skinnybert Reviews

Agatha Raisin: The Vicious Vet (2016) Season 1, Episode 5

Uneven, with both strong and weak moments

[5/10 · 16 April 2024]

On the one hand, a good example why the one-hour format was just a bit too constricting for this series: 45 minutes of story, then a quick wrap-up confession. On the other other, we get some memorable moments -- like Jason Barnett in the house, giving DCI Wilkes some unexpected moves. This is actually the first episode to hint how entertaining Barnett would be in later episodes - always a highlight. And Asshley Jensen herself gets a little more to do than usual, when she looks at photos of Mrs Josephs.

But that doesn't change the general weaknesses in the writing or filming, which are generic to the genre: the out-of-frame hit, the assistant who gets distracted and allows someone to get away, etc etc. Perhaps these were in the source novel but that's no excuse. Glossy photography and strong acting (especially by Ms Jensen in the last scene) still can't make up for convenient scripting. Normally this doesn't matter in a mystery series, where coincidence and convenience are simply par - but the fact is that this episode does try for better: both Matthew Horne and Ashley's characters get scenes with some real depth ... and IMO both achieve it, largely thanks to the actors themselves. Next to that, conveniently blunt plot events look pale. This was not a mistake we would see again, so it's nice to have it here, however briefly.

Agatha Raisin: The Potted Gardener (2016) Season 1, Episode 4

Promising, more than delivering

[5/10 · 15 April 2024]

As always, there's a lot to like in terms of color, energy, and the well-timed comic moment. And then -- all too often -- there's the odd turns and incompletions. Beaton likes to have her characters be odd ducks, without wishing to look into **why** they are odd, and so the result is necessarily rather superficial -- like the plots. This one is a fine example: beginning with torn-up gardens, but we never do find out who is tearing them up. Then there are the night-time car destructions, which we DO find out about -- but there is no follow up. As is too typical for the genre, the murder solution seems almost random, with red herrings that do nothing, but so it goes.

The principal actors do fine with what they have, but guest actor Antonia Clarke comes off as a model who mistakenly thought she could act. Sasha Frost does very little but sings nicely. Abubakar Salim shows promise and subtlety; no surprise if he went on to better roles.

3rd Rock from the Sun: Just Your Average Dick (1998) Season 3, Episode 22

A standout episode from a standout series

[9/10 · 14 March 2024]

There's not much point in rating individual episodes of this series, but this one is a standout for several reasons. First, the plot: in deciding to be as average as possible, the show finds mew ways to plunder its premise. Second, Joseph Gordon-Levitt asppears with short hair for the first time -- which is made part of the plot. Third, a guest appearance by the amazing John Cleese, though only a cameo which would be further exploited in the following episode. But fourth: a really strong episode for Kristin Johnston, who really goes for it in the 'being average' aspect of the plot. Few things could be better written for her, and she fully lives it here. A standout episode from this standout series.

3rd Rock from the Sun: Dick and the Other Guy (1998) Season 3, Episode 23

Everyone shines, but Lithgow stars

[8/10 · 14 March 2024]

A strong episode simply because it features John Cleese, who proves a formidable parallel/opponent to the Lithgow. In terms of writing achievement, this doesn't equal the previous episode, simply because Lithgow-vs-Cleese practically writes itself. This doesn't make it any less enjoyable to watch, while Jane Curtin proves her expert ability to play along with either (or more frequently, both). If there's anything else to say about this episode, it's that it shows John Lithgow equal to any guest star, no matter how good -- a fact which would soon be proved again, on even higher terms. Meanwhile, Wayne Knight proves his usefulness in new ways not previously explored, and Elmarie Wendel gets a marvelous scene of her own.

Dark Future (1994)

Filmed in blah-0-vision

[4/10 · 5 March 2024]

OK: it's not very good (as others have made abundantly clear) -- but it's NOT a one-star or two-star film. Shots are reasonably in focus, the pacing is approximately good, and there are visuals of reasonable interest. The central idea is stretched a bit thin, however ... about as thin as LOGAN'S RUN, but somehow less convincing. The static ball entrance is actually pretty good -- really the only memorable thing in the whole film -- and the gun-zaps look good as well. But when the plotting runs thin and the scripting does likewise, we can't help wishing for at least someone charismatic to hold our interest. The closest we get is flaming barrels and Andria Mann crawling head-on in a low-cut top, which together essentially sum up the whole movie.

