I’m not here to stake Dracula, but to praise him. Well at least Steven Moffat and Mark Gatiss for their imaginative retelling of Stoker’s classic. The two used their Sherlock chops to capture the original’s sense and structure, but recast it and the dialogue into something more digestible for today’s audience.
Gatiss (Christopher Robin) also took the plum bit part of Renfield for himself. Who can blame him, it is always a tasty role.
But while Claes Bang (The Square) burns up the screen as a rather self-aware Dracula, it is Dolly Wells (Can You Ever Forgive Me?) who steals this show utterly. Her alacrity with language and facility with accent set her apart. She really has the best lines as well. Which isn’t to say the rest of the cast isn’t strong. They are, and many are recognizable from earlier Moffat/Gatiss collaborations. Outside of the known ensemble, there was also a nice showing by Matthew Beard (Vienna Blood) and Lydia West (Years and Years) in smaller roles sequestered to the third episode and a nice, if type-cast role, for Patrick Walshe McBride (Shakespeare & Hathaway).
The 3 90-minute episodes allow the story to expand in ways that a 2 hour movie just can’t manage. We get depth and scope as well as answers (some clever, and some inconsistent) and a solid parallel to the book that is usually a jumping off point rather than template. That said, the series definitely departs radically from the book in specifics, but somehow retains the intent and purpose, making it the most authentic version I’ve seen. Even the ending, which is not exactly satisfying (to say the least), best mirrors Stoker’s final pages as compared to other adaptations (the book ending was challenging as well).
Overall, this is an emotionally and intellecutally dense portrait of Dracula, with enough of all the bits we’ve particularly loved about this tale over the last 123 years (sex, violence, murder, seduction, romance). Moffat and Gatiss yet again prove they can take dated, original material and honor it without just slavishly following it.
Everyone’s goto for humor is Hitler and the Nazi regeim at the end of WWII; funny stuff, right? How Taika Waititi (Thor: Ragnarok) got this film made, I couldn’t possible explain, but it is a wickedly funny gut punch of a movie. (Appropriately [and amusingly] I found myself watching this satire on the 30th anniversary of the fall of the Berlin Wall, which added to the schadenfreud of it all).
Everything you need to know about Jojo you get in the first 10 minutes (in one of the funniest, most absurd film openings I’ve seen in ages)… all the rest is journey. And what a journey it is, and not one you’re likely to get much ahead of during the setup. The resolution becomes inevitible, but with just enough room for doubts to keep it interesting. And his use of music to get his points across is, at times, genius. Unfortunately, it is also at times way off base, clashing with the onscreen sound and action.
While Scarlette Johansson (Isle of Dogs) and Sam Rockwell (Best of Enemies) provide some adult framework for the story, it is told through the eyes of children. Primarily that is through Roman Griffin Davis’s Jojo. For his first film, Davis carries the story admirably, with all the gravitas and sincerity a 10 year old can bring. Opposite him, Thomasin McKenzie (Leave No Trace) serves as the friction point of his decision-making, while another newcome, Archie Yates, provides some peer comic relief. Watching these three young actors is great fun as Waititi keeps them honest in all aspects.
There are some other fun side bits that run through the film driven by smaller adult roles. Alfie Allen (Predator), Rebel Wilson (Isn’t It Romantic), and Stephen Merchant (Fighting With My Family) have the best, but there are many. Waititi’s Hitler isn’t really among them for me. I understand why he took the role himself in order to hit just the right tone he had in his head, but it is an uneven performance.
Satire is hard. Waititi pulls it off in style, if imperfectly. The broad Monty Pythonesque humor will work for most people, while the political commentary may turn off others. However, this isn’t just Waititi playing silly buggers, it’s his reaction to the world today. He is far from the first to reflect that back to WWII, but, so far, he’s done it with the most belly laughs to get the point across.
