RachaelHP Reviews

Last Week Tonight with John Oliver (2014– )

Essential viewing if you value your own intelligence

[10/10 · 28 September 2020]

Crucial critical commentary that masters humour, socio-political awareness and profound compassion in order to defy the darkness of our current times and bring us laughter and intelligent conversation courtesy of its one-of-a-kind host.

Exceptional on all levels.

Superman Returns (2006)

Robbed of a great franchise and sequel - Routh was an exceptional lead. A solid film that deserved better.

[9/10 · 28 May 2020]

Superman was so important in my house - any adaptation was analysed, measured and given the criticism or praise it deserved. I recall our collective viewing and analysis of this film. It was a surprisingly rare, unanimous vote - it was an imperfect masterpiece. Flaws and all - it was a worthy and welcomed addition to the canon.

Brandon Routh was the Clark Kent and Superman any fan would appreciate on most, if not all levels. I honestly thought the franchise would erupt with worldwide success based on Routh's casting choice and performance alone. The box office success was impressive along with the official reviews.

I was very young at the time of its release and cannot describe the heartbreak - as an avid Superman fan and general film buff - when it became clear that a sequel was not going to happen. It was one of the first times my heart truly went out to an actor - stupid though some people may think that sounds- but Routh deserved so much better. His career might have been very different but he certainly persevered in the midst of the disappointment in an admirable manner rendering excellent performances in his other projects.

But - what I wouldn't give to see him command the franchise again. It would be worlds better than certain offerings made to us in recent years. We won't go there out of respect. The fact that Routh's return to the character for Arrowverse's Crisis on Infinite Earth's Superman vs Superman commanded such an overwhelming response by fans and ratings says it all. I hope he gets his own show.

Bosworth's Lois, Marsden's Richard, Langella's Perry White and Spacey's Luthor. What a winning ensemble. Parker Posey and Sam Huntington added great charisma and quirky heart. They made an ensemble and chemistry that would've been a joy to continue watching. What an absolute waste of winning ingredients investment-wise.

The film has some major nuanced turns and easily-overlooked details in its scenes. There's something about its energy that makes it easy to take its structure and detail for granted - which is a pro and a con in one. When I rewatched it after years I realised how much I missed.

The one major star-losing downfall is not giving Routh's Superman and Clark more talking time. I couldn't get over it. Limiting his dialogue with Lois and Luthor was an insane mistake. The history between the characters deserved better dialogue time than mere suggestive references. It put a lot of pressure on Routh to tell so much with so little. I read some user and critic remarks saying he looked too "perfect" or with an action-figure blandness. They clearly didn't pay attention but I also think a better script would've clarified things and made it easier for those merely watching the surface!

Other minor details in the effects and continuity were a little jarring but to be expected in this type of film... well up to a point! Still some of the most impressive action scenes from the canon.

This was an overlooked golden egg. A baffling mistake but I am glad we got this installment and to see Routh and Bosworth in these roles.

I would recommend this to anyone who appreciates the story's history and the characters. Watching Routh's return to the character in Crisis on Infinite Earth compelled me to write this review - a shocking 14 years later! Not that anyone actually cares! Lol. But out of respect for the effort made by the cast at the time - I wanted to share my thoughts on the matter.

Sense & Sensibility (2008)

An enchanting and superior adaptation. Morahan is exceptional.

[10/10 · 28 May 2020]

I'm not comparing it to Thompson's Oscar-winning adaptation. They are both leading adaptations in their own right.

This is an exquisite TV series that has a quiet, mesmerizing tone to it. It's a joy to watch and I'm always compelled to revisit it.

I was so impressed with its Elinor. Hattie Morahan is an exceptional lead and a criminally overlooked actress I constantly hope will get the recognition she deserves. I am a little annoyed she is not given top-billing on IMDB as the lead - Cooper is - to me that's unfair. Morahan's Elinor is compelling, vulnerable, noble and loving with a great resilience that adds to and justifies her rational, practical nature. Elinor's struggle is captured magnificently in her nuanced performance. I watch it again and again. Her presence is enchanting.

