KeroScee Reviews

Janet King (2014–2017)

A perfect example of 'paint by numbers' television

[2/10 · 27 May 2017]

On the face of it; Janet King (played by Marta Dusseldorp) sounds like an interesting take on the 'legal drama' serial. Hard hitting cases, delivered in gritty undertones that reflect the depravity we might see the darkest corners of society. Unfortunately, Janet King falls well short of this goal.

To start, the writing shows a definitive lack of subtlety, and authenticity. Legal scenarios play out in an overdramatic and stilted fashion. Backroom politicking comes across as artificial and forced. Much of the drama in Janet King feels artificial, as if the script was written without revision, research, or imagination. This leads us to the characters.

It is difficult to make statements on the quality of the acting here. Undoubtedly, much of the cast is capable of better things, but without any quality material to work with, any exceptional talent will go unnoticed. Characterisation, script, sets and the costume design are like cardboard cut-outs; they have no depth. Everything is played out linearly, any defining moments or character growth is played out in an almost 'by the numbers' fashion. In a sense, nothing comes across as surprising, or real. Janet King's relationship with her female partner could have been a golden moment in Australian TV. Instead if feels forced, stale and all too well adjusted; with Janet spending more time staring intensely into the camera than experiencing the pitfalls of the human condition.

Janet's moral compass and personal philosophy appears to come at no true cost to herself, or her family. Events that should have a significant impact on her personality should impart mental scars or growth. We see none of that in Janet King, rather our protagonist comes across as a hollow amalgamation of various tropes and traits grabbed off a Tumblr guide to LGBT people written by a 14-year-old.

The photography work is exceptional. Crisp angles are used to dynamically frame environments, while use of depth and focus shift are used to great effect. This technical brilliance (kudos to grip and camera crew), is squandered continuously due to poor direction and script. If anything, the great camera work shows off just how poor the story telling, dialogue and set pieces are. For example, people's houses look like magazine pieces. Show models that are utterly unlived in, that give no inclination as to the personalities of their residents. We see our titular character's home life often, but it reveals nothing of her personality or that of her family. It simply comes across as continuously frozen in time.

Attention to detail for such things are instead shifted to diverse or overdressed extras, who say and do nothing other than contrast with the predominately Anglo cast. At best this comes across as poorly executed and one-dimensional attempt at showing a 'modern Australia'. At worst its pandering to a demographic that doesn't watch public television anymore.

In summary, Janet King is a perfect example of terrible original Australian programming. It is utterly devoid of imagination, appropriate attention to detail and quality control. Perhaps in a new series, with a completely new set of producers, directors, and scriptwriters it might be worth watching.

Until then it will likely languish in forgotten mediocrity because it lacks one key element; it isn't believable.

Ghost in the Shell (2017)

Good on it's own merits, but lacks any sense of subtly

[6/10 · 16 April 2017]

The original 'Ghost in the Shell' was a hallmark gem of which has been the base for many 'near future' movies to copy, borrow and steal from for the past 20 plus years. It's difficult to write a review without making a comparison, but avoiding the parallels is not made easy when this live action fails in achieving the nuances that the original material essentially invented.

It's a true shame. Set and costume design is top notch, a very capable cast demonstrate talent and exceptional emotional depth in the few moments they can. But again, and again, the childishly written, overly simplistic script and over-reliance of cheap linear VFX sequences ruin all the good work in other avenues. The story moves in a predictable fashion, with much of the plot movement spontaneously directed by characters suddenly 'knowing' vital locations and details without any adequate visual or audible explanation. 'GITS' fans may notice how the pacing links with on screen events easily, but newcomers will be a little at odds as to how 'hacking' works in the future when there are no sequences that show it off. A likely result of poor scripting, editing and a refusal to add coherent infodumps or 'so you know' scenes.

This poor scripting shows, conversations are extremely one dimensional. Intentions are plain to see and many sequences occur with very little justification or thought. The whole film reeks of studio meddling and too many script writers. The interactions between Major (Scarlett Johansson) and Batou (Pilou Asbæk )are arguably the best parts of the movie, which makes them feel like they're written by someone else. Likewise much of the themes that 'GITS' relied on are nigh non-existent. The notion of constructed identities and hacked memories are left in wasteland as poorly thought out corporate conspiracies take centre stage. The whole thing feels very much like the recent Robocop remake; poorly handled.

