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The Hater (2022)
Some honest laughs; quality writing and performances.
I honestly expected a lot of sophomoric stereotypes and clichés from this film, but surprisingly, it broke quite a few.
I loved the writing for its honesty, and although some of the plot lines fell shy of full delivery, the entire package worked well.
This could easily have been extrapolated out into an eight part series to fully flesh out the story lines, but as a tidy package, it had a great 'indie feel'.
Bruce Dern is wonderful as the grandfather, and again, more stereotypes are broken with the writing for his character.
Joey Ally and Meredith Hagner have wonderful chemistry and screen presence, and Hagner's character breaks yet another big stereotype - that of the dumb blonde "bless your heart" suburban red state mom.
It's a buddy film, it's a comedy, it's a good drama.
I was honestly very surprised to see so much vitriol come from a few of the critics.
Yes, it's political in nature, but it's not strictly about politics. 48% of Republicans will hate it, and 48% of Democrats will hate it - IF its taken as just another political romp such as "Election Day".
It's more than that, and I really enjoyed it.
Paul Virzi: Nocturnal Admissions (2022)
My review is short, but succinct.
THIS IS ONLY THE FUNNIEST DAMN COMEDY SPECIAL EVER, THAT'S ALL.
This is a brilliant mind, doing comedy right. He's incredibly sharp, and his delivery and setups are FLAWLESS.
Seriously. It's so refreshing to laugh at no-holds-barred, relatable jokes again. I hope to see more from him in the future.
No subject is taboo, and he's just so damn likable, that he gets away with material which most comedians wouldn't touch with a ten-foot pole.
Brilliant.
Big Sky: Dead Man's Float (2022)
So good to see the return of Jesse James Keitel
I was thrilled to see a reappearance of J. J. Keitel in the series. She/They bring so much realism and solid acting to this series. I was guessing that the character was written off, so it was a surprising delight to see the return of not only a brilliant actor, but a great character to this drama.
Life & Beth (2022)
A brilliant cast; honest and human, engaging, and funny.
I loved this series. I've been an Amy Schumer fan since 'Inside Amy...". I fell out of love during her evolution, but once again fell in love with her openness and humanity with this gem.
The entire cast is brilliant (especially 'young Beth'), and I love what Amy and the other writers did with putting some intimate honesty and sometimes painfully stark charm on a timeless coming-of-age tale - through childhood, adolescence, and adulthood.
I wanted to nit-pick about some details and stereotypes, but after becoming fully absorbed in this, I saw it for what it was - a beautifully written story of growth and acceptance.
This one's worthy of a second season, or at least a second viewing down the road.
MINI SPOILER: Although the word "Aspergers" isn't mentioned, John Cena's character portrayal of the syndrome is honest, endearing, and beautifully done.
Taylor Tomlinson: Look at You (2022)
Brilliant writing, timing, and delivery.
One of the most enjoyable, smart, deep, and thought-provoking stand-up specials I've seen in years. Those last three adjectives probably don't seem fitting for comedy, but that's what makes this special so unique. "Brava" for tackling sensitive issues in such an honest, selfless, and truly funny way. I enjoyed the heck out of this.
Saturday Night Live: Oscar Isaac/Charli XCX (2022)
Some truly funny bits, but this was the nadir of SNL musical guests.
I'd suggest going straight to YouTube for the choice funny bits from Chloe Fineman, Kate McKinnon, Chris Redd, et al., but skip the musical 'talent'.
I honestly sat with my jaw agape, wondering what on Earth I was witnessing with Charli XCX and the lip-sync vocals, canned backing tracks, with a mix of burlesque and strip club dancing, re-hashed, over-produced grooves, stale choreography, and vapid song lyrics, behind yet another industry-hype, propped-up gyrating sex doll. This schtick was passé with Cardi B's WAP five years ago.
Standout performances by host Oscar Isaac, and the rest of the regular cast.
I just don't understand the production and marketing team's choice of 'booty show' with the musical guest. It painfully set feminism back to the drawing board, and left me wondering how fast I could reach for the remote control to hit the fast-forward button. However, I ended up sitting through it, if only as a grim reminder of what 'sex sells' looks like.