Charity Wakefield was not a name or face I had seen before and I was delighted to discover her career. Marianne has been a character I've always struggled to like from the book and other adaptations. Here, Wakefield came into her own at the end and handled Marianne's change of heart (which is quite demanding on every actress who endeavours to play her) in a credible and satisfying way. Her unique chemistry with Morahan strengthened the dynamic of their shared scenes and added a credible dimension to their relationship which I thoroughly enjoyed.

With the likes of Dan Stevens, Janet McTeer, Claire Skinner, David Morrissey, Dominic Cooper, Mark Williams, Linda Bassett, Lucy Boynton and breakout turns from Anna Madeley and Daisy Haggard - the ensemble was perfectly cast. They created a world I was happy to believe in. Claire Skinner is a fabulous actress and real treat in this film - she was made for the role.

David Morrissey hit it out of the park with a wonderful turn as Colonel Brandon. I love that character so much and he did more than do the character justice. He was a joy to watch.

This series has a lot to offer anyone new to Austen's works and to avid readers wanting to enjoy an enchanting take on Sense and Sensibility.

It is unfair how much this is overlooked. It deserves your time. I hope it is discovered by more people and doesn't become a forgotten gem.

Castle (2009–2016)

This show brought me so much joy. It gets 10 stars if we forgive some aspects of the later seasons!

[10/10 · 9 May 2020]

When this show first aired in 2009 I needed serious cheering up. I found it accidentally and, my goodness, was I happy for that accident. Knowing I could tune into this show was such a relief - I easily recall the happy memories of sitting down to tune into it.

Nathan Fillion deserved to have a show that exhibited his wonderful comedic timing and challenged him as the seasons progressed. His leading charisma is unique - his presence alone could absorb all the attention with little effort.

And while respecting Fillion's allure, Stana Katic was, by far, the true break-out star of the show. Her performance as Beckett was stunning, forever engrossing and a masterclass in acting. In many ways the show really revolved around her - Castle is stronger with Beckett, she gave him a focus and greater depth, a purpose and someone to live for. and it was a wonderful relationship arc to watch (until the murkiness - the writers know what they did)

I truly believe Katic did for Fillion, what Beckett did for Castle. Their onscreen chemistry was effortless. But Katic raised the bar performance-wise and demanded Fillion give a deeper insight into Castle's emotional centre in order to match Beckett's struggle and grit. This is why this show was incredible.

Jon Huertas, Seamus Dever, Tamala Jones, Ruben Santiago-Hudson, Susan Sullivan, Penny Johnson Jerald and Molly C. Quinn built one of the strongest and lovable ensembles I have ever watched. Whenever I see them in their own non-Castle credits, my heart leaps. I got so used to seeing a new episode of Castle every week or so for 7 years. It was hard to adjust. (until I remembered the murkiness... eek)

When it comes to 'jumping the shark', this show at notable moments in the later seasons - leapt over oceans. It was very difficult to understand how the team of writers and producers - who had 100% nailed the magic formula for excellence in TV writing - made such a meandering dive in some of the storylines - especially the end.

The unknown circumstances around the infamous Season 9 and contract issues was a truly heartbreaking reality to face as an ardent fan. Having been the mightiest assets to the show, the fact the writers considered a Castle season without Beckett or Lanie was nothing short of mindblowing.

So, in that sense, it was better to leave it to end on peaceful terms- heartbreaking though it was.

I give it 10 stars because, despite the imperfections in the writing and direction towards the end, this show was a gift to me a decade ago and following it over the years brought so much entertainment and escapism. I was and am eternally grateful to the writers and cast for creating it and for bringing fun back to this genre.

A major shout-out to the exceptional soundtrack and editing because the command of emotional pace was incredible.

Jane Eyre (2006)

This is the superior Jane Eyre

[10/10 · 9 May 2020]

Jane Eyre is my favourite novel of all-time. I do not say this lightly.

I have seen exquisite stage and screen adaptations. I have seen brutally laughable attempts. We won't go there...

The likes of Timothy Dalton and Michael Fassbender were incredible in their own right and their performances are cherished and highly regarded.

But Stephens was made for the part and captures the dramatic depth, the complexity of Rochester and gifts him with a spell-bindingly cheeky humour that is captivating and lovable.

