Reviews written by registered user
|187 reviews in total|
When they announced the premiere of The Revolution and The Chew, they both sounded like they had potential. But after seeing both shows, I was reminded of the episode of Star Trek where the transporter split Captain Kirk into two different sides of his personality. The Chew was all of the fun parts of daytime talk shows: guest stars, cooking, games, food, entertaining, laughter, audience participation, etc. The Revolution, on the other hand, was every sad, pathetic, boring aspect of (newer) daytime talk: self-help, sad stories, "turning your life around," makeovers, and so on. It's not difficult to guess which one lasted, and which one was canceled within a year.
As one would expect, this modern take on Roald Dahl's story benefits
greatly from advances in special effects; the look of both the bleak
town and the factory interior are spectacular. I feel a bit of "awe
fatigue" at this point, though, since $200 million films routinely
strive for surprising visuals (often to the detriment of more
down-to-earth qualities) and there's only so many things we can be
truly surprised by.
The most glaring shortcoming of this "Chocolate Factory" is the bizarre, off-putting performance of Johnny Depp. He is as badly miscast as Gene Wilder was in the earlier film (Willy Wonka was both very old and a dwarf), but Wilder was very likable. Depp is just strange.
This one isn't a musical, so I can't really criticize it for not having songs, but I will say this: it could use some songs (besides the Oompa-Loompa musical lectures). The "reimagined" children are disappointing (gum-chewing and TV-watching aren't interesting enough flaws anymore so now we get hyper-competitiveness and technological precocity in their place). Veruca Salt is still a spoiled rich girl, but now she's self-aware enough to be two-faced, instead of throwing tantrums. It all makes for a long, slow tour through the factory.
The Oompa-Loompas are better in some ways and not in others--their look and songs are different, but they're too "modern" and seem out of place. They also pull the punches--we're told before he's even gone that no harm will come to Augustus Gloop, despite his clearly deserving it. It's better that we're not sure (like in the 1970 version).
All in all, this Tim Burton Vision of Dahl's story is a big, fat disappointment. The best parts of the story (like when Charlie believes the 5th ticket has been found, then gets the double surprise of the revelation of the forgery and getting his own ticket) are almost entirely skipped here. It's as if Burton doesn't want us to enjoy the story. If so, he got his way (at least with me).
I got this because I wanted to see what Reed Diamond was like as a
child. With "classic" Afterschool Specials released on DVD, it was easy
to get. The show was pretty much like I thought it'd be: earnest,
low-key, with simple moral and minor tension. The lead character is an
extremely annoying teenage girl (that is to say, pretty realistic), but
the actress takes a while to find her footing. The appearance of The
Brady Bunch's Peter and Jan was probably the big draw (his part is far
more important than hers). After you get used to the amateurish acting
(par for the course in these kind of shows), it's really not bad. The
story avoids too much melodrama and the point it makes isn't anything
In case you were wondering--Reed was cute as a button, and very good for a younger child actor (better than many of the older actors), but there's really nothing too obvious which you can see and say "I recognize who that is!" I'd have to see more intervening performances to see a progression.
This movie has an amateurish air to it, with more than its share of
sloppy edits, plot dead-ends, and those little acting moments that take
the viewer out of the story. The story and setting are so entertaining,
however, that it manages to overcome its shortcomings and remain a
memorable experience. The characters are realistic and fun, and the
song choices are consistently good (especially "Turkey Lurkey Time"
which is otherwise unavailable on film, far as I know). The original
songs (from the people who brought you "Fame") are also
It's interesting to me that among a cast of newcomers and unknowns, the worst performances are from the adults--especially Don Dixon (Bert). The kids fare much better in general, and their musical performances are their real strengths (unsurprisingly). A surer hand on the direction and script could have tightened Camp up considerably, but even as messy as it is, it's still well worth seeing.
CBS had high hopes for this series. It was a drama about a group of young doctors dealing with their cases, their superiors, and each other in a busy large-city hospital. Starring Patricia Kalember, late of the soap opera Loving and before the prime-time soap opera Sisters, as the title character, the show had a by then de rigeur multicultural cast thrown together and the usual mixture of serious and amusing cases-of-the-week. If the elements of the show felt slapped together and the characters seemed more like a sampler of types rather than a realistic group of people, well, it wasn't the first time....shows like this had worked in the past and would work in the future. In fact, the entire description of the show (except for the star) sound exactly like Grey's Anatomy in 2005--and that show's a smash. It helps to have a good timeslot, I guess. Kay O'Brien, on the other hand, was gone before Thanksgiving (and 3 episodes never saw the light of day).