Road to Bali (1952)

Solid enough with strong highlights

[6/10 · 20 February 2024]

THE ROAD TO BALI isn't the best, or worst, of the ROAD movies. It does largely coast on the charisma and history of its principals -- which mostly means it shouldn't be anyone's first ROAD movie. And while it did seem slow in parts (and there is no real ending), there are also enough memorable moments to make it worthwhile. But clearly, the ROAD series was reaching its end.

Plus points include (as always) the songs, and the Crosby/Hope stage bit shows how excellent they were as vaudevillians. Lamour seems to be feeling a little too grande-dame-ish to really give over to the comedy -- but that may simply be the writing ... and there's no faulting the warm presence she brings.

On the whole, it feels like a film just barely pulled together -- as if they started filming without a completed script, expecting new ideas to pop up during the filming to fill out the running time. If so, they still managed some brilliant moments, even if they are spread out a little thinner. At least they still had Lamour for the proper trio, making this a fitting conclusion to the six genuine ROAD movies.

Agatha Raisin: Witch of Wyckhadden (2016) Season 1, Episode 7

Stupidest episode of the first season -- and maybe all seasons

[5/10 · 5 February 2024]

If this is a top favorite episode, that says something more about the fans than the episode. In five minutes it looked to be terrible, so we skipped over it to the next one ... and came back later, to see if we'd been wrong. And we weren't wrong.

To be fair: it looks great -- maybe the best-*looking* episode of the show. And it would have to be, because it is utterly stupid in every part of its story, scripting, and dialog. Gloppy music sets the mood, but is hardly necessary; the excellent lighting has plenty of mood already. Evidently they got permission to film all over this spectacular estate, and made the most of it, so your eye will not get bored. But honestly: if you watch this episode with the sound turned down, you won't miss anything of consequence. There will be a murder, a few people will get excitable, and it's over. Waste of great cast, though Ashley does look nice in her wig (is that a spoiler?) (No).

Agatha Raisin: As the Pig Turns (2020) Season 3, Episode 4

Best of season 3?

[7/10 · 2 February 2024]

By now I can't really say how well the story logic holds together, as this episodes plot twists get so tangled that I just accepted it and let it roll on. Keeping things lively, we get different combinations of characters, including the return of the always-wonderful Mathew Horne. Lucy Liemann gets a bit more range than usual thanks to a certain plot twist (which isn't really explained or prepared; it's just there, and so we must accept it). Tyack and Barnett are again the front-runners -- Barnett especially seems to delight in making every second of his role entertaining, and Tyack is just naturally charismatic. Come to think of it, so is. Jason Merrells. I wish Ashley Jensen equalled them, but perhaps this role just doesn't give her that opportunity .... though it sure seemed to in the first two seasons.

Hard to believe, but even at this length, it seemed like we were missing some plot elements which were simply thrown into explanatory dialog, despite seeming to drag out a bit for running time at the end. But y'know, it's TV: it ain't perfect, but it's beautifully shot and well-acted. Beaton's work doesn't plumb the depths of human existence, nor tries to; it's light-hearted action/mystery with a middle-aged woman driving the story line. For all the ways we might think season three could have been richer, it's still adequately entertaining. On to season 4.

Agatha Raisin: Love from Hell (2020) Season 3, Episode 3

Change of character

[6/10 · 2 February 2024]