So, yes, go see this and strap in for a wild, unexpected ride. While Preacher may have tried to get there, no one since Mel Brooks’ The Producers has managed anything close to the result here. It isn’t always easy to stomach, but it is one of the more unique films you’ll see this year.
Subtle this movie isn’t, but it is clever and fun. It is also a nice alternative holiday movie, though less on point than, say, Rare Exports. The main focus is really the evolving Apocalypse and the relationships between the high schoolers involved rather than Christmas. And, yes, it is also a musical (as the original creator suggested of its genesis: think High School Musical meets zombies)!
While clearly tongue-in-cheek, it is executed with complete sincerity and effort. It could have used a couple more songs to make it feel more like a musical and less like a movie with a few song and dance numbers in it, but that’s a quibble as the music that is in it is really pretty good.
Ella Hunt (Robot Overlords) leads the cast with some solid talent and chops. She has a long career ahead of her if she wants it. Hunt is supported by a cast of other mostly unknowns, but all of whom bring moments of emotional complexity to what could have been cookie-cutter performances in lesser hands. Malcom Cumming, Christopher Leveaux, Marli Siu, Ben Wiggins, and Sarah Swire (who also choreographed) are generally all in new projects you’ll be seeing in the coming year.
And then there were the known faces, like Tom Benton (Shakespeare & Hathaway) who brought all his vulnerable best to bear as Hunt’s father. Only the prolific Paul Kaye really disappointed me in the cast. His choices and antics were notched up just a bit too high from the start…I never believed him nor had any sympathy for him. It’s probably the one truly bad choice I felt director John McPhail made with the otherwise very tight and clever delivery.
When you’re in the mood from something in the Cockneys vs. Zombies range, but with a beat, you should definitely check this one out.
This series, a prequel to the classic and beloved movie, fully captures the sense and production design of the original. That is both its blessing and its curse. But that said, this story grew on me as it played out, unlike the same-day-launched Amazon fantasy Carnival Row, which diminished over time for me.
Let me get the “curse” comment out of the way. Having just rewatched the original flick, I was looking forward to some significant updating of the approach, particularly the Gelfling designs to make their mouths move more naturally. I can see the bind the producers were in…update a classic and risk the wrath of fans, or cleave closely to the original and risk a more dated feel. Definitely no-win. But there were subtle updates, especially to the Skeksis, whose tongues were truly a thing of creepy beauty.
Also, in order to provide a launching pad for the series, they twisted the known facts a little. If you haven’t seen the movie, don’t worry about it. If you have, you’ll need to be more than a little patient to accept the setup and await it all to make sense. Of course the big question is how long before the movie does this series take place? No one seems to know or want to commit. My best guess was about 100 years or so, though it could be longer. The studio was purposefully vague and won’t pin it down.
The voice talent is an astounding list of folks; far too long to enumerate here. The puppeteering is top notch. The production design clever enough to link to the movie but still make it their own. The world of Thra is expanded and gorgeously designed. There are familiar characters and new ones to enjoy. The story is richly complex, despite its clear aim to pull in a younger audience as well as adults. And this installment of the story finally plumbs some of the dark depths the original movie touched on but wasn’t willing to dive into. In fact, the writers and director Louis Leterrier (Now You See Me) helped marry the tale to current times in wonderful ways.
They also left plenty of room for more stories and a whispered about second season, but not in an unsatisfying way…well, at least if you know the movie. However, if you’ve not found the movie yet, wait to see where the series goes and then get to the end of the story.
As both a revival and a continuation of the tale, Dark Crystal: Age of Resistance is a winner for me. There is something about the craft of bringing these inanimate creatures to life that sparks the imagination in ways CGI, or even most stop-action animation just can’t touch. Here’s hoping they get to continue the story and fully complete the sequence.
The number of emotions and ideas that this film sparks are too many and too complicated to try and explain here in less than a tome. Suffice to say that this grounded fable/tragi-comedy by Joe Talbot, Jimmie Fails, and Rob Richert (a first feature for all of them) is inventive, powerful, and effective.
