This is a familiar plot , I have seen in different variations. On the surface a town or in this case subdivision that appears to be the perfect, most Utopian society ever. It brings me visions of THE LOTTERY or THE LOST HORIZON... all 16 versions or so it seems. No Shangri La here. This also reminds me of Rod Serlings Twilight Zone episode - ITS A GOOD LIFE with Bill Mumy as a child with supernatural powers controlling a seemingly normal town, done impressively neat in a bow in a 30 minute episode . As some mentioned THE STEPFORD WIVES, I can see that. Acting was very good . Look for Donna Summers daughter playing the part of Arleen - Brooklyn Sudano. The show was only an hour and if you are not expecting greatness, its worth a watch.
9 Reviews
Unoriginal Episode
claudio_carvalho22 February 2015
Bobby and Tracy want to raise a family with a child but they need a better place to live. When they find a house in an apparently safe and perfect community, the administrator Candace helps them to get the necessary loan and they move to the location. Soon Tracy befriends Arlene but Bobby is uncomfortable with the interference of the neighbors in his life with Tracy. He also finds strange the behavior of people in the community and asks his friend and lawyer Scott to investigate the destiny of the formers dwellers and he finds the truth about the community.
"Community" is an unoriginal episode of "Fear Itself" with the well known story of a family that moves to a perfect place that is not so perfect. This is the type of totally predictable episode where the viewer knows what will happen. My vote is five.
Title (Brazil): "Community"
"Community" is an unoriginal episode of "Fear Itself" with the well known story of a family that moves to a perfect place that is not so perfect. This is the type of totally predictable episode where the viewer knows what will happen. My vote is five.
Title (Brazil): "Community"
Superior Writing Ruined by Time Constraints
gavin69425 August 2008
A young couple decides to move into a community -- called the Commons -- without reading through their contract. Big mistake. Now they're trapped in a world where they are obligated to make babies, have their sex life viewed by others via closed-circuit television, and dissent could lead to death or worse. This is one contract that may not have an escape clause. John Billingsley also appears as a community member who is no longer thrilled.
Directed by Mary Harron ("American Psycho") and written by a dude named Kelly Kennemer, I think this is probably the best-written episode in the series so far. Sure, you can slam the "wooden" acting of the stars, but the story itself is brilliant. (I've heard it compared to "Hot Fuzz" and I think it has qualities of "Wicker Man", but it goes beyond that). To be able to have a commune in modern times in a modern city and have it make sense, that is a feat that deserves credit.
A problem I had was that the episode is too short, though this is by no means the fault of the creators. We are shown the story in spurts and jumps, although we could easily be shown the plot in real-time, developing the characters more. Questions are raised if you think about it -- who controls the police, does the head of community have a boss and what happens if she breaks a rule? This could be played out in a television series, where the trouble is only reveals a bit at a time until the dissent reaches a breaking point. I would watch it.
There's another issue I had, which I cannot really get into here for fear of spoiling the episode. But the basic point is this: one character changed their entire personality without explanation. Maybe this is something that could be explained if it was a series, but it wasn't explained at all on the show and made no sense. Not even a little bit. So, what the heck? (Compare this to the end of "Screwfly Solution" with its abrupt change in plot, pacing and direction.) Regardless of the flaws, still this stands as solid writing and a great addition to the series -- and one of the few episodes that doesn't focus on serial killing or murder, but just good old-fashioned suspense and terror. I want more of this. Thank you Mary Harron, and thank you Kelly. I expect more greatness in the future.
Directed by Mary Harron ("American Psycho") and written by a dude named Kelly Kennemer, I think this is probably the best-written episode in the series so far. Sure, you can slam the "wooden" acting of the stars, but the story itself is brilliant. (I've heard it compared to "Hot Fuzz" and I think it has qualities of "Wicker Man", but it goes beyond that). To be able to have a commune in modern times in a modern city and have it make sense, that is a feat that deserves credit.
A problem I had was that the episode is too short, though this is by no means the fault of the creators. We are shown the story in spurts and jumps, although we could easily be shown the plot in real-time, developing the characters more. Questions are raised if you think about it -- who controls the police, does the head of community have a boss and what happens if she breaks a rule? This could be played out in a television series, where the trouble is only reveals a bit at a time until the dissent reaches a breaking point. I would watch it.