Well, I had read that Agatha's character in the books was less charming than the TV series, and it appears the direction in this episode was geared toward capturing that more closely. Fortunately this is something of an ensemble show, because Tyack and Barnett remain the most entertaining of the group. Ashley Jensen is still energetic as ever, if not quite as captivating as the first season. I've stopped really paying attention to the details of plot, because -- really -- that's not their focus here: it's more about the characters' interactions. Stylistically they're letting the show be a TV mystery show, adopting or referencing tropes typical of the genre -- like that whole business between James and the 'other woman', and how there's a misunderstanding, which of course he doesn't instantly dispel by simple explanation -- no, he's got to sputter and delay and let it grow while interruptions occur, and then react in irrational and unpredictable ways -- all to delay resolution, and extend the story. Eventually we learn there's a sociopath somewhere, and of course the identity won't be revealed until the final scenes, because James has no memory of etc -- all plot devices to keep us tuned for the full running time. But it's OK even if it does stretch things unnecessarily, because there is enough character among the others to keep us interested, even when they do stupid things. And that's the kind of TV show this is. And that's fine. It just woulda been nice if it was something more, because it coulda been, but then maybe not: when you base your TV show on best-sellers, you can't really stray too far from what they were. So OK: at least it's colorful, cheerful and well-filmed. And if it sometimes seems determined to make all the most active characters female or gay, well that's OK too.

Agatha Raisin: The Deadly Dance (2020) Season 3, Episode 2

Some good, some ridiculous, OK-to-decent with weak ending.

[6/10 · 2 February 2024]

The good news is that there are memorable and fun moments in this episode - overall, a distinct step up from the previous episode. There is some cute business to gather info from a suspect's phone, and Jason Barnett is as entertaining as usual, as DCI Wilkes.

The bad news is that there are also some needlessly ridiculous moments (your mileage may vary on how many) and they impact the net results significantly. Most notable is the telling-the-villains-all-they-did denouement, which rarely goes well and doesn't here. And being last ten minutes, leaving a rather desultory final impression.

Of course, even bad moments can be smoothed over by cleverness, quotability, or great acting ... and there just isn't much of that. On the whole, a middling episode; the third season has yet to fulfill the promise of the second season, but hopefully getting there.

Agatha Raisin: The Haunted House (2019) Season 3, Episode 1

Big step down

[5/10 · 1 February 2024]

First: there are some fun moments here, provided mostly by new cast member Jodie Tyack. But otherwise it's pretty ghastly.

The many ways this stepped down: 1. James. Such an improved character in the previous episode! But not here. Instead he whines, grouses, and grumps ... and for some reason has an enormous set of action figures.

2. Agatha. What happened to that great sense of people she had, so clearly established in the pilot episode?

3. Format. C'mon people: you can't really expect to just open a detective agency and have cases flood in. Either you have a working business model or you don't. And let's not even talk about that repellant decoration job.

4. Scooby-Doo level realism. Lampshading the fact doesn't excuse it.

5. Music. When you find your movie's problems can't be fixed -- which is to say, when the problem isn't acting or pacing, but inherent in the story -- glopping it with excessive 'mood' music is the flop-sweaty gasp of desperation. If this movie was breakfast, you would hardly be able to tell whether it was pancakes or an omelette, because it would be so deeply buried in cream and syrup.

Overall, a very disappointing episode.

Agatha Raisin: The Curious Curate (2019) Season 2, Episode 3

Best one yet

[8/10 · 30 January 2024]

It's nice to see this series find itself, and do well. Where the pilot suffered from too much padding, and season one constricted by brevity, season two recognized that 100 minutes is needed to encompass the plotlines of the novels. The first s2 episode struggled to fill the time well, but the second managed to justify all 100 minutes -- and here, with The Curious Curate, it all works: main plot, character, secondary plot, and red herrings -- everything seems to be just as involved and involving as it should be, with no filler or awkward denouements. We get to enjoy wonderful moments from almost every recurring character, and the red herrings work to fulfill the overall complexity rather than being arbitrary distractions. Bravo!

However, I can understand the reviewer who didn't like this -- because the Agatha character is, after all, a bit superficial: her personal problems are just as central to the plot as the murder, and they stem from her own inability to properly sort out her own personal life. That is, however, very much a part of actual life for a lot of people -- and, to be fair, she does come to some resolution by the end. For us, this was adequate reward for plowing through the messy personal issues that filled the first two episodes of this season. And (to further be fair) it was all more amusing here than it was in those episodes. - and resolved more satisfyingly than Downton Abbey (which is referenced in this episode). So there.