Though the setting and the story are different, this sitcom is very
much like its parent series (One on One) in terms of laugh count and
quality. Both shows are far from great, but better than the average
show of this type (light comedy aimed at urban and African-American
audiences). There are some good laughs in every episode (though they
could use more), and the plots aren't entirely predictable.
The show is also a bit more ambitious than most of the shows you'll see it compared to, because the cast and setting aren't entirely African-American. On the debit side, the two main characters are the most boring. I'm much more interested in Walt, Ace, and Candy than I am with Kevin and Tiffany, but the same can't be said for the writers (so far). I think at least part of the blame for that has to rest with the actors--Marques Houston is prone to over-reliance on cheap laughs from urban/hip-hop clichés, while Shannon Elizabeth's character is a walking, talking stereotype.
My advice (assuming the show lasts) is to use the other characters more, and get out of the shop more. I'd especially like to see more of the neighborhood.
The best thing this has going for it is the mood. The quiet evocation
of a small island/town is pretty much dead on, with the slightly shabby
businesses, people with small-scale ambitions, and hidden strings
connecting everyone and everything. There are also some excellent
performances, especially Sandra Oh, Rebecca Jenkins, and Callum Keith
Rennie (for once showing his awkward, charming side rather than playing
There's both too much and too little going on, if that's possible. The various plot threads wander around before finally getting to what turns out to be the main plot. By that time, there have been a few too many scenes of people walking around while the soundtrack music plays. Some of the characters take too long to register, as well. The one who might be the most important, Dan Jarvis (the suicidal, soon-to-be-outed video store owner), never really registers at all--he never amounts to much of anything besides vague melancholy.
I don't blame the actors, really.....the ones we don't know well enough simply haven't had enough dialogue to let us know them. Fewer subplots and a little less wistful scenery montage would have helped the through-line considerably.
Put most simply, this has too much atmosphere to be a Plot Film and too much plot to be an Atmosphere Film. Not that it would ever have a chance to happen, but I think Wilby would have worked much better as a series.
This misguided remake is missing two ingredients of the original: 1]
The main character; and 2] Laughs. By casting Bea Arthur as the title
character, and writing the character to gibe with her
well-known-to-the-audience persona, they essentially had to eliminate
the main character of the source material (Fawlty Towers). It could be
said that the characters of Basil and Sybil Fawlty were combined to
make Amanda--but if true....WHAT A STUPID MOVE! Since the primary
conflict of FT was between Basil and Sybil, and whether she caught him
"misbehaving," the only outlet for emulating that successful formula on
Amanda's would have been for her to suffer from Multiple Personality
I actually think Fawlty Towers itself is a tad overrated. I have loved watching many of the episodes, but from time to time, especially when watching more than one episode in succession, the frenetic pace and shouted dialog's gets to be too much. That said, Amanda's never even approaches the level of Fawlty Towers.
I've liked the show so far, though I can see the Mathematics as a
Crime-Solving Tool angle will get old pretty quick. I don't necessarily
think that will be a crippling problem for this show, however, because
it isn't a flat-out procedural like the CSIs are. It's really a more
old-fashioned show than that, more like some of the dramas from the 70s
and 80s. If Numbthreers were really another CSI clone, we wouldn't have
all the back story about Charley and Don's mother's death, nor would
their father be a regular character.
I'm particularly liking Krumholtz, who has turned out to be very different from what I would have expected. Most surprisingly of all, he turned out to be CUTE. He was a fairly stereotypically nerdy Jewish boy as a teenager, but the big-eyed, shaggy-haired socially awkward angelic genius role fits him like a glove. In another actor's hands, it would likely be pretty cloying, but Krumholtz underplays it nicely.
Rob Morrow and Judd Hirsch are more typical characters, with more workmanlike performances so far, but the chemistry between the three Eppeses is fine. The other characters will be developing as the show ages, so we'll see how they turn out.
As I said, I suspect they will have to leave aside the specific formula they've laid out for the show so far, because even if they manage to come up with dozens of plots which hinge on some permutation of mathematics, the theme is certain to quickly grow repetitive and even self-parodying before too long. Since they have supplied interesting characters, though, change-of-pace plots should be just as watchable as the ones done up to now.
The "based on real life" story of what happens when a carefree
cohabiting pair of screenwriters decide to get married, Best Friends is
a funny movie constrained by an annoying third act. After marrying,
they go on a whirlwind tour for each to meet the other's families. And
what families they have! The two families (hers in Buffalo, his in
Virginia) are both very different and about equally as funny. If they'd
left it at that and not tried to get serious with a breakup and lots of
arguing, Best Friends would have been an unqualified success (at least
so far as quality is concerned).
They didn't, though. The third act is tedious (as they confront their differences) and it weighs down the rest of the film. It doesn't ruin it, however--I still recommend it, especially for people who like Burt and Goldie, who have chemistry.
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