I really don't have anything bad to say about this film other than the soundtrack, which is frankly one of the worst I've ever heard. The songs were all drenched in way too much reverb, particularly the vocals, and the music just wasn't very good to begin with.
Reviews
15 Reviews
Closet Monster
(2015)
Great script, casting, acting, cinematography, terrible soundtrack
14 April 2020
The First
(2018)
A drama in science fiction clothing
14 August 2019
Warning: Spoilers
I found very little to like about The First, and I'm a voracious consumer of science fiction novels and film. If the series had not been cancelled because season one was so bad, season two might have actually been interesting. But season one is not really science fiction-it's merely a poorly written drama set in the near future, centered around the people training for the mission, and focusing less about the training than it does their personal relationships. And despite an entire season wasted on preparation for the mission, you learn almost nothing about the details of the mission itself. Maybe they were saving that for season two.
As a drama, it is boring beyond belief. Most of the conflict is centered on Penn's relationship with his adult daughter Denise, one of the most unsympathetic characters since the three Pfefferman siblings in Transparent. Her character is a hostile, volatile, passive aggressive drama queen. Her mother, a bipolar tattoo artist had recently went off her meds and killed herself, and Denise blames dad for some inexplicable reason. That is really the only insight we're given into her personality. Dad gives her unconditional love, and is even willing to give up his spot commanding the first manned mission to Mars, the culmination of his life's work, in order to stay on Earth and take care of her (despite her being an adult) and she angrily rejects his selfless offer, then informs him that when he leaves she doesn't want to hear from him (no video calls or emails) because she needs to be free of him. She makes a last second decision to attend the lift-off, then once he's in space there's a video call in which she slowly writes on a chalkboard "I hate you, because I love you" then she writes "miss" over the world hate. This perfectly encapsulates her character. She is clueless about who she is, what she wants and how she feels, and as a result, so are we. It doesn't make for good drama. It seems her character was created merely to make Sean Penn's character more sympathetic, but that fails too. He comes off as more of a pathetic pushover, especially when he tells her he'll give up the mission if she's not okay with it.
There is also something politically correct about the story that comes off as very manufactured, with the chosen team consisting of Sean Penn, in his late fifties, a black lesbian, an asian woman, a younger caucasian male, and a hispanic male (replaced at the last minute by a female alternate). And the person single-handedly responsible for the mission, from conception through fruition, is a female Elon Musk-like character. The First manages to be egalitarian at the expense of being believable. Anyone who loves science fiction for the sense of awe and wonder it offers will be greatly disappointed.
As a drama, it is boring beyond belief. Most of the conflict is centered on Penn's relationship with his adult daughter Denise, one of the most unsympathetic characters since the three Pfefferman siblings in Transparent. Her character is a hostile, volatile, passive aggressive drama queen. Her mother, a bipolar tattoo artist had recently went off her meds and killed herself, and Denise blames dad for some inexplicable reason. That is really the only insight we're given into her personality. Dad gives her unconditional love, and is even willing to give up his spot commanding the first manned mission to Mars, the culmination of his life's work, in order to stay on Earth and take care of her (despite her being an adult) and she angrily rejects his selfless offer, then informs him that when he leaves she doesn't want to hear from him (no video calls or emails) because she needs to be free of him. She makes a last second decision to attend the lift-off, then once he's in space there's a video call in which she slowly writes on a chalkboard "I hate you, because I love you" then she writes "miss" over the world hate. This perfectly encapsulates her character. She is clueless about who she is, what she wants and how she feels, and as a result, so are we. It doesn't make for good drama. It seems her character was created merely to make Sean Penn's character more sympathetic, but that fails too. He comes off as more of a pathetic pushover, especially when he tells her he'll give up the mission if she's not okay with it.
There is also something politically correct about the story that comes off as very manufactured, with the chosen team consisting of Sean Penn, in his late fifties, a black lesbian, an asian woman, a younger caucasian male, and a hispanic male (replaced at the last minute by a female alternate). And the person single-handedly responsible for the mission, from conception through fruition, is a female Elon Musk-like character. The First manages to be egalitarian at the expense of being believable. Anyone who loves science fiction for the sense of awe and wonder it offers will be greatly disappointed.
Red Oaks
(2014–2017)
A fun trip down memory lane
6 August 2019
There's so much to appreciate about Red Oaks, especially if you're old enough to have experienced the 1980's as a teen or adult. First and foremost, the writing is outstanding. The casting choices were truly inspired. The acting is very good, although a few of the comedic relief characters ham it up a bit too much from time to time.
