Reviews written by registered user
|6 reviews in total|
I love this show. It is like chocolate: no nutritional value
whatsoever, but a guilty pleasure I cannot deny myself now and then.
And, digested over an extended period of time, not only instantly
happiness-producing, but quite addictive as well.
Usually, I am quite happy with the plot development, since it never is or has been the series' main focus anyway (I would wager a great sum of money that the majority of viewers, at least the female ones, are much more interested in two subplots: 1-when will we learn who killed Kate Beckett's mother?; 2-will Beckett and Castle ever admit to-and act on-their mutual attraction?).
But this episode is so stupid, I cannot even enjoy the "candy factor" properly. Come on! Who really did not see that one coming?! I won't tell, but I would not need to, because apart from the writers, who clearly and criminally underestimate the intellectual capacities of the viewers, everybody will have figured it out from the very first mentioning of the very first clue. It is a formula that has been done before a thousand times, and has been done much better.
I am disappointed. But the interaction between Castle and his daughter is sweet, so that, in a way, saves this episode for me. Nonetheless, I hope the writers will do better next time. No pleasure in eating last year's chocolate easter bunny.
*** This review may contain spoilers ***
Contrary to another commentator on this episode I thought it was rather
good and even ingenious. The professional rivalry between the 'real'
psychic Kristina Frye and the confessed con artist Patrick Jane was
explored with enough depth and detail to let the viewer be in no
mistake about what this woman actually was: a very, very, VERY good con
artist! And in that even, perhaps, superior to Patrick Jane himself.
Having PJ mentioning 'cold reading' was all it needed to establish that without any doubt. And especially the last scene catered to that extremely well, - and with a twist! Because no matter how fabricated and illusionary the so-called truths of those 'psychics' may be, if they do strike a nerve with their educated guesses, it can be a cathartic experience for the subject nonetheless. Any good cult leader knows and practices these techniques, and with astonishing results, too.
So back to the episode: I found the acting, the plot, and the over-all feel of it, as always, quite entertaining and of excellent quality.
This was one of "Damages"' finest. Extremely dense story-telling,
clue-knitting and shock-providing. Initially, for regular followers of
the show the flashbacks of (supposedly) known facts may have caused
some impatience, were it not for the special twist that put this
particular sub story - again! - into a completely new perspective.
We will not know how everything fits together before the final episode has run, and maybe even then season three will pick up threads and loose ends that we were not aware of at the end of season two.
What "Damages" told me so far: I simply LOVE to be lied to when it's done in this highly sophisticated and crafty manner! More praise than ever to the whole cast and especially to the incredible Glenn Close who excels in every scene she is in. And this time she must have had a blast with the range of emotions she was allowed to explore. A feast for everyone involved, including the viewer.
This BBC adaptation of the Dickens novel has enthralled me from the
very beginning, mainly because of the outstanding quality of its
performances. Every single character, even minor ones like the
insufferably haughty Merdle butler or the paranoid Italian (perhaps
with the exception of Maggy who's perfectly manicured fingernails in
one close-up blew her otherwise worthy portrayal), has been ideally
cast and all the actors are absolutely convincing in their delivery.
What made me write this comment, though, was Tom Courtenay's heart-wrenching performance as Mr. Dorrit for which I hope he will receive all the accolades he deserves. His multifaceted Dorrit awed me until the very end and will resonate with me for a long time.
What I particularly liked about the series was how we got more than a glimpse of all the characters' 'little lives', people going about their respective businesses, revolving in their little worlds. Even if a scene only touched on a certain character, setting, costumes, and dialogue provided ample information for the viewer to evoke the full picture of this character's life and to imagine how they would go on after the camera had panned away to continue with the main story.
On top of that, the great care put into the selection of costumes and locations made Little Dorrit a real feast for the eye, perfectly accompanied by the wonderful score by John Lunn.
May this be a 'true Dickens' or not, what it surely is, is Grand TV. And as such, it adds another sparkling jewel to my cherished collection of BBC adaptations.
If 'Desert Island Discs' would include DVDs, this would be my choice. I
cannot count the times I have seen this excellent TV mini series and
each and every time I have been drawn into this ultimate Austen
adaptation by its magic appeal, perfect tone and deliverance, wonderful
score and spot-on performances. I have seen (and own) many adaptations
of Austen's works but this one tops them all.
For me, Elizabeth Bennet and Mr Darcy will forever have the features of Jennifer Ehle and Colin Firth. And as much as I enjoyed the Keira Knightly version (unfortunately with a totally miscast Darcy!), this one is far, far better in every aspect that truly counts.
The only thing that surpasses watching this adaptation is reading the book. But I feel absolutely sure: Jane Austen herself would applaud all involved!
I went to see this movie because it was advertised as having Argentine
tango in it. I am a tango dancer and I was completely blown away by it.
But even so let me emphasize that this is not only a movie for tango
dancers. I spoke to a non-tango dancer right after the showing and she
was equally fascinated. But since this was the reason I wanted to see
the film, I choose the tango angle to comment on it.
In this movie tango serves as a metaphor for how people communicate and "meet", in the truest sense of the word. But apart from this Argentinian input it is very French in so far as it has all the significant qualities of a typical French flick: long takes, close-ups, much silence, and intense but subtle emotions -- mostly all of the above at the same time. And altogether quite conducive to the tango content, much more so than an American production could have achieved I daresay.
All throughout the 20th century the Tango and France, especially Paris, have formed a lasting, passionate bond, a love affair that feeds both sides and still prospers. Tango is everywhere in Paris. It's as much part of the upper middle class culture as going to vernissages is. It is useful to know this, otherwise one could wonder how the main protagonist Jean-Claude Delsart, a middle-aged, very reclusive marshal, could so easily end up on the floor of the tango studio across the street from his office.
The way Argentine tango is portrayed in this movie is gracefully true to the soul of tango. It has only one "flashy" scene, a performance by a professional tango couple and as usual with public tango performances, I find this one of its weakest moments: pure form and posture, completely void of feelings and emotions.
But the important scenes in the studio do capture aptly what is so fascinating and endearing about (the mastering of) this dance: the carefulness and timidity in a beginner's approach toward his or her partner's body; the subtlety; the listening; the addictiveness of the intimate atmosphere; the beautiful, beautiful music; the gradually growing confidence and freedom; and
- sometimes, eventually - the passion.
Tango can, at times, have a quite positive and joyful air about it. But its origins have much more in common with what the Portuguese call "fado". A melancholic mood, full of heartache and longing, with the heaviness of reality weighing down on minds and souls that are capable of enduring deep sorrow and intense passion.
This is what the movie is about. "Je ne suis pas là pour être aimé" could be translated as "I do not exist to be loved". A stark, even cruel normative statement that is the point of departure for Delsart. The rest is a journey and, no, I will not tell where it ends. The story as it evolves is sometimes almost unbearably sad and yet the protagonists keep on living through it. The dance isn't over until the last note is played.
The tango metaphor works extremely well with this story and does so until the end. Compared to other "tango movies", this is one of the better ones. Of course, nothing beats Sally Potter's "The Tango Lesson" - but what could.
The only reason I don't give this movie full marks is the fact that some of the plot turns are a bit too predictable. But nevertheless, this is an engaging story well told, well made, with extraordinary characters. A modern fairy tale -- or maybe not?