Ruth Wilson is sublime as always. As a young girl reading and learning from Jane's struggles and loneliness, watching Wilson in 2006 amazed me as, for me, she embodies the values, the heart and willpower of Jane at an exceptional level. Her silence is loaded with depth and psychology. Her delivery hasn't been matched.

Wilson and Stephens are a joy to behold - heartfelt and credible as loving, humorous and silently powerful soulmates.

The ensemble supporting them are on par with the leads, complementing their chemistry and helping to bring this Bronte universe to life.

From the direction, production design, soundtrack and locations, this is a wonderful adaptation that must be seen and valued by as many people as possible.

Other adaptations have a rightful place in our understanding of various aspects and interpretations of the dynamics between the characters. The novel is so multi-faceted it is only to be expected that certain details captured in contrasting ways across all adaptations will resonate differently with people.

But to me, this adaptation epitomizes the psychology, the emotional depth, the connection and the humour of this literary couple. It asserts Jane's independent singular mind and heart. I return constantly to it.

It is definitely worth your consideration. And I say this 14 years after its initial release!

Elementary (2012–2019)

The incomparable Jonny Lee Miller leads this outstanding series

[10/10 · 9 May 2020]

As an avid Arthur Conan Doyle reader who owns all books/movies/TV shows relating to Sherlock Holmes, I was incredibly skeptical of this show's premise when it was first announced.

At the beginning I asked - is this a cheap investment in the much cherished canon? At the end I answered - simply put - definitely not.

This show achieved 7 seasons of the most exquisite platonic character-arcs I have ever witnessed. Salutations to the original canon surface across all seasons. The rest is CBS's original procedural take.

The one glorious reason this show exists and works is the emotional, psychological, cerebral power of Jonny Lee Miller's performance.

It is baffling how he constantly renders exquisite performances and has astounding versatility and yet the world doesn't seem to realize this. The likes of Cumberbatch (whom I certainly love and admire) seem to effortlessly claim this fandom of adoration, and so many have been quick to compare and wrongfully allow a shadow to fall upon JLM's serious talent. This is a major flaw in their judgement. Both Sherlocks are very different. As they should be.

JLM and BC's shared masterpiece Frankenstein with the National Theatre proved they are on par with each other. Styles and interpretations, different though they are, both pierce through and access the poignancy of each of their characters with equal greatness. An Olivier Award was bestowed. A truly deserved honour.

Truth be told, of all the wonderful Sherlocks that have their rightful place - JLM's Sherlock is the only Sherlock I would love to meet in real life. His arc is real. His struggles are never shrugged away or simplified to lighten the load. He has his imperfections and his genius and he works to learn and appreciate that this struggle and genius means nothing without the friendships and connections he initially fought against in the past. Each person on the team has their worth and can solve issues and offer wisdom and solutions - not just Sherlock. This is refreshing.

JLM's emotional depth is incomparable. No-one should miss this performance. It is a tremendous shame an Emmy, a Golden Globe among other awards were not bestowed except a second Satellite Nomination.

If you like an intellectual procedural that has an exquisite lead, this is for you. It is a procedural show and it is unfair to use this to undermine its true underlying value.

I love BBC's Sherlock and people love it because it is flamboyant, melodramatic and heavily concentrated in its story delivery. Yet, with Elementary you get a staggering number of episodes, a high turnout of entertaining story-arcs and cameos, and a relationship between Sherlock and Watson that is exceptional and rewarding to the very end.

It was incredibly difficult to see this show end. Definitely worth your time.

Emma (2009)

Still the superior adaptation. A great achievement on Miller and Garai's part.

[10/10 · 8 March 2020]

The book is one of the most important books of my childhood and I have been critical of all adaptations in the past - though I usually learn to love them! I had my reservations about this series when it was announced and felt a bit defensive of the book, for fear it would be misrepresented by yet another adaptation. I was wrong!

Even now, 2020, we have another stylised film adaptation enticing young audiences to the work. That film, though charming in its way does not match this adaptation. When watching the new film in the cinema all I wanted to do was go home and re-watch this. This adaptation is home for me.

I appreciated all the other adaptations for their own original merit and vigor. I was used to the stylised, lively interpretations. I particularly loved Mark Strong's and Jeremy Northam's Knightleys and found the ensemble casts down through the years to be lovable and on point in so many respects. Emma, herself, is difficult to embrace for an actor and an audience and Paltrow and Beckinsale commanded certain attributes and flairs to her spirit and made her endearing in their own ways.