Jimmie Fails also leads in the film alongside Jonathan Majors (Captive State, When We Rise). The friendship of these two men and their journey through the city is both funny and surprising. The duo are supported by host of smaller characters including Danny Glover (Sorry to Bother You), Micheal Epps, and Rob Morgan (Mudbound). Only two small roles by Tichina Arnold (The Neighborhood) and Maximilienne Ewalt (Sense8) add any female influence to this story. Given the tight focus on Fails’s journey and the lack of women in his life, it is almost excusable. However, it is noticeable.
But that criticism aside, this was an unexpected film. If Spike Lee had been born 30 years later and on the West coast, this is the kind of story he’d have been telling. It is politically charged, but without losing track of the personal. It is funny, but without dropping the serious message and intent. It is raw and honest, but not without recognizing the inherent sadness and absurdity in the situation. This is a film worthy of the term and an interesting new set of voices for the industry.
For the title alone, I had to check out this silly satire, and clear vanity project, by David Harbour (Hellboy, Stranger Things) on Netflix.
The short film is full of nods and winks to the History Channel, Dark Shadows, and Documentary Now among other shows. It also takes many hilarious slams at the acting craft generally. Against this background Harbour explores his family’s fictional past in search of… well, that would be the problem overall. We never really understand why he’s doing this, what “questions” he has to answer. And, in the end, we don’t know what he’s discovered or embraced. Perhaps the open ended aspect was part of the satire, but it left me as a viewer wondering why I’d spent the half hour.
Given director Daniel Gray Longino’s background with Portlandia, and both he and writer John Levenstein’s involvement with The Kroll Show, the sensibility of this 30 minute distraction shouldn’t be a surprise. Mainly, it’s just disappointing, or was for me. But at 30 minutes, it isn’t a huge chunk of your life to lose for some funny moments. Just don’t expect it to hold together or pay off in a great way and you’ll be fine.
I don’t, as a rule, binge watch programs. I like the episodic nature of stories. I like time to reflect and think on what has happened in a story and what may happen in the next installment. It’s an art to do it well and it’s satisfying as an experience for me. I know…I’m in the minority at this point.
Recently, however, I’ve been breaking my rule of no more than two episodes of a show per day due to some truly engaging writing. The first slip was for Jessica Jones‘s final series, and then shortly after for Stranger Things. The first because I had time, more than the structure, and the latter because of the cliff-hanger endings. But then came Russian Doll and Dark. Both seriously binge-worthy shows, though each for different reasons.
I devoured this show in two sittings…and would have done it in one if I could have seen straight enough that first night. While the first episode wasn’t exactly giving me hope, there was something intriguing about it that brought me back. By the end of the second episode, I just couldn’t stop.
Groundhog Day, though not the first of its kind, is the de facto term for all repeating day stories. It is even a trope that has come back into vogue again with fun jaunts in many genre, like Happy Death Day. Russian Doll is yet another riff on this idea…and explained about as much any of them do, employing multiple references, including Felini. But who cares…that isn’t what the story is about. Natasha Lyonne (Orange is the New Black) knocks it out of the park with her gravelly-voiced, prickly NYC software designer.
Unsurprisingly, Russian Doll is already renewed (especially given its 11 Emmy nominations which were recently announced). My hope is that they don’t rush it, because even if they manage to expand on the story, like Happy Death Day 2U, I’d really like for them to do something as new and wonderful as their first round of this addictive and inventive tale.
Dark is wonderfully intriguing with interesting ideas and characters, and some great mysteries and events. But that isn’t why I ended up having to binge. It is simply one of the most brain hemorrhagingly complex stories I’ve every encountered…holding it all in your head requires watching it all close together. If you go more than a day without watching an episode, you’re going to need one of the many write-ups on the web (organized by family grouping or chronology).