There's another issue I had, which I cannot really get into here for fear of spoiling the episode. But the basic point is this: one character changed their entire personality without explanation. Maybe this is something that could be explained if it was a series, but it wasn't explained at all on the show and made no sense. Not even a little bit. So, what the heck? (Compare this to the end of "Screwfly Solution" with its abrupt change in plot, pacing and direction.) Regardless of the flaws, still this stands as solid writing and a great addition to the series -- and one of the few episodes that doesn't focus on serial killing or murder, but just good old-fashioned suspense and terror. I want more of this. Thank you Mary Harron, and thank you Kelly. I expect more greatness in the future.
Damn It, Not Even Superman Saves All
ricardovs2719 July 2011
Warning: Spoilers
Oh, guys, why do I keep trying to have hope on this anthology? Again, a nice genre director, Mary Harron (from "American Psycho", no less) is knocked out by a lazy script and bad casting.
At least, the plot tried to tackle more contemporary fears, such as violence, being part of a community, things like that; it is quite unnerving how people give away basic freedoms to feel "part of the herd" and avoid the "dark real world".
But the bad performance from the lead, Brandon Routh - let's face it, everyone here was as bad as him - along with a very stupid third act, undermined all the suspense created by Harron, who managed to emulate a very nice Stepfordesque quality to the show.
I mentioned the third act because there are some 180 degrees shifts on some characters that are so out of the blue you cannot help to say WTF?! And there goes the neighborhood...
At least, the plot tried to tackle more contemporary fears, such as violence, being part of a community, things like that; it is quite unnerving how people give away basic freedoms to feel "part of the herd" and avoid the "dark real world".
But the bad performance from the lead, Brandon Routh - let's face it, everyone here was as bad as him - along with a very stupid third act, undermined all the suspense created by Harron, who managed to emulate a very nice Stepfordesque quality to the show.
I mentioned the third act because there are some 180 degrees shifts on some characters that are so out of the blue you cannot help to say WTF?! And there goes the neighborhood...
Trouble in Paradise
bababear24 July 2008
The series "Fear Itself" continues to improve as it goes along. The "Community" episode is well made and, except for one major flaw, successful.
This is the story of a young couple living in a big city who want to move to the suburbs. They find a development called The Colony: a gated development, it's the kind of Yuppie Hell I couldn't imagine visiting much less living in.
After they move in -the former tenants left the house completely finished- they are happy at first but are frustrated because the wife just can't get pregnant. Everyone around them takes an interest in their efforts to conceive. Too much of an interest.
Too late they find that they've entered a totalitarian paradise.
There are several moments here, especially in a chase scene through pleasant suburban streets on a snowy night, that build real tension. Director Mary Harron, who brought such a sense of style to American PSYCHO, handles things admirably. With the limitations of time and budget that network TV carries she does everything that can be expected. The four act structure with its pattern of rising and falling action is the template for programming: you gotta dance with who brung 'ya. Harron and the story would have been better served on a cable show such as "Masters of Horror" which would have imposed fewer strictures.
The story is built from familiar elements. Many of Bentley Little's novels have worked with similar themes, and there are echoes of THE STEPFORD WIVES, SECONDS, and INVASION OF THE BODY SNATCHERS in the story.
The fatal flaw in the equation is leading man Brandon Routh. Playing the lead in the $270 million dollar production SUPERMAN RETURNS hasn't paid off much for him. He has upcoming roles in some independent productions, but this is his first acting job since 2006. His performance here, to put it bluntly, stinks.
Maybe something was off in Harron's direction. But Routh's line readings are just that. Readings. He sounds like someone who doesn't understand English reading aloud a manuscript that is written phonetically.
This would have worked if the character of Bobby had Asperger's Syndrome. But his flat, monotonous line delivery is disastrous. The script doesn't give him all that, true: all we find out about the character is that he's financially well off and loves his wife deeply.
Still, the program has promise. And it's nice to see a network willing to develop something that's not a talent contest, quiz show, or 'reality' program. Keep trying, folks. You're fighting the good fight.
This is the story of a young couple living in a big city who want to move to the suburbs. They find a development called The Colony: a gated development, it's the kind of Yuppie Hell I couldn't imagine visiting much less living in.