Single Drunk Female (2022)
Plenty of talent, but the script is 'Alcoholism Lite'.
I loved this for the premise, but ended up hoping for something deeper. It's more cliché than comedy, and more satirically insincere than genuine drama.
I'm grateful that the subject of addiction and recovery was broached, but overall, it's squeezed between an unbearable stream of unrealistic dialogue, and a bit too much naivety on the subject.
There's plenty of talent here, though. Ally Sheedy and Sofia Black-D'Elia are more than likable, and the supporting cast is incredibly talented.
However, by the time I got through the hammy, drunken flashback that comprises 90% of episode eight, I wanted to delete the series, hoping that there wouldn't be any further attempts at portraying alcoholism as such a comedic and clueless romp.
Ali Wong: Don Wong (2022)
I was hoping for comedy, but found very little to laugh with.
I'll break this down in percentages. It's: 15% humor, 55% gynocentric man-bashing, and 30% stale, painfully trite stereotype regeneration.
I love well-crafted humor and smartly delivered jokes, but this delivers an unenjoyable, whiny vendetta, with the occasional funny punch line. However, the majority of the punches consist of recycled, slapstick crotch-kicks. The entire 59 minutes comes across as anger wrapped in sarcasm.
Andrew Dice Clay, Rodney Dangerfield, Jim Jefferies, et al, garnered fame (and quite a bit of protest) for their outwardly misogynistic jokes, but at least the jokes contained some self-deprecation, albeit some of it tongue-in-cheek, but inevitably - a nod of respect along with the humor.
Perhaps this is nothing more than a cathartic release for a mainly female audience. Perhaps I've lost my tolerance for man-bashing, and ferocity parading as feminism. Either way, this one was painful to watch.
By taking such sweeping, broad-stroke pokes at inequality and difference, it does nothing more than painfully highlight and widen the divide between the sexes.
On a positive note, Ali's deliveries and tension-builders are impeccable. However, I found the humor somewhat predictable and stale.
Jimmy Kimmel Live! (2003)
Topical, comical, great house band, and great musical guests.
I'm a long-time fan of Kimmel, going way back to the days of 'The Man Show', and he continues to be entertaining, fun, and an engaging host.
Guillermo is a great side-man, and the street skits are very funny. Sarah Silverman's two-night stint as fill-in host in August 2021 were most enjoyable, and despite the show's overall abundance of humorous news recaps and political jokes, it's never too caustic, and it's all worthy of a visit.
Good on Paper (2021)
A baffling mixup of theme and plot.
I love Iliza's standup, and I was hoping for something wittier, more cerebral, and certainly more cutting edge than this. Sadly, it fails on so many levels. The potpourri of mildly comedic revenge, clumsy grasping with self-awareness issues, gynocentric flag waving, all centered around a dysfunctional tepid romance was sophomoric and pedestrian. Margaret Cho has a brilliant mind, and I found it difficult, if not painful, to watch her playing a dumbed-down sidekick.
Bonus points for the antagonist's performance, but I found myself wondering what audience was this created for. Perhaps it was a bit too narcissistic and self-absorbed to come off as enjoyable or intriguing.
The King of Staten Island (2020)
A fabulous cast, great writing, and wonderful performances.
I've been a fan of Davidson's style, honesty, and self-deprecating sense of humor in his SNL roles, yet I always saw glimpses of a greater potential in his limited ensemble roles there. This film proved out that potential for me, and it was a really enjoyable, and relatable viewing. The film is intimate, engaging, honest, and I didn't feel that I was in one instance placed behind that dreaded voyeuristic curtain that too often is imposed on the viewer. Every performance, from every cast member is memorable, and despite the few cheeky comedic attempts in the writing, it's honest and brutal, yet entirely endearing. I loved this film, and I hope to see much more like this from Davidson in the future, outside of the confines of sketch comedy. Lastly, I loved seeing Buscemi and Davidson together. And, after enjoying Buscemi's many characters over the decades, I could help but wonder, "Is Davidson the next 'great natural'?"
A Teacher (2020)
Kate Mara shines, and it's the only saving grace.