Series one hooked me with it complexity and ended on a cliff-hanger where series two picks up. This second chunk comes to a sort of conclusion, but opens up for the third series scheduled for next June (to coincide with the dates of the story). But my suggestion is that you watch the first two series back-to-back at a one or two a night clip…frankly, I don’t think the human brain can take more than that. If you can, power to you. Then, before watching the new stories, rewatch the series again so it’s fresh in your mind. Honestly, this thing needs visual aids, but it is delightfully and intricately structured…a true thing of beauty even if the story and characters aren’t.
This rather unique documentary starts with a quote: Faith starts as an experiment and ends as an experience. The sentiment, by the 19th century author and priest William Ralph Inge, serves as framework and a way to set expectations around the documentary experiment created by Vikram Gandhi. And the expectations are necessary as the initial setup feels like it could only lead to hurtful disaster. And while lovers of Sacha Baron Cohen (Borat, Dictator, Brüno) and prank shows may have found that an acceptable outcome, it definitely isn’t what I look for in entertainment, let alone a documentary.
Ghandi’s experiment was put together with a cold disregard for the impact on the subjects of his deception and was entirely focused on the questions he wanted to answer. In other words, it could only have been conceived by a PhD academic. But it is clear early on that the experimentor is, himself, being shaped by his own framework in some way. What we witness over the course of the film is both the fragility and gullibility of people in dual track with a real sense of spirituality.
Ghandi isn’t a brilliant filmmaker. He isn’t even a brilliant academic. However, his willingness to commit to his path to the very end is fascinating. And the results of his efforts are, if not surprising, thought provoking. For an evening of pondering humanity with a wry sense of humor and a bit of self-reflection, it’s worth your time.
Years and Years embraces the aphorism: The journey of 1000 miles begins with a single step. And quite the journey it is, from the smallest to the largest step along the road of choices that marks out this slippery narrative.
Russell T. Davies (A Very English Scandal, Bob & Rose) offers up a far spanning look at current politics, all lensed through the very human and personal eyes of a single family. We follow them across a decade as they deal with the fallout and shifting landscape of a world in transition. It is often difficult to watch, especially the time period closest to our own, but it is also hypnotic and gripping. As it moves forward a hundred steps, and then a thousand steps, the world is completely unrecognizable and yet utterly familiar and undeniable. It often isn’t easy seeing how people act and react, but we’ve millennia of proof that we are seeing typical responses.
Though the story is bleak at times, it also celebrates the resilience of people. Survival is key: financial, emotional, physical, and even intellectual. Because that is how it works, the world goes nuts and people do what they must to survive. It is rare that a single event is “the end of it all.” But, of course, as things move on, that is always the risk.
The cast are very much up to the task of bringing this story to life; a bevy of recognizable faces, young and old. Some of the more stand-out performances are Anne Reid (Last Tango in Halifax ), Russell Tovey (queers. ), Emma Thompson (Men in Black: International), T’Nia Miller (Marcella ), Jessica Hynes (Bridget Jones’s Baby), and Rory Kinnear (Spectre). But, honestly, it is really quite the cast all around, even Lydia West in her first major role shines nicely.
Years and Years is a visceral response by a writer to the world; when good writers get mad they get writing. When they are also artists, they give us timeless classics like The Crucible. Years and Years is likewise a reaction to today’s political insanity and, if not quite as timeless as Miller’s play, it is certainly powerful and impactful. This is a must-see piece of television that will transport you to the very last moments of the series. It won’t satisfy everyone as the ending does leave some things open, but life is rarely fully satisfying…it simply keeps on keeping on. And as long as we can do that, we survive.
Good Omens (4 stars)
Honestly, for David Tennant (Mary Queen of Scots) and Michael Sheen (Far From the Madding Crowd) alone this farcical romp about the world, life, and religion is worth it. It is delightfully Pratchett and Gaiman, just as their book was. For those unfamiliar, think an updated Monty Python’s Holy Grail in style, but with more of a coherent through line. That Gaiman wrote the series didn’t hurt in preserving its translation to small screen. And Douglas Mackinnon directed the material flawlessly.