After they move in -the former tenants left the house completely finished- they are happy at first but are frustrated because the wife just can't get pregnant. Everyone around them takes an interest in their efforts to conceive. Too much of an interest.
Too late they find that they've entered a totalitarian paradise.
There are several moments here, especially in a chase scene through pleasant suburban streets on a snowy night, that build real tension. Director Mary Harron, who brought such a sense of style to American PSYCHO, handles things admirably. With the limitations of time and budget that network TV carries she does everything that can be expected. The four act structure with its pattern of rising and falling action is the template for programming: you gotta dance with who brung 'ya. Harron and the story would have been better served on a cable show such as "Masters of Horror" which would have imposed fewer strictures.
The story is built from familiar elements. Many of Bentley Little's novels have worked with similar themes, and there are echoes of THE STEPFORD WIVES, SECONDS, and INVASION OF THE BODY SNATCHERS in the story.
The fatal flaw in the equation is leading man Brandon Routh. Playing the lead in the $270 million dollar production SUPERMAN RETURNS hasn't paid off much for him. He has upcoming roles in some independent productions, but this is his first acting job since 2006. His performance here, to put it bluntly, stinks.
Maybe something was off in Harron's direction. But Routh's line readings are just that. Readings. He sounds like someone who doesn't understand English reading aloud a manuscript that is written phonetically.
This would have worked if the character of Bobby had Asperger's Syndrome. But his flat, monotonous line delivery is disastrous. The script doesn't give him all that, true: all we find out about the character is that he's financially well off and loves his wife deeply.
Still, the program has promise. And it's nice to see a network willing to develop something that's not a talent contest, quiz show, or 'reality' program. Keep trying, folks. You're fighting the good fight.
a bit of a King story
trashgang26 May 2010
The much acclaimed Mary Harron. In 2000 she gave us American Psycho. Torn down by the geeks due the lack of blood and gore. Again, this story has no drop of blood, no nothing but hey, it works. This has a storyline, again, seen before, but the best thing is the ending. This is the first episode were you can say, no sudden stupid ending. Yes, you can see it coming but it was a relief that it was okay. It did remind me of a King storyline, he also never has any blood in it. I can't say that it was a horror story, it's a thing that could happen in real life. If you are a King fan than this is one for you otherwise if you suspect, here we go again, a Master of Horror episode, leave it...
Okay episode
Woodyanders19 July 2012
Warning: Spoilers
Successful businessman Bobby (woodenly played by the insipid Brandon Routh) and his chipper wife Tracy (a perky and appealing portrayal by the pretty Shiri Appleby) move into an ostensibly perfect planned community only to discover the hard way that there's something sinister going on underneath the too pleasant and giddy surface of said rosy little hamlet. Director Mary Harron manages to create an appropriately ominous atmosphere, brings an impressively bright and slick visual style to the hackneyed material, and keeps the pace moving at a snappy clip, but crucially fails to generate much in the way of real tension. Moreover, Kelly Kemmemer's trite and predictable script about the dark side of oppressive suburban conformity doesn't cover any fresh or interesting ground; instead it just goes through the expected motions right down to the none-too-startling surprise downbeat ending. Fortunately, the mostly solid acting from the competent cast keeps it watchable enough, with especially praiseworthy work from Barbara Tyson as cheery real estate agent Candace, John Billingsley as pathetic drunk Phil, Brooklyn Sudano as the friendly Arlene, and Peter Strand Rumpel as meek cuckold Ron. However, Routh's regrettably lackluster turn in the lead prevents the viewer from caring about the plight of his character. Both Alwyn Kumst's polished cinematography and John Swihart's shuddery score are up to speed. Decent, but overall nothing special.
did i mention this is the worst "season of MOH"?
Fernando-Rodrigues22 November 2020
Worst yet
africe23 September 2019
I haven't watched it in a while because the show started lacking freshness. Most episodes are stereotypical and just plain stupid. Well, I decided to give it another shot. What did I think? ........
Worst episode I've seen so far. If my spouse did that to me she wouldn't have made it to the next xmas lol. I hope the rest of these episodes don't suck as bad as this one. The next one will decide if they've lost another viewer
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