were so many controversies around the release of the film. Starting with ill-considered tweets from its star Yifei Liu and then its direct release on stream. But, I have to admit it won me over. Donnie Yen (xXx: Return of Xander Cage), Li Gong (2046), Jet Li (The Expendables 3 ), Tzi Ma (The Farewell), Rosalind Chao, and Pei-Pei Cheng (Lilting) certainly added to the enticement to see the movie.
Mulan isn’t brilliant, but it’s fun and, most importantly, avoids the really bad choices at the end that it starts to swing toward. I was even surprised by moments. Admittedly, despite the well of talent, the performances are relatively shallow. The story is also far too easy and fast. But it’s full of action and visual distraction. It may be a bit confused in some aspects of its story, but it certainly took some chances by incorporating the Western and Eastern Phoenix tales into the story without much explanation or apology to the mashed-up mythos.
Basically, this isn’t a waste of time, but it isn’t one you have to rush to. And the more Chinese fantasies you’ve seen, the thinner this will seem. However, it delivers on its promise, if not with the depth or emotional impact you might have wished.
When Gillian Flynn (Widows) announced she was going to tackle the remake of this UK, well if not classic, certainly watershed, I was dubious. Even more so when she asserted she was going to focus more on the dark emotions and avoid the pervasive violence of it all. To be clear, what she has done, and done well, is not toned down the violence so much as gotten creative with its portrayal; there is less in-your-face splatter and more moments of unseen or cleverly filmed action. In other words, this is still exceedingly dark and violent, which it needs to be. But there is also some nice, if not complete, character work.
This remake starts off very much along the same thread as its inspiration. So much so that I was frankly getting a little impatient, even with the different approach. And then it took a hard left turn at the end of the second episode and I was hooked.
But Flynn is a dispassionate writer, willing to go very dark places without compunction, but not very good at building sympathy. I found it difficult to connect with any of the characters beyond sympathizing with their shock. Only Denham and the two youngest characters, Farrah Mackenzie and Walton, really had me in sync with them. I didn’t have a similar challenge with the UK version. I think this is something to do with the scripts and assumptions made by Flynn about how deeply or demonstrative the characters needed to be to bring us on board. It probably wasn’t helped by American-style casting, which tends toward less real looking people in favor of pretty.
All that said, the show has some interesting reconceptions and some odd accelerations as compared to the UK plot. The ending is rather rushed and, frustratingly, rather wide open (not to mention a bit absurd in many ways). But I was left curious…which is what they wanted to do. I’d go back to see if they can actually build on the first series. But, it’s also worth noting that for a lot of the viewing public, this is either a show dead-on for the times or far too close to the bone for many people to watch. Also some of the messaging is a bit off for what we need now…so there’s that.
Here’s the thing: If you’ve never seen the original UK version of this story, I still highly recommend it. Like Misfits and other dark and unexpected tales of their times, they were blazing new trails in storytelling for television. They were doing it in style and with a clear sense of violating norms (that have admittedly become more the norm due to their success). Give this version a shot as well, but be prepared for some very un-American plot choices and a story that may ultimately infuriate rather than entertain, despite a few amazing performances (or perhaps because of them). I’m definitely curious to see if they can fully win me over in a second series by building on what they did in the first, and taking into account the world now as it has changed (our real world, that is).
It’s easy to forget that Fantasy Island wasn’t all 80’s kitsch and sweetness, it had a dark side. This remake tries to capitalize on that aspect. And, for the most part, it’s successful, even if the logic is stretched and the plot falls apart near the end. But up till then, director and co-writer Jeff Wadlow, along with the rest of his previous Truth or Dare? team (Jillian Jacobs and Chris Roach), is somewhat clever in how he helps it embrace both aspects of the classic show.
Much like the original, this is a collection of stories. In the wide-ranging ensemble, Lucy Hale (Truth or Dare?), Maggie Q (Priest), and Jimmy O. Yang (Space Force) stand out by force of charisma. They’re joined by a number of other good players that bump the plot along, such as Michael Rooker (Brightburn), Portia Doubleday (Mr Robot), and Parisa Fitz-Henley (My Spy). The rest of the cast serve simply to fill out the story; not poorly, just not memorably.
However Michael Peña (Dora and the Lost City of Gold), in the pivotal Mr. Roarke roll, feels utterly wrong. You have to be both pulled to the man and terrified of him. Peña has neither the presence nor the menace necessary.
What I will grant the movie is that it is a movie, not just an overblown TV episode. But while it can stand on its own, I suspect it has much more impact as a retcon of the series. Were it not for the wobble near the end, it would have been much more satisfying. But it’s a pretty big wobble as it tries to wrap it all up. Fortunately, the final moments are a bit more fulfilling. As to whether you should book a trip here…well, that’s up to you.
This is a slippery film in many ways. It doesn’t hold a lot of surprises, or didn’t for me, but the performances and the motivations are nicely shifting sea of emotion and interaction that keep it flowing along.
Director and writer Bart Freundlich navigated the material well, holding back his actors from breaking until the right moments. He was particularly lucky to land Michelle Williams (Fosse/Verdon) and Julianne Moore (Bel Canto) in the main roles. [To be fair, it didn’t hurt that Freundlich and Moore are married in making that happen]. And Billy Crudup (Where’d You Go Bernadette?) added a wonderful pivot point between the two.
The story itself, while a dark sort of romantic fantasy, manages to keep just to the right side of credible. Given the players and the stakes, that wasn’t an easy task. Freundlich’s adaptation of Susanne Bier and Anders Thomas Jensen’s 2006 version manages to flip the situation nicely for some new facets to emerge.
This is, for all the tears and provocative situations, a somewhat light story of family: what makes it, what you’d do for it, and how to keep it. It’s the performances and framing of the tale that makes it worth your time.
The first 10 minutes of this remake do a wonderful job setting up the tone, humor, and new origin story of the creepy, kooky, ooky family we’ve known for so long. And while there remains, peppered throughout, a number of wonderful moments, the inventiveness pretty much ends there.
This latest iteration of the Addams Family tells the same story we’ve seen for decades: people fear them, then hate them, then apologize to them. And, if you’re going to remake it, at least bring it into today (it was somewhat stuck in the 50s in style if not in fact) and give me a new challenge. I will admit that they do tackle some topical aspects of today and manage to make it a mostly woman-powered plot. The men are generally treated as jokes…effective and useful, but not particularly bright.
While there is a lot of top-shelf voice talent, Charlize Theron (Bombshell) as Morticia and Chloë Grace Mortez (Greta) as Wednesday are the real standouts, delivering lines with dry aplomb. The rest of the cast is servicable, though nothing particularly brilliant, though Elsie Fisher (Eighth Grade) takes a good run at her role to make it more than a cookie-cutter middle schooler.
Generally, this is a diverting, but not fabulous, animation. There are clever bits and, perhaps, if it hadn’t arrived on my doorstep with decades of baggage, it may even have seemed inventive. But in trying to reboot it all, I can’t help but compare it to the past and judge its lack of originality. Heck, at the end they literally recreate the opening of the TV show, so how do you not consider that as part of your viewing? But, if you don’t have that nostaligia, or aren’t as attached to the original comics and other iterations, it may impress more. IOW, YMMV.