To be honest, I never really cared much for Paul Reiser before (wasn't a fan of Mad About You) but he absolutely nailed the role of Mr. Getty, wealthy stock trader and President of Red Oaks. I also enjoyed the scene where Wheeler takes Misty to see Aliens, a 1986 movie that Paul Reiser had a supporting role in.
To be honest, I never really cared much for Paul Reiser before (wasn't a fan of Mad About You) but he absolutely nailed the role of Mr. Getty, wealthy stock trader and President of Red Oaks. I also enjoyed the scene where Wheeler takes Misty to see Aliens, a 1986 movie that Paul Reiser had a supporting role in.
Made in Heaven
(2019– )
Brilliant writing, masterful directing and genuinely great acting
2 August 2019
This the best thing I've seen out of India since Dehli Crime.
Each episode involves a different wedding with unique challenges, but there are also longer plot arcs stitching the episodes together. Made in Heaven has a lot to say that's specific to Indian culture but also about human nature in general. I honestly don't have a single criticism to make, and that is very rare.
Each episode involves a different wedding with unique challenges, but there are also longer plot arcs stitching the episodes together. Made in Heaven has a lot to say that's specific to Indian culture but also about human nature in general. I honestly don't have a single criticism to make, and that is very rare.
Transparent
(2014–2019)
A groundbreaking, sometimes cringeworthy drama. Not a comedy.
31 July 2019
Warning: Spoilers
Of the five members of the upper class Pfefferman family, only the divorced parents are remotely sympathetic. Their three grown children, Sarah, Josh and Ali, are entitled, self-involved, miserable, cruel, thoughtless, narcissists who take their parents, and the privileged childhoods they were given, completely for granted.
Ali in particular is one of the most repulsive, unlikeable characters I've ever seen portrayed in any tv show or movie, and the older two aren't much better. Other people are disposable to them. They use people, get them to them fall in love and commit to them, then casually dispose of them, or in Josh's case, treat them so callously that they almost have a nervous breakdown.
I can't figure out if the writers think the Pfefferman kids are damaged yet still sympathetic or if they were intentionally written to be horrible and unsympathetic. It's really not clear because after watching all four seasons over a three day period, they don't seem to have learned anything or changed in any significant way.
I did find Transparent to be interesting and entertaining enough, but not because I cared about the characters (other than a few of the minor ones, like Raquel, Josh's temporary love interest and Len, the husband Sarah dumps for her college ex-girlfriend, and Syd, the best friend and eventual lover who Ali uses to explore her lesbian impulses then tosses aside). I suspect there's a long German word to explain what I liked about Transparent, something having to do with how it makes me realize my screwed up family is actually not that bad, at least not compared to this train wreck of a family.
Ali in particular is one of the most repulsive, unlikeable characters I've ever seen portrayed in any tv show or movie, and the older two aren't much better. Other people are disposable to them. They use people, get them to them fall in love and commit to them, then casually dispose of them, or in Josh's case, treat them so callously that they almost have a nervous breakdown.
I can't figure out if the writers think the Pfefferman kids are damaged yet still sympathetic or if they were intentionally written to be horrible and unsympathetic. It's really not clear because after watching all four seasons over a three day period, they don't seem to have learned anything or changed in any significant way.
I did find Transparent to be interesting and entertaining enough, but not because I cared about the characters (other than a few of the minor ones, like Raquel, Josh's temporary love interest and Len, the husband Sarah dumps for her college ex-girlfriend, and Syd, the best friend and eventual lover who Ali uses to explore her lesbian impulses then tosses aside). I suspect there's a long German word to explain what I liked about Transparent, something having to do with how it makes me realize my screwed up family is actually not that bad, at least not compared to this train wreck of a family.
Another Life
(2019–2021)
Science fiction from clueless non-science fiction writers
26 July 2019
Brought to you by Netflix and the creator of Degrassi: The Next Generation, this is basically Degrassi In Space. It is science fiction as imagined by someone who genuinely doesn't have a clue what good science fiction is all about. If this had been written as a novel instead of a script any publisher would've rejected it out of hand, or thought it was a joke. It's that bad.
Netflix has only offered a single original series that qualifies as decent science fiction: Altered Carbon, based on the award winning novel by Richard K. Morgan, who specializes in original, thought-provoking science fiction. But Netflix appears to have learned nothing from the success of their own adaptation. Maybe they want to save money by not paying authors to adapt their novels, I don't know. There are literally thousands of great science fiction novels begging to be adapted into movies and series, and they churn out this crap instead. It's insulting.