But those adaptations were missing a heart, an energy and a faithfulness to the book which I longed to see. I was beyond surprised to see this series master all elements and I fell in love with it instantly.

Romola Garai and Jonny Lee Miller were up against everyone's previous experience of the other screen interpretations. But they were exquisite.

Garai's Emma combined the spoiled pomp of Paltrow's Emma with the self-righteousness depicted by Beckinsale and created a character caught between her almost-perfect existence and the unforeseen tribulations of living entirely in her own comfort zone. Her Emma is softer on all accounts and more faithful to Austen's vision. The ensemble had greater screen time than their predecessors and their character arcs and nuances could be enjoyed at greater depth by the viewers. The arc of Churchill/Fairfax was more realistically portrayed when compared to other adaptations.

But the winning casting choice was Jonny Lee Miller. His Knightley in many ways outplayed the Knightley's of the past by remaining his contemplative, reserved self throughout the series and commanding an exquisite presence in each of his scenes. He honoured Knightley's character arc with subtlety and heart and provided a beautiful balance to Garai's Emma. They were credible and lovable to the very end - what Austen wanted all along.

Stylised adaptations and quirky re-tellings are wonderful at times yet series like this one are to be treasured for their simplicity and command of the literature and respect for the characters and the audience.

I should mention that the music, costumes and locations are also beautiful. I could re-watch this 1,000 times and love it more and more. It is definitely to be seen by anyone who wants a faithful, unassuming and heartfelt adaptation of great literature. I applaud the team behind it.

The Mentalist (2008–2015)

Favourite Show of All Time

[10/10 · 16 January 2020]

This shows is master class in acting.

Robin Tunney and Simon Baker have a chemistry and credibility so rare that it's simply wonderful to watch every single scene. These are two of the greatest actors I've ever watched. I wish they won more awards and received greater recognition.

With the character development in the series, the writers were on point. Jane and Lisbon are mature characters; credible, solid, exceptionally developed in all aspects. Because of the subtlety of the writing and nuanced performances, their arc over the 7 seasons is just sublime.

Humour and darkness are perfectly balanced and refined in both the writing and performances. It doesn't talk down to its viewers. It doesn't go in for shallow drama to create tension. It's inventive. All is purposefully done. That I deeply respect.

Cho, Rigsby and Van Pelt really become a truly lovable team and they somehow create a sense of home. Tim Kang, Amanda Righetti and Owain Yeoman were perfect at every turn. Very rare. I missed the team so much. That's a testament to the actors.

Exquisite guest stars mean this show is rife with the most memorable, bizarre and irreplaceable characters. There are too many to name. It would clog the word count. I mean. Monster talent. All in one show. Every single person created a memorable and an immensely enjoyable character. I wanted to see more of them.

I remember at the time it aired, people were going mad speculating about Red John. He was an excellent catalyst - a truly horrific storyline and figure.

But to me the show was never truly about him. It was about Jane, Lisbon and the team. Finding your people and purpose. Growing and learning from pain.

I love the music by Blake Neely. Psychological, eerie, haunting, funny, emotional, heartwarming, reflective, sentimental... He aced it. I revisit it constantly.

Bruno Heller and Chris Long created something incredible. The fact they honoured what the fans wanted in Season 6 and 7 is a tremendously rare outcome in this business and unlike any show I've ever seen. They truly nailed it.

I miss this show and characters and always will.

The DUFF (2015)

Relieved we have a smart and grounded addition to this genre

[9/10 · 19 September 2019]

Attempts made at this genre have turned my stomach in the past. But it has also been breakthrough ground for many an actor, writer and director.

In this day and age, originality or even a decent attempt at reinvigorating a tired story arc is rare but I was relieved and pleasantly surprised by this film.

Mae Whitman and Robbie Amell have a commanding and heartwarming chemistry I honestly thought would never again be achieved in this age of shallow and genre over-kill. They gave a sincerity to the film that was its compelling foundation and saving grace, especially as they were given the term "Duff" to reckon with and make an endearing learning curve. Their interactions were a joy to watch and made for many an honest laugh which won this film comedic credibility.

