A few of the new shows have dropped. It feels rather thin for this Fall, but then again, the pandemic hobbled production more than a little.
If you love This is Us, this may be for you. Riffing on some of the same ideas, but in a very different format, Ordinary Joe follows three potential futures for a man from an inflection point back in his college days. Suffice to say that once you grit your teeth through the opening scenes which has the 30-something James Wolk (Watchmen) pretending to be in his early 20s, the story is mildly intriguing. And he definitely has some talent and charisma to pull off the role. It is also particularly clever how the timelines intersect in unexpected ways and how the production keeps them all crisply defined. But is it gripping enough to survive? I’ve no doubt it will find its audience and, if the writing can sustain the story, it will last at least the season. For me, however, it’s a bit too, well Lifetime movie. I enjoyed the unexpected aspects of the tales, but the core piece of it just tries too hard.
If you’ve never seen either iteration of Primeval/Primeval: New World you’re missing out on a better version of this idea. OK, the earlier shows were aimed younger, but the writing wasn’t nearly as annoying as this supposedly adult, current-world attempt. Logic holes and character stupidity are on high display through the first episodes, which doesn’t bode well for the rest of the series. That was the best they could do? There is potential in the setup and the idea, so perhaps they can pull it together, but I have to say I’m less than convinced given that they’re going to get much better.
While this reboot hadn’t quite found its voice in its first ep, it is wickedly funny and poignant in a non-sugary way. Don Cheadle (Space Jam: A New Legacy) manages to amp up his vocal engagement in the voice-overs as the series continues to help sell it a little more. But the cast, the setting, and the broad historical honesty (at least so far) are very, very compelling. And as a mirror to its earlier namesake, it’s a pretty important show. If the quality continues, it has real potential for a long run.
Lucifer could have ended last season, as planned, but it definitely would have gone out on a more obvious note. This final 10 episode wrap-up cleverly manages to find a better story with a broader scope, while providing most of its characters better wrap-ups.
The surprise addition of Brianna Hildebrand (Tragedy Girls) was also both smart and nice casting. Hildebrand has the charisma and presence to share the screen with the well established cast; not an easy thing to do this late in a series.
Lucifer was never a brilliant show, but it was almost always entertaining and often surprising. It also serves as a great example of what the right home for a show can do. Getting Lucifer off broadcast was the best thing that could have happened for it. The freedom from censors really allowed it to stop self-editing language and situations. He’s supposed to be the devil after all.
Finales are really hard to do right, but this is about as close to a perfect one as you can get, given the story that has come before. We can always want more, but the series holds together as a whole and, though it had a twisty road to the finish line, it remained true to itself and its fans.
Yes, it’s outrageous. Yes, it’s absurd. Yes, it crosses the borders of cliché and travels well into country that could be taken as insulting. But it is all done as matter-of-fact and with an embracing sense of love. It turns everything up to 11 (or maybe 1100) and lets the freak flags fly. And, to top it off (no pun intended), it develops a solid arc pulling the first series together.
The voice cast lean into every aspect of the story and situations. There are no hesitations or apologies as they solve outrageous, Bond-like crimes and neutralize the bad folks, foreign and domestic. And there is a long list of recognizable names giving those stories life, but you can discover them easily enough. We aren’t talking Oscar level work, just solid delivery and respect for the scripts and story which is where the series thrives.
Because you’ll see, there is a sort of quiet genius to the show. Even with the painful acknowledgment of prejudice that launches the show, it offers up the reverse mirror of what the LGTBQ+ community has to deal with all the time in entertainment: worlds full of non-gay people acting like that’s all there is in the world. It is a reaction and a statement. It’s also hilariously funny at times.
Like Broken Hearts Gallery, this first feature by Jonah Feingold delivers on almost all levels. They both aim at Millennial love connections and struggles. And both made me realize how much things have changed about dating… and how much they’ve really stayed the same. Dating & New York is a bit less polished than Broken Hearts, and it’s more unapologetically aimed at a younger audience, but there is plenty there for all ages to sympathize and recognize and laugh with (and at).