Netflix has only offered a single original series that qualifies as decent science fiction: Altered Carbon, based on the award winning novel by Richard K. Morgan, who specializes in original, thought-provoking science fiction. But Netflix appears to have learned nothing from the success of their own adaptation. Maybe they want to save money by not paying authors to adapt their novels, I don't know. There are literally thousands of great science fiction novels begging to be adapted into movies and series, and they churn out this crap instead. It's insulting.
Orphan Black
(2013–2017)
Terrific entertainment
22 July 2019
Warning: Spoilers
Don't get me wrong, I loved Orphan Black. It's an exceptionally entertaining thriller mystery. The comedic elements work well when it's based on conversations between characters, but much less so when it's based on contrived and absurd situations.
I watched it over a 3 day period, not years like most people who watched as each episode aired, and I suspect that's why the plotholes were so obvious to me. One in particular stood out, which is when Alison tortures her husband Donnie with a glue gun. He acts bewildered and terrified, as if he has no idea why he's being tortured, leading the viewers to conclude he's innocent and her monitor is actually her nosy next door neighbor Aynsley. But it was Donnie all along. Despite being unwitting as to the true purpose of being paid to spy on his wife, he had still been spying on her and reporting her behavior and activities since their college days. So what if he thought it was merely a benign social metrics study? That doesn't make it any less of a betrayal and makes it all the more unbelievable that he would be willing to withstand torture to keep it secret. It's equally unbelievable that Alison would forgive him later on.
There are other characters who feign ignorance about new revelations, and later we learn they knew far more than they were letting on. But their motives for the deception are never satisfactorily explained, and their initial behavior doesn't always make sense in retrospect. Despite these inconsistencies, Orphan Black is terrific entertainment, and Tatiana Maslany gives a brilliant, truly astonishing performance.
I watched it over a 3 day period, not years like most people who watched as each episode aired, and I suspect that's why the plotholes were so obvious to me. One in particular stood out, which is when Alison tortures her husband Donnie with a glue gun. He acts bewildered and terrified, as if he has no idea why he's being tortured, leading the viewers to conclude he's innocent and her monitor is actually her nosy next door neighbor Aynsley. But it was Donnie all along. Despite being unwitting as to the true purpose of being paid to spy on his wife, he had still been spying on her and reporting her behavior and activities since their college days. So what if he thought it was merely a benign social metrics study? That doesn't make it any less of a betrayal and makes it all the more unbelievable that he would be willing to withstand torture to keep it secret. It's equally unbelievable that Alison would forgive him later on.
There are other characters who feign ignorance about new revelations, and later we learn they knew far more than they were letting on. But their motives for the deception are never satisfactorily explained, and their initial behavior doesn't always make sense in retrospect. Despite these inconsistencies, Orphan Black is terrific entertainment, and Tatiana Maslany gives a brilliant, truly astonishing performance.
Fleabag
(2016–2019)
I am utterly astonished at the high rating
22 July 2019
I thought at first I might be comparing this, at least on an unconscious level, to The Marvelous Mrs. Maisel, which I recently finishing watching and laughed all the way through. So I gave Fleabag a second try, and then a third, making it through four episodes.
But it is simply not funny! I'm seriously astonished that people think it is. It's just crude, vulgar, and trashy, all of which would be fine if it was also funny. But it just makes me cringe. It's actually a very sad portrayal of a self-obsessed train wreck of a person. She isn't remotely likable or sympathetic or interesting.
But it is simply not funny! I'm seriously astonished that people think it is. It's just crude, vulgar, and trashy, all of which would be fine if it was also funny. But it just makes me cringe. It's actually a very sad portrayal of a self-obsessed train wreck of a person. She isn't remotely likable or sympathetic or interesting.
Book Club
(I) (2018)
So boring...
17 July 2019
Disclaimer: I have to really love or really hate a movie to be willing to write a review. I hated Book Club.
I made it halfway into this tripe before giving up in disgust. It's a contrived, tedious, forced, uninspired yarn that is never remotely interesting and only occasionally mildly humorous. Another problem is the cast. You have to go all the way to the bottom of the cast list to find an actor who isn't a famous multimillionaire veteran with a long, long, resume, making suspension of disbelief impossible unless you're the sort of person who watches very few movies.
Any randomly chosen episode of The Golden Girls is far wittier and funnier than this garbage.
