It appears that John Wilson might be facing a creative stagnation on his show. Recent episodes seem to lack the innovative and engaging content that his audience has come to expect. The repetitive themes and recycled concepts suggest that he could be running out of fresh ideas. Viewers have noticed a decline in the uniqueness and originality that initially set his show apart. To maintain his show's appeal, John Wilson may need to explore new avenues of inspiration, collaborate with others, or take a break to recharge his creative energies. Addressing this challenge could help him regain the momentum and captivate his audience once again.
Reviews
11 Reviews
The Bear
(2022– )
All Actors Talk At The Same Time Every Time and All The Time
10 August 2023
A young chef from the fine dining world returns to Chicago to run his family's sandwich shop. Carmen Berzatto, a brilliant young chef from the fine-dining world is forced to return home to run his local family sandwich shop - the Original Beef of Chicagoland - after a heartbreaking death in his family.
"The Bear" has a lot of potential, but it falls short due to the constant overlap of dialogue. While the story is intriguing, the cacophony of voices talking simultaneously makes it challenging to fully grasp the narrative. With clearer distinctions between characters' voices, the story could shine and become a much more enjoyable experience.
"The Bear" has a lot of potential, but it falls short due to the constant overlap of dialogue. While the story is intriguing, the cacophony of voices talking simultaneously makes it challenging to fully grasp the narrative. With clearer distinctions between characters' voices, the story could shine and become a much more enjoyable experience.
The Father
(I) (2020)
More than a movie
8 July 2023
As if woven by the skilled hands of an artisan, "The Father" unravels with exquisite tenderness and heart-wrenching beauty. With the same vigour that Sophocles himself may have employed when he penned Oedipus, this film addresses the labyrinthine suffering of the human mind in its twilight years, personified by Anthony Hopkins' resplendent performance. A masterclass in the manipulation of temporal and spatial reality, this drama stretches the conventional narrative format like an elastic string of consciousness.
The subject of Alzheimer's is unflinchingly embraced in all its poignant torment. Its depiction is at once horrific and exquisite, a Greek tragedy in the clinical sterility of a London flat. Hopkins, ever the thespian chameleon, transfigures into a man haunted by his own vanishing self, his performance punctuated by a captivating dichotomy of childlike vulnerability and defiant resilience. His stupendous portrayal of gradual cognitive decline not only leaves an indelible mark but also presents an achingly real depiction of the human condition, teetering on the edge of its own fading existence.
The mise-en-scène, an essential part of the director's palette, meticulously mimics the confused mind of its protagonist. In the hands of a less talented director, this could have been merely trite or gratuitous. But here, it is executed with surgical precision and acute empathy, creating a cinematic language that both befuddles and enlightens, a paradox at the core of Alzheimer's itself.
Florian Zeller's directorial debut, "The Father," may easily be described as the cinematic embodiment of the Cartesian doubt, plunging the audience into the maelstrom of uncertainty and unease, compelling us to question our own perception of reality. It is, without a shred of hyperbole, a triumphant symphony of desolation and hope, a requiem for the lost and the losing. A testament to the power of cinema and a celebration of human vulnerability, "The Father" is more than a mere movie; it is a transcendental journey that offers a gaze into the abyss of human memory and identity. A magnum opus of sorts.
The subject of Alzheimer's is unflinchingly embraced in all its poignant torment. Its depiction is at once horrific and exquisite, a Greek tragedy in the clinical sterility of a London flat. Hopkins, ever the thespian chameleon, transfigures into a man haunted by his own vanishing self, his performance punctuated by a captivating dichotomy of childlike vulnerability and defiant resilience. His stupendous portrayal of gradual cognitive decline not only leaves an indelible mark but also presents an achingly real depiction of the human condition, teetering on the edge of its own fading existence.
The mise-en-scène, an essential part of the director's palette, meticulously mimics the confused mind of its protagonist. In the hands of a less talented director, this could have been merely trite or gratuitous. But here, it is executed with surgical precision and acute empathy, creating a cinematic language that both befuddles and enlightens, a paradox at the core of Alzheimer's itself.