Agatha Raisin: The Fairies of Fryfam (2018) Season 2, Episode 2

Best Use of Garden Gnomes since The Full Monty

[7/10 · 28 January 2024]

As usual, charming despite its clunky and clumsy proceedings. Plotwise, anything can happen, and if it's convenient for the story it probably does. Missing is the charm and vinegar of Matthew Horne's Roy character, but fortunately he'll be back. To compensate, we do get more Jason Merrells and ... garden gnomes.

Yes, gnomes: if we were to give out awards, this might be recognized for Most Significant Use of Garden Gnomes in a British Comedy since The Full Monty, 20 years previous.

Also: Most Gratuitous Cross-Promotion of Product (for mentioning Beaton's other series-made-into-a-TV-series, Hamish Macbeth).

Overall, a decent episode of what this show has to offer, with a decent denouement. Does it all make sense? Not really, but that's just par for the Raisin series. Meanwhile there are lovely camera shots, and no scene felt like filler -- which is a step up. We also found Katy Wix notable among the supporting cast, delivering comic-but-realistic dialog with memorable flair. Overall a step up from the previous episode, despite Agatha herself coming off rather more dippy.

Agatha Raisin: The Wizard of Evesham (2018) Season 2, Episode 1

Good enough for TV

[6/10 · 28 January 2024]

I understand both the high-raters and low: these aren't programs of analysis and psychology, but character and scenery ... you know: TV. I'm not bothered by the deviations from the books as I haven't read them. The strengths of this show rest largely on the acting, because the plotting doesn't particularly matter. More importantly, series 2 reinstates the 90-minute format of the pilot; while this cures season 1's rapid resolves, it also means the occasional filler. Such is the life of TV program.

This particular episode is typical of the run: rife with chance encounters, ending with the villain carefully and succinctly explaining every detail of their nefarious plan. Realism isn't very important here, so the story dances along the ledge of believability, occasionally falling off. But mildly amusing escapism? Pretty good stuff.

There's just enough red herrings and character moments to keep the energy up. On the other hand, it's also like watching a freshly-born colt tripping over its own legs while trying to stand up: pandering to fans and visual tropes of the genre -- often as not doing it clumsily. But not so clumsily that we stop watching, so that's clearly a plus. And we can't complain about trying to add some fun to this world, can we?

Star Trek: The Next Generation: Code of Honor (1987) Season 1, Episode 3

Not good

[4/10 · 10 January 2024]

It's funny to see anyone call this racist, because it's not written well enough to even be that. Code of Honor suffers mainly in the same way that so many TNG episodes do, by not seeming to really understand the subject being tackled. Which -- again -- isn't racism, but making the primitive culture all black actors? Looks just like racism, lightened up just enough for deniability. Which might have meant something if anyone cared to put any effort into their acting, but it's just 40 minutes of people trotting out their lines ... sometimes with some dignity, but rarely with anything that could be called conviction. Hard pass.

Li'l Abner (1959)

Better as cartoon, but not without some charm

[6/10 · 31 December 2023]

Now, don't get me wrong; I remember Li'l Abner as a cartoon, so I can see how remarkably faithful this film adaptation is. -Or rather, how faithful the source play was to the strip. At the same, that's also the problem; if you didn't know Al Capp's strip, then this is a bizarre (and not terribly satisfying) movie.

On the other hand: the faithfulness to the stage production means it isn't very cinematic, but more a document of that stage play. Which does have its own interest, but at the expense of what might have been made from the ground up as a film. So it suffers in two different ways: requiring familiarity, and not being free to really exploit that familiarity.

Meanwhile, the resulting film does have its own charms for those already familiar with Capp's strip. The casting is pretty amazing, with a few surprising faces in small supporting roles. The script doesn't neglect Capp's wonderful satire, and the use of color in costumes and set is really something to behold. But neither is likely to make much impression on anyone under the age of 50, who might be better off seeing Capp's original work -- if they can find it.

You Can't Take It with You (1979 TV Movie)

Pretty bad -- today, or even in 1979

[5/10 · 29 December 2023]

This was already a 43-year-old play in this 1979 broadcast, and my viewing of it is 44 years after that. Being a TV broadcast of a play means minimal production values: broad lighting, no camera tricks, minimal music support. By today's standards, it looks pretty rough. The acting is pretty fair, but the script itself simply doesn't give anyone much to work with. Without a live audience to chuckle at the family's antics, the characters just come across self-absorbed rather than self-possessed. Which is too bad; in 1979, these actors were practically household names, with some four or five top shows between them. But without the clever writing that fueled those shows, the actors are largely left to cavorting across the stage, interrupting each other, and living out a philosophy afforded only because the grandfather has passive income.