If you want to watch a playdate between rich, pampered, actors phoning in their portrayals of rich, pampered, one-dimensional women, this is the film for you.
I made it halfway into this tripe before giving up in disgust. It's a contrived, tedious, forced, uninspired yarn that is never remotely interesting and only occasionally mildly humorous. Another problem is the cast. You have to go all the way to the bottom of the cast list to find an actor who isn't a famous multimillionaire veteran with a long, long, resume, making suspension of disbelief impossible unless you're the sort of person who watches very few movies.
Any randomly chosen episode of The Golden Girls is far wittier and funnier than this garbage.
If you want to watch a playdate between rich, pampered, actors phoning in their portrayals of rich, pampered, one-dimensional women, this is the film for you.
Free Solo
(2018)
dissapointing film of the greatest athletic achievement in history
4 March 2019
I've been waiting to see video of Alex Honnold's astonishing and historic climb since the news first came out. And I'm still waiting. It's the greatest athletic achievement ever, arguably the bravest thing anyone has ever done, and we get to see just 10 minutes of it in Free Solo. It is basically an extended 60 Minutes or 20/20 episode about Alex Honnold. It's interesting, sure, but there's lots of stuff just like it on YouTube.
If you want to see more than a few minutes of the most impressive, mind-blowing athletic achievement in history, you are SOL.
Put the entire climb on YouTube and see what happens.
If you want to see more than a few minutes of the most impressive, mind-blowing athletic achievement in history, you are SOL.
Put the entire climb on YouTube and see what happens.
Manifest
(2018–2023)
A good premise, but absolutely awful
28 February 2019
Warning: Spoilers
I really wanted to like this, but the premise is just about all it has going for it. The execution is mediocre at best. The mystery at the core of the story isn't particularly interesting either. The mystery here is that people actually got paid to write this.
The casting is good, with one huge, glaring exception. The character of Grace is so unlikeable and narcissistic it's impossible to empathize with her at all. There is no chemistry between her and her husband Ben. She lies to him from the very first second, not telling him she's been in a relationship for several years, and demanding their teenage daughter join her charade. What a selfish, manipulative thing to do. Later, when Cal is hospitalized she demands Ben tell her what's going on, he tells her he's reluctant because he's afraid she won't believe him, and she reassures him that the plane reappearing after five years was the most miraculous event in human history, so OF COURSE she'll believe him. Then literally not two minutes later after telling her about the voices she's decided he's crazy and demands to the be the sole decision maker for their son's medical care. Then a few days later she tells Ben it's over and nobody is taking "her" son. And what's with the permanent scowl on her face? Grace is such an unsympathetic drama queen I found myself fast forwarding through her scenes.
Another thing really annoying in Manifest is that none of the characters seem to trust the others. When one character has a "calling" and urgently tells another they have to take action immediately, they will have to repeat themselves again and again, with an increasing sense of urgency and frustration until the other person finally reacts.
The casting is good, with one huge, glaring exception. The character of Grace is so unlikeable and narcissistic it's impossible to empathize with her at all. There is no chemistry between her and her husband Ben. She lies to him from the very first second, not telling him she's been in a relationship for several years, and demanding their teenage daughter join her charade. What a selfish, manipulative thing to do. Later, when Cal is hospitalized she demands Ben tell her what's going on, he tells her he's reluctant because he's afraid she won't believe him, and she reassures him that the plane reappearing after five years was the most miraculous event in human history, so OF COURSE she'll believe him. Then literally not two minutes later after telling her about the voices she's decided he's crazy and demands to the be the sole decision maker for their son's medical care. Then a few days later she tells Ben it's over and nobody is taking "her" son. And what's with the permanent scowl on her face? Grace is such an unsympathetic drama queen I found myself fast forwarding through her scenes.
Another thing really annoying in Manifest is that none of the characters seem to trust the others. When one character has a "calling" and urgently tells another they have to take action immediately, they will have to repeat themselves again and again, with an increasing sense of urgency and frustration until the other person finally reacts.
American Vandal
(2017–2018)
Completely original and utterly hilarious
21 February 2019
I'm only halfway through season 2 but had to leave this review now.
Let's be honest: Most Netflix series don't have great writing. I often find myself annoyed that people can make good livings churning out such mediocre crap. I'm frequently bored with derivative plots, stories I've seen before but done far, far better. Lost in Space comes to mind, with some of the lamest writing and dumbest science fiction I've ever encountered.