It also has Allison Janney. It also has Ken Jeong. It also has Romany Malco. So, that's win for me too.

It lost a point in not fleshing out Bianca's best friends. Maybe this was done on purpose but their dialogue lacked substance which I found bizarre amidst the rest of the film's promising and developed aspects.

It does an admirable job in handling the awkward and the heart of the matter. It reflects on points and issues that could well be causing self-doubt among teens out there, indeed the world in general, especially in this social media-crazed society, and the film does so with a humour and timing that was welcome and unexpected.

A definite recommend for any movie night. It's light, highly watchable and soon becomes a favourite.

Dear Frankie (2004)

A quietly moving and sublime piece of cinema

[10/10 · 14 September 2019]

This is a character-driven gem that follows a mother's desire to protect her son and ensure he feels loved and safe at all times

Emily Mortimer is exquisite. She has a presence that emanates a sweetness and a vulnerability that seeps into every scene and every breath she exhales on camera.

Jack McElhone is a wonderful complementing presence that fits in perfectly with Mortimer and he has a quiet likability that makes you as the viewer also yearn for his happiness.

Mary Riggans as his grandmother and Sharon Small as Marie who introduces the stranger to Frankie's mother, are both riveting actors who elevate the story and enhance the connection among the ensemble.

Gerard Butler gives one of his career-best performances as the stranger entrusted (unwillingly) by Mortimer's character to pretend to be Frankie's father. His role is written so as not to corrupt the focus on Frankie and his mother which I found commendable.

The connection developed over the course of the action between the three characters is realistic, moving and deeply considered on the part of the director.

The direction allows the story to unfold in a gentle and quietly bewitching way. The script has sublime moments and allows the actors to sing into the silences.

It's a beautiful story that is heart-rendering and understated. I hope many more people will take any opportunity they get to source and see this film as it will not disappoint. 100%

The Colbert Report (2005–2014)

Hear the Truthiness!

[10/10 · 14 September 2019]

The level of satirical mastery in the show is undisputed.

There is only one three-hour tip-of-the-iceberg sampling of the material on DVD after all these years. All segments on it embrace the stellar, well crafted, daft, thought-provoking and also expertly delivered entertainment. The problem is that it ends and anyone outside the US will struggle to find the show online.

The Daily Show and The Colbert Report had major impacts on political commentary in the comedy world. They were able to translate the absurdity of the political and celebrity realities into digestible comedy so that viewers could form their own thinking on the real issues at hand while maintaining some semblance of sanity.

That's a power that is sincerely frightening to any celebrity and political figure within range of its commentary. The Colbert Super PAC was a prime example of the powerful and surprising prowess the show and its Daily Show alliance brought to the entertainment industry.

The satirical, seemingly nonsensical buffoonery of the Report at that time was true mastery of the form and I would be very surprised to see shows of that calibre grace the screen again.

Satire, smarts, truthiness... learn to feel the facts.

Mr. Right (I) (2015)

Rockwell is exquisite. This is a batty and insane take on the rom-com.

[8/10 · 14 September 2019]

Rockwell is a God. I would want no other actor for this role. Adorable, quirky, threatening, intense and goofy are difficult attributes to juggle and he effortlessly radiates them all in one single glance.

Anna Kendrick, a comedic force in her own right, is a compatible player and they make for a credible couple. It's a tough ask to match Rockwell in his comfort zone and her attempts show a little at times, but casting wise, no other actress would make a better fit.

The premise is insane, but perhaps somewhere in the world it's happening as we speak - an assassin who assassinates those who seek his services rather than the intended victims, falls in love and manages to harness the inner, untapped, quirky-violent nature of his new damsel while taking down an old foe and an enraged crime cartel... yikes...

The antagonist in Tim Roth is perfectly cast and hauntingly real. The minor, cardboard villains who are quarreling dysfunctional mob brothers played by Anson Mount and James Ransone seem, unfortunately, set up to be hard to credit from the outset and this weakens the plot. Had they more bite like Roth, the darker elements of the script and Kendrick's character arc at the end may have resonated more effectively.

All being said I love this film. It made my day. It's easily re-watchable and perfect for movie night. Rockwell is key.

While You Were Sleeping (1995)

After all these years, it remains a most cherished film from my childhood.