End result: a play which in 1979 was already a curious relic of a certain social stratum at a certain time (i.e., those who could afford New York theaters during the Depression), and is now a curious collection of then-popular actors in something other than what they were known for. For some, this allowed some versatility from their iconic roles, but for most (if not all) -- this might as well have been lost forever. The best moments, however, do have some interest to them: the word game played when the fiance's parents come to dinner, and the family's respectful reaction to their visit from the grand duchess. Those two scenes raised my rating from 4 stars to five.

Miss Fisher's Murder Mysteries: Death & Hysteria (2015) Season 3, Episode 5

One of the best of the whole series

[8/10 · 21 December 2023]

Here I was, just hoping season three would be acceptably competent -- and along comes an episode bursting with so many strong aspects.

First, not only is every character consistent with their previous episodes -- every one of them advances in depth, even Miriam Margolyes' Aunt Prudence, so woefully underused in her previous appearance.

We also get great moments for all of the main characters. Travis McMahon's Bert is often underused, but gets several good scenes; Anthony Sharpe (Cec) gets to sing along with Essie; Miriam gets to really emote -- oh, and of course there's a good story to hang it all onto. Overall, a strong and memorable episode, lacking only in the unusual absence of the extremely likeable Hugo Johnstone-Burt. I won't be surprised if this becomes my favourite episode to rewatch.

Miss Fisher's Murder Mysteries: Murder & Mozzarella (2015) Season 3, Episode 3

Murder and mozzarella indeed

[7/10 · 21 December 2023]

Season 3's first episode had me wondering if we had permanently lost s1 and s2's magic, but M&M ticks back up. Plusses included actors speaking genuine Italian in their roles as Italians -- not consistently, but at least accurately, and with convincing accents. Further plot elements add a new angle to the Jack/Phryne tensions -- a nice reward for ongoing viewers. Tensions between the two families aren't so easy to track, at least on first viewing; lots of back-and-forth, and everyone seems to know someone else. But this episode restored my confidence in the series -- and there will be even better ones to follow.

Miss Fisher's Murder Mysteries: Death Defying Feats (2015) Season 3, Episode 1

All that and no shark

[6/10 · 18 December 2023]

It's an interesting experience when a TV show jumps the proverbial shark. There's nothing particularly wrong with this episode; it just lacks most of what fueled seasons one and two. Oh, it isn't far off: it's like seeing someone you know do an imitation of someone else you both know. You can see what they're doing and why, but you won't mistake them for the real person.

Take Phryne and Jack outside the interview room. Previously we had Phryne show her cleverness just as Jack was thinking he could do without her; now she just reports -- and helps herself to the interview room. Same with Dottie and Hugh: imagine someone stealing evidence (or breaking and entering) and not getting in trouble. And where Phryne previously got involved due to necessity, now she just does so just to see what will happen (and on just one afternoon's practice). Ah well; it's just entertainment, right?

This is still reasonably enjoyable, and I'm still interested to see more of season three. It's still full of beautiful outfits and vintage decor, even if they did change to a lesser theme song. Miriam Margolyes is included but has nothing really to do. Essie Davis still looks fab. It's a competent TV mystery, but what once sizzled is here just warmed-up leftovers.

Star Trek: Enterprise: Borderland (2004) Season 4, Episode 4

Pew! Pew!

[5/10 · 18 December 2023]

It's too bad my whole review can't just consist of that word over and over -- and honestly, it wouldn't be fair: the first scene of Brent Spiner is awesomely promising -- the man has such great presence ... then the rest of the episode completely fails to deliver on that promise, although a lot of things happen, usually with a lot of people explaining to each other why we should care. Young people in tight black clothing is quite the fetching visual as well.

But I'll ask again: where is the Star Trek? Yes, yes, this episode is essentially filling in details of things mentioned in TOS, but so what? These stories should matter in themselves. I'm glad some people are enjoying them, but I'm still waiting for the Enterprise episode that really works, on a Star Trek level, on its own terms.