Florian Zeller's directorial debut, "The Father," may easily be described as the cinematic embodiment of the Cartesian doubt, plunging the audience into the maelstrom of uncertainty and unease, compelling us to question our own perception of reality. It is, without a shred of hyperbole, a triumphant symphony of desolation and hope, a requiem for the lost and the losing. A testament to the power of cinema and a celebration of human vulnerability, "The Father" is more than a mere movie; it is a transcendental journey that offers a gaze into the abyss of human memory and identity. A magnum opus of sorts.
Asteroid City
(2023)
This cast doesn't deserve this script
16 June 2023
Wes Anderson drummed up a magnificent cast. At least ten of them could carry a triple A movie by themselves. Unfortunately, Wes forgot that a good movie needs a good plot as well.
The visuals are outstanding, almost every shot is also an award winning photo. The acting is superb. The setting is magnificent and almost everything about this movie is perfect.
Everything but the plot. If you like humor, you'll like this film. If you come for the visuals, you'll love this film. If you're into acting, you'll have an excellent time. But if you want to be engaged? Look elsewhere.
Dear Wes, your dialogues are hilarious and witty. Your plots lack substance. Work on your plots.
The visuals are outstanding, almost every shot is also an award winning photo. The acting is superb. The setting is magnificent and almost everything about this movie is perfect.
Everything but the plot. If you like humor, you'll like this film. If you come for the visuals, you'll love this film. If you're into acting, you'll have an excellent time. But if you want to be engaged? Look elsewhere.
Dear Wes, your dialogues are hilarious and witty. Your plots lack substance. Work on your plots.
Captivating documentary, but...
14 June 2023
...this has got to be the most incompetent police officers ever. No matter how many assaults or murders, they didn't have a clue. They only had a footprint. So embarrassing to watch.
It's a good thing there are vigilant citizens out there, otherwise this case would never have been solved.
The documentary is very 'American', with a lot of over emotional filler, so I would recommend watching this at 1.5x the normal speed.
The creators of this documentary didn't do much research, so it leaves a lot of questions unanswered. It's a decent watch it you're into true crime. If you're not: skip it entirely.
It's a good thing there are vigilant citizens out there, otherwise this case would never have been solved.
The documentary is very 'American', with a lot of over emotional filler, so I would recommend watching this at 1.5x the normal speed.
The creators of this documentary didn't do much research, so it leaves a lot of questions unanswered. It's a decent watch it you're into true crime. If you're not: skip it entirely.
How to with John Wilson
(2020–2023)
There is ehh at least ehh one 'ehh' in every ehh sentence.
8 November 2020
In every ehh sentence there is at least one 'ehh'. The ehh intonation of ehh every sentence is ehh the same. His ehh voice is also ehh very annoying.
In all seriousness: I really wanted to like this show, as it is produced by Nathan Fielder, from Nathan For You - which is one of the best shows I have ever seen. Apart from some nice footage of New York, there is not much substance. The jokes aren't funny, probably because of the really poor delivery.
It's hard to believe the 'ehhs' are a deliberate part of the show, but it is also hard to believe that he cannot produce one full sentence without them.
This probably would be much better if someone else did the talking.
In all seriousness: I really wanted to like this show, as it is produced by Nathan Fielder, from Nathan For You - which is one of the best shows I have ever seen. Apart from some nice footage of New York, there is not much substance. The jokes aren't funny, probably because of the really poor delivery.
It's hard to believe the 'ehhs' are a deliberate part of the show, but it is also hard to believe that he cannot produce one full sentence without them.
This probably would be much better if someone else did the talking.
The Social Dilemma
(2020)
Not a dilemma
9 September 2020
It's partly unbelievable a documentary like this has not aired yet. Albeit not perfect in execution - the acted part is underwhelming - it is a definite eye opener and should be watched by teens, parents, entrepreneurs, politicians and everybody else.
Joel McHale is hands down the absolute worst host ever
6 September 2020
High Score
(2020)
Diversity shoved down your throat
29 August 2020
I wish this was a documentary about video games. Instead it is a documentary about what LBGTQ meant for video games. And not even that, because most stories and angles are so far fetched, it's a game in itself to find out why those where even in there.
The Midnight Gospel
(2020)
This wants to be Rick & Morty so bad (and) it's painful to watch
27 April 2020
It wants to be random, edgy, smart and funny, but it really fails on all accounts. Terribly. It's hard to sit even through one episode. Yeah, this won't make it to season two. Avoid. (That, or watch the first five minutes and come to the same conclusion yourself.)
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