[10/10 · 3 August 2019]

There is something about the energy of this film - its cast, its music, its timing and writing. It has a sweetness and a daftness that makes it so enjoyable and heartwarming.

Everyone is perfectly cast. When I was younger I wanted to believe they were all real and out there in the world being their quirky selves. The scenes that involve family banter, for me, embody the joy of film and the joy that comes from watching an ensemble work so well together.

With Sandra Bullock and Bill Pullman it's next to impossible to fail at comedic timing. They are exquisite together and make an on-screen connection that is beyond lovable and memorable to this day. I pit all other rom-com duos to these two!

This film is a joy from my childhood. Not a year has passed since I first watched that it hasn't been revisited and cherished.

I hope you watch and love it.

12 Monkeys (2015–2018)

A leader in the time-travel genre. Sublimely executed with a winning finale. An example to all shows.

[10/10 · 6 June 2019]

Time travel is a demanding concept to pursue as a storyteller, filmmaker, poet or scientist. Innumerable attempts have been made to imagine and execute original content on the topic in a plausible, captivating and appealing way that carries and challenges an audience or reader. Competition is steep. Ratings are creative currency for producers. Timing is everything.

12 Monkeys was already at a disadvantage, in some respects, following in the famous steps of its predecessor - the Bruce Willis and Brad Pitt crazy boat of 1995. What the series had on its side from the very beginning was its creators/writers who chose their cast with sheer precision. Terry Matalas and Travis Fickett hailed from the highly praised assassin drama Nikita which boasted a finesse in the writing of suspense and finely-tuned character arcs. Deciding to cast its leads against expectations and alter the gender of Pitt's role of Jeff, now Jennifer Goinnes allowed 12 Monkeys TV series to alter its course and present the audience with an unexpected cast of exquisite actors who would shortly become a beloved ensemble that viewers would look forward to following in each of its 47 episodes.

This series is multi-layered from the very start. Each character has worlds to discover within and of themselves. Stories unravel, intertwine and rebound in unexpected ways. The show is not shy when it comes to challenging the viewers and their wants or expectations. Season 3 sets a brave, bold foot in a direction I myself questioned at first. But all is done with considered intent and the creators deserve that trust. The series finale was so exquisitely executed and compassionate towards both its characters and its viewership, it made Avengers: Endgame seem like a late attempt at a goal already scored in a game already won. Quite a feat for a still underrated show on a SYFY channel...

The show allowed the likes of Kirk Acevedo, Barbara Sukowa, Tom Noonan and Alisen Down come to the fore and present their incredible talent to an audience who may not have encountered them before. Other wonderful actors stepped in as minor though essential roles and claimed a place in our hearts - to name them here may spoil the fun should there be those reading who have yet to watch it.

Emily Hampshire as Jennifer Goinnes gave an irreplaceable scene-stealing performance which infused both her exceptional comedic timing and compelling sensitivity to every single scene.

Amanda Schull finally had an excellent opportunity to show her exceptional range portraying one of TV's most important leading female characters to date as Dr Railly. The chemistry between Schull and Stanford quickly becomes the most captivating and satisfying aspects of the show which only helps drive the story and justify the suspense around each character deliberation.

But when all is said and done, the casting of Aaron Stanford as James Cole, perhaps the most unexpected casting choice in the ensemble, was the secret ingredient in the series' success. The role demanded not only a unique presence, unflinching conviction and exquisite emotional range but masterful subtlety that created a most rounded character who never failed to carry his audience and story. Stanford's Cole is a joy to watch at every turn. Matalas and Fickett saw Stanford's skill playing one of the leads on Nikita (Birkhoff - a nerd who is a different animal from our James Cole) and they chose wisely in allowing him to claim Cole as his own.

This show delves into the mind-bending perplexity of time- how it gives and takes at every turn and how each person must confront time and its implications and learn to live with the realities and choices they will inevitably face.

Everyone has their own relationship and interpretation of time. This means that relating to time travel shows can be highly subjective. I have watched many shows and films - loved and appreciated a considerable number of them - each different in tone and approach.

I found 12 Monkeys to be an incredibly worth-while show that will reward the viewer at the final curtain. I was delighted to discover it and I hope you do too.