Star Trek: Enterprise: The Forge (2004) Season 4, Episode 7

1st of 3 parts

[5/10 · 18 December 2023]

See the quotes for some good moments in this first-part-of-a-trilogy episode .... I don't know why or when it became trendy to title episodes as if they were individual stories, instead of more honestly calling this ""The Vulcan Incident" (or even just "The Forge") in three parts, which would be a more honest description.

OK, 600 words on this thing ... let's talk about scripting, shall we? You what is NOT good scripting? When characters talk about nothing but The Plot. There are no ideas in this script, beyond basic appeals to (or betrayals of) clan loyalty. DS9's brave experiment was to suggest that Star Trek didn't really work as offered in previous shows -- which may be true, but look what we've had ever since: endless war. Which really shows you how much each Trek reflects the time when it was made.

Star Trek: Enterprise: Kir'Shara (2004) Season 4, Episode 9

And so concludes another trilogy of near-Trek that can't keep canon

[5/10 · 18 December 2023]

Oh where to begin? Most obviously, Foxworth's maniacally emotional performance, which should have him judged insane by Vulcan standards. Not that he's alone: Blalock dishes out quite a few emotional scenes herself, though not as intense. Suffice it to say that her character is consistently more emotional than Bakula's captain. And what happened to T-Pau's accent? This might as well be Abrams Trek.

But why should we even complain: in a show that's full of non-canon details, and frequently scripted straight out of Generic TV Dialog, there's nothing here that evokes TOS or TNG .... and there's plenty to continue the worst aspect of DS9, as the season-long arc means that episodes rarely have a real conclusion. At best, we might feel compelled to see the next one -- but even when some major plot point does resolve (as it does here), it does so with an I-guess-so shrug. Even the worst TOS Trek -- and there was plenty -- knew how to end an episode.

Saving graces include a few performances; Jeff Combs is always worthwhile. But there's only so much to be done when the plot is a mess, and the writing just isn't there. Nice sets and CGI though, and the makeup and costumes are always terrific.

The Outer Limits: It Crawled Out of the Woodwork (1963) Season 1, Episode 11

Decent value in three parts. Also, Star Trek connections

[6/10 · 16 December 2023]

Ed Asner is right; it is a terrible script, not helped by Scott Marlowe chewing scenery in a role he was far too old to do. All of the "scientists" are deadly dull, the monster is poorly animated, and the first half is plagued by the slow-pacing-and-overly-dramatic-music so typical of Outer Limits. Joan Camden must have been bored out of her mind.

But now for the good news: the director makes interesting use of shadows and lighting, and the pacing picks up as the story progresses. While Michael Forrest's naturalism warms the first third, the mid-show picks up with Barbara Luna's energy -- sadly wasted, as the script basically runs out of things for her to do. But the final third is enlivened by Ed Asner, who holds our attention despite the so-so scripting. Acknowledgement must also be made for Ted de Corsia's security guard, who is equally convincing in his small role.

Star Trek connections aplenty, with Michael Forrest and Barbara Luna on screen, Vic Perrin as voice-over Fred Phillips doing make-up, and Gerd Oswald directing (noticeably similar to his work on TOS "The Conscience of the King")

Star Trek: Deep Space Nine: The House of Quark (1994) Season 3, Episode 3

Top DS9

[8/10 · 9 December 2023]

A mostly well-written episode (we'll get to the exception later!) and very memorable. Way back when my family decided to undertake DS9 (via DVDs from the library), this was the first episode where we could all agree they succeeded. Good balance of comedy and drama, with excellent guest characters. If Armin Shimerman wasn't a favorite already, this episode would have been the one to put him there.

And now the exception: the Keiko subplot. Nagging, tedious and unhappy, she (almost) always drags down an episode. It's not Rosalind Chao's fault; in season 5's "The Assignment", she portrays a demon-possessed Keiko who is ironically far more interesting (and even likeable). So it's the writing -- possibly just one of the casualties of being an occasional character, but the net result is that Miles' suggestion of a six-month mission starts to sound like he's actually getting get rid of her ... and we can't help but agree.