With Jack Whitehall (Nutcracker and the Four Realms), Miranda Richardson (iBoy ), Adira Arjona (Emerald City ), and Michael McKean in inventive pivotal roles, the amusement and pointedness just keeps coming. The show is also chock full of special guest stars and smaller roles as well, which only adds to the fun. If you like British humor and don’t mind having religious institutions poked at, make time for this wonderful comedy.
The Tick (series 2) (3 stars)
I had my doubts when Amazon took up the Tick in its third broadcast incarnation (previously there was the animated series and a short-lived network series). Each captured aspects of the original graphic novels, but neither had found a solid enough formula to keep it going. The first series on Amazon was no exception. It was misbalanced and not quite credible, but it was amusing enough and with some nice character work to make you come back for more. The second series really found its footing and came together nicely. The balance of humor and absurd is much better and the story is more complex and compelling. I’d have loved to see what came next.
Unfortunately, the improvements weren’t enough for Amazon, who decided this would be the last season (at least for now). And this is part of my frustration with streaming services. Yes, they’re taking risks on new content, but they tend to throw it out there and then let it sink or swim on its own and forget about it when it isn’t an instant success. Even Cheers took years to build its audience. The point of these services was to try something new… perpetual content means you should be able to come to it when you’re ready. Sometimes that isn’t when the company drops the entire season at once. We’re just back to where we started with the inability to trust something will actually be supported and be back another season. So much for serving the niche audiences, as we were promised. Services should, at the least, insist all series come to an end so no one is left hanging if they get cancelled. That doesn’t mean the stories can’t continue, but the main narrative shouldn’t be left as a cliff-hanger. At least The Tick embraced that credo so we weren’t totally left to wonder.
Lucifer (series 4) (3.5 stars)
The last broadcast season of Lucifer was a mess. So much so that it lost enough viewers to find itself begging for a venue. Fortunately, Netflix saw the potential and revived the wonderfully acerbic and amusing mystery/romance/comedy… whatever it is. This season, having lost the fetters of the broadcast censors, is able to finally be much more of what it really could be (it still PG-ish, bordering on a soft R). And they took time with the writing this series to make it a much more satisfying journey. The characters this season all act much more believably than the last go-round. If you at all liked the first season of Lucifer and gritted your teeth through the subsequent two seasons as it diminished, come back to it again. Netflix really breathed life back into the afterlife on this one. Well, at least for one more season to come, which is to be its finale. I will add that the final moment of the fourth season has one of my favorite unspoken jokes of the year. It is a silent joke during a moment that isn’t intended as funny…but someone slipped in the chuckle. And, given the show, it is much in keeping with the show’s sensibility.
Love, Death, and Robots (3 stars)
This anthology series is everything great and everything awful about anime. It is a testosterone fueled set of adventures with buxom broads and hairy men (and the occasional funny episode). It was an idea rich with possibilities, but David Fincher (Gone Girl) and Tim Miller (Deadpool) as the primary producers got lost in their 13-year-old selves and missed the chance to tell a much wider range of stories. It isn’t that any individual episode isn’t interesting, they are all good in their own way. And the range of styles and ideas is pretty unique with all types of animation on display. But it is so male-dominated and full of violence and, mostly, naked women that after a few you’re almost embarrassed to watch it…its like someone found your porn stash but it’s up on your TV screen.
The issue isn’t the talent or the tech or the acting, it is simply that the anthology is horribly unbalanced and ends up missing an audience it could have had. Watch it, but in small doses to keep from burning out on it. I found 2 or 3, at about 5-15 min. each, sufficient for an evening. Beyond that, they got numbingly similar. On the up side, a second season is on order and it has Jennifer Yuh Nelson, who drove much of the animation for and directed the last two Kung Fu Panda movies, at the helm. Perhaps her sensibility will help bring some variety to the series. Certainly I applaud the idea behind the show; I’d like to see it succeed.
Art, writing, life explained… or at least commented upon…