For 22 minutes of silliness, that mirrors real life a bit too much at times, this is a great choice. It manages to be both funny and sad while defending and skewering its characters.
Now the real question is why in Atari’s name did the CW ever purchase this show when they have to bleep it every few seconds? They don’t even offer an uncensored version online. Honestly, it was unwatchable on broadcast, but worth finding online or on disc elsewhere.
Movies of all types have been trying to capture the challenge of space travel for years… and, for some reason, even moreso in the last few years. From Passengers, to First Man, to Ad Astra, or even Aniara, they all run into the same challenge: being in space may be pretty, but it’s boring. This is what Dark Star tackled decades ago, though with a great deal more tongue-in-cheek. This isn’t to say that these movies were bad or boring, but that they manufactured tension to embrace and carry that basic reality. And only Aniara comes at all close to the truth, though aspects of the others include it.
With that as prologue, consider Away. There is a lot about its science that is, let’s just say creative, but they try to capture that trapped sensibility and the challenge of the time of flight. The result is mixed and just a tad soapy. Even with some really good performances carrying it along, and some nicely mirrored plots Earth-side and on board the ship, it all feels forced and improbable in the results. Which doesn’t make it bad, just not particularly accurate much of the time. For instance, even an international coalition is going to be sure that the crew all get along and are solidly stable, because they want it to succeed.
In between tense, potential disasters that are manufactured each week, the story revolves around several relationships. Primarily it is around Hilary Swank (I Am Mother) and her husband, played nicely by Josh Charles (Freeheld). In a world of entertainment where married couple stories are about marriages at odds, this is a supportive relationship that is strained by their very concerns for each other. Their daughter provides a young-love perspective as well, which Talitha Eliana Bateman (Geostorm) and Adam Irigoyen (The Last Ship) navigate to varying degrees of credibility.
The rest of the crew have both inter-personal challenges and revelations of their past. Vivian Wu, Ray Panthaki (Colette), Ato Essandoh (Tales from the Loop), and Mark Ivanir each get their moments and without whom the rest would have been boring.
But ultimately the real question is: Is it worth taking the journey with Away? And, generally, I’m going to say, yes. Even with the “adjusted” science and forced events, it’s a tense, but entertaining 10 episodes delivered by a talented cast and some unexpected maturity in the relationships. And it is a rare, solid example of near-term science fiction. It also definitely feels like something new and different, and it can stand on its own or go forward. Frankly, I kinda hope they will leave it as a stand-alone event series and not try carry the story any further. It made its point and can only get repetitive or become pale reflections of other shows and movies that have come before. If they chose to leap forward a number of years, there are possibilities, but I’m not sure what it planned.
There is little subtlety to this latest outing by Jon Stewart (Rosewater). But, then again, did you expect any?
Steve Carell (Vice) and Rose Byrne (Instant Family) are the core of the movie. They are both absurd in their presentation…partly to make a point, but partly because Stewart just couldn’t resist hammering it all home. It’s a shame as pulling them back a little, to make it feel a bit more real, would have been more interesting. I wonder if he wasn’t trying to get a broader audience by making fun of the DC pundits with impunity. But, frankly, it only worked for the first few scenes of it… after that it became an SNL skit (with admittedly better writing and timing).
The best moments are, frankly, the pre-credit scenes and the end sequences, but you need the middle to get there, even if you have a sense of what’s coming; it is a comedy afterall.
I understand this doesn’t feel like a glowing review, and in ways it isn’t. But the movie is funny. And, more importantly, its points, which carry through the credits, are a call to action. It’s both a love letter and indictment of the current political system. One thing Stewart did very well was to edit it down to a swift 100 minutes so that it rarely overstays its welcome. But, even if you decide to bail on it, watch the short interview that runs during the credits. Understand that the absurd is not only possible, it’s legal. And while this doesn’t have the punch of All In: The Fight for Democracy as a call to action, it should urge you to your feet regardless.