I expected much more from this, but instead, found myself wishing that my remote had a loud hang-up button like an old Bakelite phone. The performances by all are surely commendable, but the dialogue is an annoying stream of cookie-cutter frat-house, and bored housewife clichés. I felt as if someone in their forties, living in a total bubble were attempting to write lines for 17 year-olds. The premise? It's as old as the hills, and it could have been a good piece of drama, but I'm still unsure who the target audience is for this yawn of a series.
Marc Maron: End Times Fun (2020)
A brilliant humorist delivers another gem.
I love his mind. I love his deep and dry, cheeky wit. This one absolutely kills. It may not be a laugh a minute, like Thnky Pain or Too Real, but the last 10 minutes had me in tears.
Castle Rock: The Laughing Place (2019)
A juicy look back at the beginnings of trouble to come!
Despite my having a bit of difficulty readjusting the perspective of the timeline, and characters (mostly due to superb casting), this was an eerie, but really enjoyable perspective on the bigger story, both behind and ahead. Ruby Cruz gives an absolutely stunning performance as the teen Annie Wilkes. Playing a younger version of a fictional character, who happens to be playing a younger version of another fictional character is no easy task. Lizzy Caplan takes on the subtleties of Kathy Bates' character, and Ruby Cruz manages melding both into a unique, yet identifiable character all her own. The entire creepy vibe of this episode, balanced with the desire to see successes for the characters, makes this episode shine.
Colin Quinn: The New York Story (2016)
Brilliantly written, and wonderfully executed
Regardless of where you live in this country, you've bumped into some of these characters, and their stereotypes. Quinn delivers a witty, NY-Style sarcasm that delivers laughs, and brings our varied cultures together beautifully. I love his offbeat timing, and killer delivery. It's like watching Will Rogers, Mark Twain, Mort Sahl, Andy Rooney, and a few other American satirists bundled into one, given far too much coffee, and allowed to peel back the veneer of political correctness just enough so that you can have some genuine laughs.
Colin Quinn: Red State Blue State (2019)
A Brilliant Humorist
If you're launching into this expecting a rehash of Quinn's 2016 'The New York Story', or a generic, stale stand-up routine, you might be a bit disappointed. If you're ready to be entertained by one of the greatest American humorists alive, please hit 'play' and enjoy.
To Stay Alive: A Method (2016)
Awakening, and invigorating.
A thought-provoking, mindful, and philosophical view into the creative mind, through the blurred filters of created realities, imagined identities, and stark clarity. This is a wondrous painting, created with words, poetry, emotion, and imagery.
Wanda Sykes: Not Normal (2019)
Absolutely floored laughing
I watch a lot of stand-up, but this one from the lovable, razor-sharp mind of Wanda Sykes had me laughing uncontrollably from beginning to end. She's a comic genius, and this is the first "10" rating I've given to anything.
Superstore (2015)
Lovable and laughable
I've seen comparisons to 'The Office' (US) and 'Seinfeld' that aren't too far off the mark. The humor is more sophisticated and subtle yet over-the-top at times. The cast is a wonderfully comedic bunch with plenty of chemistry. Veteran comic actor Mark McKinney (The Kids In The Hall) gives some wonderful lessons with timing and delivery. Sure, there are sleepy episodes plot-wise, but even they deliver some solid laughs. America Ferrera delivers brilliantly on the acting, production, and some of the writing/direction. Totally enjoyable!
Shrill (2019)
High expectations
I truly wish that everyone involved in this production were more in touch with reality in dealing with the topics which were so sophomorically portrayed. If this were written in 1975 it might have been ground-breaking and brought a greater sense of credibility to relationships and their difficulties. I understand the attempt to bring light to modern-day dating, relationships, body issues, etc. but this comes across as dumbed down obesity empowerment and sets feminism on its ear with far too many clichés and stereotypes. I love Bryant's comedic sense, but perhaps this wasn't the right vehicle to showcase her many talents.
PEN15 (2019)
Brilliantly funny and timely
When I launched into a casual viewing of this show I had no idea that the writing, acting, directing, relatable topics, and humor would end up being so delightful. This is an absolute standout series and I'm hoping that it wins as many Emmy Awards as it deserves. The honest and touching portrayal of friendship is more than heart-warming. Its humor is both subtle and sublime, painted in broad brush strokes and in fine lines. I found it to be one of those shows that I wished would never end.