Overall Ghost in the Shell is worth seeing if only for the set design and effects. The on screen chemistry between Scarlett Johansson and Pilou Asbæk is worth studying on how to show inferred love. Everything else? Forget about it.

6/10

Rogue One: A Star Wars Story (2016)

A divisive gem

[8/10 · 22 December 2016]

Old and new fans alike will probably argue over the merits of Rogue One for the next decade. Sitting just outside the main series as a prologue to IV: A new hope' Rogue One attempts to bridge the divide between the contrasting narratives and styles that formed the bedrock of the previous (now 'old') trilogies of I-III and IV-VI. And it does so with great success.

Taking from Shakespearean motifs; the move is cleanly divided into three main acts. Comedy is injected tactically and without force to great effect. But will bring you in and keep you in your seat is of course the elements that 'Star Wars' has become known for; a fantasy story between good and evil set in space.

It might come as concern to some that the characters in Rogue One seem very much aware of the fairy tale around the series; and this is used to great effect. The force is fiction, as far as the folks on screen are concerned. A relic of a dead age, with the Jedi all but gone. Thus the characters are not mystic knights with high ideals or mystical powers; but men and women trying to scrap their way to survival with their wits. It makes Rogue One refreshing, more relateable, but adds tones of moral greys into the mix that many audiences will see as a too real departure from the fantasy the franchise is known for. I however think it works beautifully.

Acting performances are stellar, though some come across is a little overly stoic at times. But its the performances of Donnie Yen,Wen Jiang and Alan Tudyk (whom bleeds character even through his CGI exterior) who steal the show. Light hearted at first, these actors demonstrate a heartening and lifelike dynamic that keeps the film from falling apart. And perhaps more importantly, provides the film's ending with so much potency.

The story itself comes into its own eventually, but is not without its pitfalls. Trope savy viewers will definitely notice that there always seem to be important buttons to press and switches to flick that are all deep in the heart of danger. If anything, it may look like the production team wanted to make a much darker film about a certain British sci-fi franchise known for its morbidity.

Regardless; Rogue One is a modern gem. One not without flaws, but a solid piece that will be remembered fondly in the years to come.

Turbo Kid (2015)

B movie Fans, please apply!

[8/10 · 20 October 2015]

Turbo Kid can basically be summarised as 'The Road Warrior' on bicycles. Basic post-apoc tropes apply, and it makes no attempt to be anything other than what it is. And it does so admirably. The story is simple (in a good way), the soundtrack admirable and the scenery is appropriately bleak.

'B-movies' like this are hard to judge in terms of acting, but the actors play their parts admirably. It may be cringe worthy or cheesy to some, but its grand nonetheless. The effects are 'cheap', over the top and feel very 'dated', but in a good way.

If you love cheesy 80s action flicks, enjoyed Kung Fury and the like you'll feel right at home. Grab the SO, some popcorn and relax. It'll be a fun time.

The Subjects (2015)

Lots of potential, poor delivery.

[4/10 · 19 October 2015]

The concept was great but failure to understand what made similar 'one room' movies such as the Cube work, translated into a jarring and ultimately boring experience.

Acting for the most part is rather bland, if not terrible from most. A few among their number such as Charlotte Nicdao,Paul Henri and Tosh Greenslade demonstrate themselves as being capable of greater (possibly even great) things. The decision to have American accents did not work in anyones favour and only exaggerated the existing flaws in the script.

The writing itself comes into it's own near the end. However much of it before that comes across as stilted, with conversations feeling unnatural and poorly written. The latter half certainly shows off a great deal of Robert Mond's potential, but the poor early scenes fail to build up any investment in the characters for the end to pay off. A few more projects under his belt and Mond may be a director/writer worth following in the near future.

Until then, the subjects is probably a good case study of how not to do 'one room' movies, or how a movie can be close to being 'good' but fails to deliver.