From the moment it starts we know we’re about to enter a sort of satirical view of old romance films, but done with both love and affection. It isn’t making fun of those fantasies so much as updating them. And the main couple in this modern romcom comes to wonderful life with Jaboukie Young-White and Francesca Reale (Stranger Things). The energy and easy nature of both are completely engaging. And their friends, Catherine Cohen (The Lovebirds) and Brian Muller, bring some framework and balance to what we know just has to get messy eventually, no matter how civilized and above-board it all starts.
Feingold keeps the pacing unrelenting…exhausting even, at times. The story is entertaining. The ending is honest and romantic. The gender flips he does are nicely turned. And, OK, absent one character, I never had any idea how any of these people supported themselves, but that wasn’t the focus of the story. Having found out he filmed it all in 15 days, this movie is sort of amazing.
This is a romantic comedy for both those that like romantic comedies and those who scoff at them. It’s an honest romantic comedy. Well, mostly honest. Mainly, it’s believable where it needs to be and wry where it threatens to get too syrupy. Above all, it’s fun and funny.
Craig Chester’s indie romp and rumination on missed opportunities and love is as entertaining and sweet as it is raw. Chester and Malcom Gets’ near slapstick romance plays out over the course of the film, helped along by the secret that they had met once long before, but neither puts the story together. It also includes a surprising cast of characters, most notably Parker Posey (Lost in Space) and Chris Kattan.
Chester had fun with this story. He allows it to get absurd, but never for too long. But he also uses the craziest of those moments to find the deepest humanity and emotion. This isn’t a great film, or even a polished product, but it finds some really great moments and truths. If you can get through the first couple scenes, the rest is a cake walk. And if you spent the late 80s and 90s/00s in NYC it will resonate even more.
I can’t say the first series of this show did more than intrigue me. The ideas were interesting, if illogically constructed at times, and the writing spotty, at best. But they had gathered a good bunch of talent and there was an inkling of complexity that brought me back for series 2.
Fortunately they upped their game in this second round and reworked some of their logic (without apology) to create a topical and suspenseful story. The writing still isn’t perfect, but the character development expanded considerably and several mysteries are explained. However, to be honest, the writing still has some real problems, including a “surprise ending” that is anything but. However, there is also plenty to chomp on and commit to.
When the usual offerings on the use of magic are something more soapy like Discovery of Witches, this more action-and-suspense oriented storyline is welcome. Like Warrior Nun it also puts women at the center of power and story. Of course, like that it’s also referencing a clear threat of patriarchy, but that’s unavoidable. And, fortunately, it is all subtext rather than direct.
If you haven’t tried the show out yet, give a crack. The improvements in the second series give me hope for the upcoming third, which promises to be full of even more action and intrigue.
Cinderella is a tale that is told over and over again in various formats, from Ella Enchanted to Pretty Woman to the recent classic retelling or even as another reimagined musical. It endures because it speaks to hope and escape. It can morph into many frameworks because those feelings and fears are untethered to a particular venue or time. So it is no surprise that Kay Cannon (Pitch Perfect) wanted to tackle it with her own musical spin.
The result is entertaining, if very much on the surface. Imagine In the Heights meets Beauty and the Beast with a dash of Moulin Rouge. Songs you already know slotted into big numbers to bring a feudal setting to current life. Mind you, the songs often expand the running time unnecessarily and the choice of songs was odd to my ear. I knew most of them, but this was a movie aimed at young girls and women…and almost none of them were alive when they released and were popular. If Cannon was looking for familiar touchpoints, she mostly missed the mark in her selections.
The cast certainly gave it their all. X-Factor alumn Camila Cabello brings energy and joy to her Ella…enough to keep it all afloat. And she’s surrounded with some solid talent to help her along. But of them, Billy Porter (Pose), Minnie Driver (Spinning Man), and Idina Menzel (Frozen) are the most memorable. And while they all support Cabello well, there just isn’t enough Billy Porter. I understand why…Cannon wanted Ella to be her own savior. And I applaud that approach, but after he appears (way late in the film), his lack is sorely felt..and the story feels like it’s missing something.