But American Vandal is one of the exceptions. The dialogue is so clever and convincing and the characters are believable. This is a rarity in films or series set in high school. The casting and acting is pitch perfect. It also works as a riveting detective story.
If I were a decision-maker at Netflix, I would give the creators of American Vandal a blank check and free reign to do whatever they want.
Let's be honest: Most Netflix series don't have great writing. I often find myself annoyed that people can make good livings churning out such mediocre crap. I'm frequently bored with derivative plots, stories I've seen before but done far, far better. Lost in Space comes to mind, with some of the lamest writing and dumbest science fiction I've ever encountered.
But American Vandal is one of the exceptions. The dialogue is so clever and convincing and the characters are believable. This is a rarity in films or series set in high school. The casting and acting is pitch perfect. It also works as a riveting detective story.
If I were a decision-maker at Netflix, I would give the creators of American Vandal a blank check and free reign to do whatever they want.
Baby Driver
(2017)
Are you kidding me?
17 July 2018
Warning: Spoilers
I recall this film having Oscar buzz when it came out, but now that I've seen it I'm wondering how that is even possible. It is SO boring and pointless! The main character has tinnitis, but so what? Was that supposed to make him sympathetic? Newsflash to Edgar Wright, that didn't make him remotely sympathetic.
This is a film about murderous criminals, but there is no clever Tarantino-esque dialogue or quirky characters here. I actually found myself become angry at the lame, utterly derivative plot.
One scene that stood out as particularly unbelievable was the foot chase, when Baby is running from the police. He runs like lightening for blocks, through a crowded park, through multiple levels of a shopping mall, leaping from escalator to escalator, even stopping briefly to change his jacket. In real life, only someone running equally as fast, never losing sight of him, would be able to follow a run like that. Yet somehow, despite their heavy gear and guns, despite they're also chasing the two accomplices who took a different escape route, and despite the distinct impression that Baby has outrun them by at least a block or two, every time he turns around, throngs of police magically appear and spot him. Really poor, contrived staging!
This is a film about murderous criminals, but there is no clever Tarantino-esque dialogue or quirky characters here. I actually found myself become angry at the lame, utterly derivative plot.
One scene that stood out as particularly unbelievable was the foot chase, when Baby is running from the police. He runs like lightening for blocks, through a crowded park, through multiple levels of a shopping mall, leaping from escalator to escalator, even stopping briefly to change his jacket. In real life, only someone running equally as fast, never losing sight of him, would be able to follow a run like that. Yet somehow, despite their heavy gear and guns, despite they're also chasing the two accomplices who took a different escape route, and despite the distinct impression that Baby has outrun them by at least a block or two, every time he turns around, throngs of police magically appear and spot him. Really poor, contrived staging!
The Losers
(I) (2010)
Utter predictable from beginning to end
14 July 2018
Warning: Spoilers
The second they put the kids on the helicopter it was SO obvious the helicopter would be shot down and they would spend the rest of the film seeking revenge.
All the plot elements are so predictable it's laughable. The betrayal of a team member the hero had a fight with, the team being rescued by the female co-star, the villain shooting the tech guy as soon as he armed the bomb. There isn't a shred of originality to be found ANYWHERE in this film.
The evil villain is ridiculously cartoonish. I suspected he would either walk away at the end or have a quick, easy death, because that's how stupid this film is. And I was right. The villain got away with just a bullet wound in the shoulder. My guess is they opted to let him get away because they were vainly assuming this would become a franchise (no need to create a new insane megalomaniac villain).
All the plot elements are so predictable it's laughable. The betrayal of a team member the hero had a fight with, the team being rescued by the female co-star, the villain shooting the tech guy as soon as he armed the bomb. There isn't a shred of originality to be found ANYWHERE in this film.
The evil villain is ridiculously cartoonish. I suspected he would either walk away at the end or have a quick, easy death, because that's how stupid this film is. And I was right. The villain got away with just a bullet wound in the shoulder. My guess is they opted to let him get away because they were vainly assuming this would become a franchise (no need to create a new insane megalomaniac villain).
Alien: Covenant
(2017)
Why do the characters in Alien sequels always have to be so stupid?
19 March 2018
Wouldn't it be more interesting if some smart people fought back, regardless of whether or not they survive?
Watching morons be slaughtered by aliens doesn't make an interesting movie. There is nothing remotely interesting here, and I LOVE science fiction.
Watching morons be slaughtered by aliens doesn't make an interesting movie. There is nothing remotely interesting here, and I LOVE science fiction.
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