I love that we are looking more and more at the dark side of superhero-dom. Mind you, we’re in danger of getting as swamped with those kinds of movies as we are the more earnest versions. But it’s nice to have some balance.
And Freaks is a bit more than just an anti-superhero tale. It’s a bare philosophical metaphor for mental illness and otherness in general. The argument can be made that almost all superhero stories are about otherness, but they often bury it or ignore it entirely in their stories, leaving it to critics to make the case. Freaks makes it front and center.
Though it is played for honesty, particularly by Cornelia Gröschel in the lead as a struggling, young parent, it drifts into a rather arch confrontation and events. Her counterpart, Tim Oliver Schultz, in particular, spirals pretty far afield from the grounded beginning. The result ends up being more like a TV pilot than a movie. That doesn’t make it bad. It’s very entertaining and relatively well thought-through. The approach does, however, make it less than it could have been.
The TV feel to the overall shape is partially due to director Felix Binder, who’s spent most of his career in the smaller venue and pushing shows. He made a lot of choices that were reflections of that experience. On the other hand, some of the success to the result also goes to writer Marc O. Seng, who wrote several of the episodes for Dark.
Basically, Freaks is a fun distraction for an evening. It trods well-known ground, but finds a way to keep it feeling fresh and provides characters to keep us interested.
Way back in 1988, an outrageous show began with the spilling of a bowl of gazpacho. 32 years and 13 series later, it’s still carrying on with a fan base to help it stay on its feet.
In their latest series, much like series 9’s Back to Earth, it’s a single, movie-length story rather than a bunch of episodes. Is it brilliant? Well, no, but it is a solid callback to its roots and with their particular vein humor that you’ll recognize.
Sure, you can write some of the dialogue before it’s even spoken, but that’s part of the comforting charm if you’re a fan. And comfort comedy is something very necessary these days. So heat up a vindaloo and pull up a seat for an evening of fun and silliness; if you’ve been looking for a Red Dwarf fix, this will scratch that itch. And if you’ve never found Red Dwarf, go back to the beginning and enjoy the ride… this will be waiting for you when you’re ready.
Oddball films that really work are hard to find. Corneliu Porumboiu’s Whistlers certainly falls into that category as a delightfully dark comedy that doubles as one of the odder mobster love stories you’ll get to see. It isn’t perfect…in fact I want to slap him around just a bit for not following through on the main conceit, even though he does use it. And, before you ask, yeah, it’s real.
What sets this story apart from so many similar stories of betrayal, dirty cops, and semi-honorable thieves is how the tale is told. Porumboiu fractures the story and tells it with parallel chronologies to make the story as much one of mystery as it is suspense.
Vladimir Ivanov (Toni Erdmann) and Catrinel Marlon (Tale of Tales) are at the center of the story. Ivanov’s even temperament, despite any circumstance, is both amusing and amazing as he sells it every time. And Marlon’s femme fatale approach is both cold and spot on; her sharp intelligence always on display.
The couple are surrounded by a host of interesting supporting characters. Rodica Lazar, in particular, as Ivanov’s boss, is a fascinating and quiet portrayal.
Basically, this is a romp, with dark, Romanian overtones. But is also a comedy, which keeps it all from getting too weighty and uncomfortable. If you haven’t found it yet, and are looking for something a bit different but not too fluffy, this is a good way to go.
I’ve said it before, but getting off broadcast was one of the best things that ever happened to Lucifer. And this season continues to get even better. In fact, they’re getting more inventive and having more fun than ever, while still building on the story and characters.
While this fifth series was originally going to be its last, Netflix granted them a sixth in order to pull together all the threads they’ve been stringing out. It makes for a much more focused and complex set of interactions, and a real sense of forward motion for the characters.
I admit that it’s still not brilliant writing, but the character work and humor continues to keep me coming back. And over these last couple seasons there has been a lot of growth for each of the characters as well. Lesley-Ann Brandt, especially, has an interesting path to tread, and continues to improve her chops in the process.