On a more general note, though humorous, the CGI for the mice is awful. How they could cheap out on that aspect was a surprise as it ruins their moments on screen. And the songs are over-engineered to the point of almost being lifeless. They’re so clean as to have no emotion, no guts. Notes, yes, but no humanity.
Grumbles aside, there is a feminist message throughout that goes full-blown, Handmaids included, in a quietly angry musical number that is among the best and poignant in the flick. Ultimately, the story pays off in the way it should, even if unsurprising. Subtle the movie isn’t, but it does try to forge new ground. It just would have been nice if it had some depth to the soil it spread.
There was something quite fun in taking the action-hero oriented Dylan O’Brien (Infinite) and making him into a somewhat inept, but able to learn, heartsick dweeb during the apocalypse. It also helps that the script was wickedly funny and unpretentious. By combining the raw sarcasm of Brian Duffield (Spontaneous) and sweet sensibility of Matthew Robinson (Dora and the Lost City of Gold), the result is an unexpectedly humorous and entertaining action romance.
The story is unabashedly absurd from the start, but not without heart. In fact, if anything, that is the point of the story: family and love (in case the title wasn’t enough of a clue). But it’s all done with a wry wink. Michael Rooker (Vivo) and Ariana Greenblat (Awake) add to that considerably. And Jessica Henwick (On the Rocks) provides a suitable and believable focus for our hero.
This isn’t brilliant comedy or action, but it is totally entertaining and never takes itself too seriously. And, even amidst the absurdity, there is a real base of emotion and intention. It’s a flick that fulfills many needs for an evening and will have you laughing and jumping. Had it not released during the pandemic, it may even have found a wider audience on the big screen, but now it will just have to grow it from a smaller one; and it should.
This movie didn’t really need a write-up, but I’m a completist. Put simply, it’s a bit of utter (remake) fluff is aimed at the 14-year-old romantic in everyone. It’s depth rises to the level of a Nickelodeon after-school distraction or Disney+. There is little to nothing surprising or challenging in the story. But it is done in earnest and, despite a rushed and surfacy script, executed without any major bumps.
You should feel free to skip it or, if you really just need some mindless optimism and sense of young possibility, go for it. I won’t judge…I was there already.
Sure, this is a standard action/suspense thriller in most ways. But from the start it suggests a question that pulls you along wondering who it is going to focus on. While that becomes clearer as the story progresses, it is by no means simple…in fact, in some ways Laurence Malkin’s script is more than a little subversive in his attempt to show something a bit (just a bit) closer to the reality of mercenary and professional killer mentality. But that’s all the subtext.
Generally, this is just rockin’ good actioner with some solid talent and some clever surprises. It is cold and violent, however it also has a little bit of everything for almost everyone; even humor and romance.
Sam Heughan (Bloodshot) and Hannah John-Kamen (Brave New World), along with Tom Hopper (Umbrella Academy) are on one side of the line. Ruby Rose (The Meg, Batwoman) and Tom Wilkinson (The Happy Prince) are on the other while Andy Serkis (A Christmas Carol) gets to straddle the space in-between. The interplay between them all is understated and honest, if sometimes a bit ‘managed.’ But while this is probably the biggest project director Magnus Martens has tackled, he’s done a credible job keeping it all moving and clear.
One of the better aspects of this movie is that you can come to it just wanting to be entertained, or think about aspects of the world it takes time to expose. It doesn’t dwell on any of that…it is very much of its genre, but it does help set it apart just enough. It helps it feel new in a sea of similar thrillers. Certainly the script helped, but the actors also found just the right delivery. They aren’t acting evil, they are just acting as the sociopaths/psychopaths they need to be–on both sides of the line. This ended up being a solid launch to a possible franchise and I’d definitely be back to see where they could take it.