Germany is really producing some fun TV lately (think Dark). This newest, high-concept scifi conspiracy tale really works well… till near the end, when it’s a bit rushed and predictable. But up till then, the plot is nicely pushed along organically and without too much manipulation.
Luna Wedler, in the lead, manages to convey an intelligent adversary to her target, the coldly manipulative and driven Jessica Schwarz. And, of course, there’s a band of misfits helping it all along. And while Jing Xiang and Sebastian Jakob Doppelbauer are hopelessly silly through part of it, they are also entertaining as heck. Xiang, in particular, handles piles of monologue wonderfully. On the other hand, the more serious connections for Wedler are bit less clear in their motivations. Though they have depth, neither Adrian Julius Tillmann nor Thomas Prenn are entirely believable in their actions.
On the upside, this story was renewed, so we’re not to be left hanging on the final moments of the 6 episode wind-up. Suffice to say, it’s a pretty good ride, told in a way that didn’t put my teeth on edge with people being willful-stupid about those around them, or not speaking up when they should. In other words, most of the characters had some clear intelligence and lived in our world (science aspects aside). Definitely worth an investment of your time if you like these kind of shows.
For a distracting bit of action silliness, with some potential, this isn’t awful. It isn’t great either, but that has much to do with Jeff Wadlow (Truth or Dare?) and Eric Heisserer’s (Bird Box) somewhat bumpy script more than anything else.
This movie is the poster child for the challenge of where to begin a story. It has a 13 minute lead-in before the credits, which was an immediate alarm bell. Ultimately, I understood their choice, but it didn’t help the credibility of the movie. However, they did manage to get it to hold together, even if the flow of it (and some of the dialogue) were rough. Frankly, given their talent, I was little surprised by the end result.
The center of it all, as if you couldn’t tell, is Vin Diesel (The Fate of the Furious), who’s been searching for a new franchise and chasing the ghost of his first action-(anti)hero Riddick since he broke out. He’s never quite nailed another character that well, even taking Fast and Furious into account. He has the charisma and the attitude to carry this story, but he’s surrounded by uneven performances that range from mustache twirling to outrageous.
In the former group, Sam Heughan (Outlander) is the major offender. Guy Pearce (A Christmas Carol) comes in a close second, but his performance is more nuanced at times. In the latter, though he works in a weird way, is Lamorne Morris (Game Night) thanks to his comedy chops.
I imagine that first-time feature director Dave Wilson (Love, Death, & Robots) thought he could afford the extremes at the edges with Diesel and Eiza González (Paradise Hills) holding it together calmly in the center. He was wrong. It almost worked, but comic book adaptations are a challenge to start, and they only work in earnest. The second you give into the crazy, you distance the audience…unless that is the entire style of your flick.
All that said, I had fun and was entertained. It isn’t brilliant and won’t ever be the franchise Valiant or Diesel hoped for, but it isn’t a total waste of a night if you want a new story or enjoy the actors involved. Just keep the popcorn handy and be prepared to groan a bit till you understand the story… and then groan some more as it tries to wrap it all up.
If you loved Galaxy Quest, this is a special gift for you. It isn’t full of fascinating, little known tidbits, nor revelatory insights, it is simply a glorious celebration of a movie that has won the hearts of so many.
If you’ve yet to see Galaxy Quest, go forth now and do so. Not so that you can watch this docu and enjoy it (though not a bad reason), but because it is just so nearly perfect it shouldn’t be missed.
If you didn’t like Galaxy Quest, well, we probably don’t have much in common to discuss anyway.
I remember when Galaxy Quest was released. Frankly, the ad campaign had so turned me off, I had no interest. However, our neighbor and friend saw it and called us immediately after exiting the theater and said we had to see it…right now. He came, picked us up and he went to see it again with us. And, though we don’t always agree on flicks or humor, he was so right about this one.
Now, as docus go, this isn’t brilliant and I don’t really need to see it again, thus the rating. But I definitely enjoyed it and recommend it to anyone who meets the right criteria above.