StoryLover10 Reviews

American Fiction (2023)

Worth everyone's time

[10/10 · 18 March 2024]

Just enjoyed American Fiction. Thematically, it reflected Bamboozled, but with a subtler form satire. I do not wish to compare/contrast these two films, except to say that 20 years later this message still needs to be discussed and exposed. And, from what I read in some of these reviews, some folks are still missing the point. It wasn't a movie about Alzheimer's or LGBTQ+ people, or parenting skill or familial dynamics amongst siblings. It's a movie about all those things. Cuz, you know-Black people are, well, people.

The common expression, "we are not a monolith" is accurate, but perhaps does not carry the impact it should. This film's major themes are, of course, are revealed through the ludicrous scenarios, that these predisposed notions of "the Black experience" remains one-dimensional, and is predominately presented through the lens of white people, that what's marketable and palatable to the masses continues to be forms of minstrelsy in blackface. By extension, if not all Black folks are of a criminal element, whose speech is restricted to incorrect grammar, spelling, & pronunciation, and colloquialisms, i.e., "Ebonics," then they are also people with family members who have internal conflict, are gay, may be stricken with illnesses such as age related dementia, and so forth. These are not disjointed concepts. These are ALL the point.

The ending has apparently annoyed several folks in their reviews. Racial issues and misunderstanding the "Other" have yet to have any conclusion; they are not resolved. Do you end the film with a version that perpetuates stereotypes, or choose one that seems ridiculous, yet is not so far fetched and is certainly not funny-identifying an award or cell phone as a gun, causing a Black man to be fatally shot multiple times, by multiple police officers (an all too frequent a scenario). Or do you sample these and other options for the audience to contemplate?

Secrets of the Dead: The Princes in the Tower (2023) Season 21, Episode 3

Enjoyable, but ...

[5/10 · 3 January 2024]

I love history's mysteries. I am always intrigued when historical myths are debunked. This prompted me to watch "The Princes in the Tower" episode of Secrets of the Dead." Phillippa Langley was the force that successfully found Richard III in that parking lot, her journey and hypotheses verified by DNA testing. So, I followed her in the quest toward learning the fate of Richard's two nephews, that would upend the story we all learned about their incarceration in the Tower of London. The episode presented several documents around Europe, telling a couple of tales about each of the two princes. There was a middle Dutch translation of first person account (presumed to be originally in French, although this was not available for this documentary) asserted to be written by the younger nephew, Richard, himself. Another storyline followed the elder prince's travels to Ireland. The stories were interesting. And anecdotally, several experts (i.e., secondary sources) the documentary reported, believed all presented evidence to be authentic.

However...

There was no mention of testing these documents for authenticity, not the paper or ink, nor were they reviewed for any linguistic confirmation / support of their veracity. Perhaps the most obvious omission was the lack of DNA testing of the remains of the two bodies, currently interred in Westminster Abbey, presumed to be the two boys. If this was a matter of denied permission on the part of English authorities, this was not mentioned. Additionally, Ms. Langley's clear investment in proving her presumptive assertions, was ripe for skewing the outcome turning her supposition into a self fulfilling prophecy. The doc's summary, presented as a confirmation by the lawyer whose skepticism was meant to be the counterweight to her bias, was instead written in conditional verb constructs, including phrases such as "may ... possibly be ... could have been ...," but void of factual verification.

If you're looking for a good yarn, enjoy the ride. If you're interested in factually supported reporting, take a pass.

Race (I) (2016)

Hollywood (and British and Australian) Filmmakers: Just Stop It. Please!

[2/10 · 14 December 2023]

Race is supposed to be about Jesse Owens. It's more about everybody else around him. It, naturally, has a Tarzan/savior figure, played by Jason Sudeikis. But there isn't a whole lot of room for the savior's place in this story. Instead, we witness revisionist's history that distorts the personas and the contributions to this place and time by Avery Brundage and Leni Riefenstahl. Riefenstahl is portrayed as a benevolent liaise between Goebbels and the Brundage team, not for the actual Nazi propagandist she was. And far too much of the movie focused on Brundage and some backdoor construction deal he had with the same Goebbels that eventually fell through because of the politics behind two Jewish runners (events that happened after Owens won his individual gold medals. To make matters worse, Brundage, played by Jeremy Irons, was portrayed as a self righteous anti Nazi figure, pounding his (metaphoric) fists and stomping his feet about how despicable, the Third Reich's actions and policies were. By all accounts, that is blatantly false. In fact, it's history upside down, Brundage was an infamous racist and antisemite, with a sexist asswipe cherry on top. The Asian Art Museum in San Francisco removed his bust very publicly and loudly for these very reasons.

Back to the savior character, Larry Snyder. The film depicted an absurd scene in which he, Snyder, loudly screams over the white boys who were harassing and threatening Owens and teammate Ralph Metcalf, as means to ignore and somehow drown them out, as if this was the definitive lesson on how to handle racism, from which the two Black men should learn. Yes, Jason Sudeikis as Larry Snyder is the ultimate authority on how to navigate the (frequently life threatening) waters of slavery's legacy.

Back to Mr. Owens, who was a prominent historical figure of U. S. history. Of course there's almost nothing about the man, himself. We did not learn anything about his interests or life story beyond those on the racetrack, with the exception of a short introduction to is family and a prescribed melodrama about an short affair and its fallout back home when his fiancé discovers the indiscretion. I foolishly hoped to learn more about the man, his version and perspective on that time and place in history. That was my error, apparently.

The performances were fine, given the material they were given. Stephen James has a worthy résumé. Much of the cast were British, Canadian (including James), and German. Glynn Turman's appearance was a welcome surprise. I'll not hold this dreadful story against any of them.

Justified: City Primeval (2023)

Met expectations

[6/10 · 6 September 2023]

First, re: Vivian Olyphant. Shame on the adults in the room for allowing her role to be as extensive as it was when she was clearly not ready. I don't disagree that her presence was distracting in the first episodes. And, she is likely fairly embarrassed and feeling pretty low by now, especially with all the remarks and critiques. That is unfortunate. I reiterate, it was not entirely her fault. She would have benefitted from a much smaller role and limited lines in her first role. Nepotism can backfire, and did this time.

The rest of the show satisfied those craving Raylan's adventures, meeting most viewers' expectations, I imagine. It must be noted that the cowboy arrogance and entitlement he enjoys screams of his privileged status. I nearly didn't complete the series between Vivian's performance and the Raylan character's antics. Fortunately, it improved in the second half. The storyline was not all that impressive, but as I mentioned, placated the fans of the original Justified.

What was notably missing was a foil and smart banter that was the original's signature. There was no Boyd repartee and witty dialogue.

Highlights: the supporting cast was impressive. I've enjoyed veterans Vondie Curtis Hall's and Aunjanue Ellis' performances over the years. Other seasoned performances by Regina Taylor, Victor Williams, Terry Kinney, Marin Ireland, and Norbert Leo Butz carried the show. The Clement Mansell character was a bit cartoonish, but it didn't bother me much, probably because the series was pretty much what I anticipated. This series met expectations, nothing more.

The Lincoln Lawyer (2022– )

Stick to the integrity of the books, please

[7/10 · 6 August 2023]

I should have enjoyed this second season of The Lincoln Lawyer more than I did. It's Michael Connelly, after all. It's my kind of story and genre. Casting a native of Mexico as Mickey was refreshing, and, of course, authentic to Connelly's character. Manuel Garcia-Rulfo's portrayal demonstrated talent and offered the audience an enjoyable performance, especially in the first season, which weaved in aspects from Connelly's novel, The Brass Verdict in the adaptation. Christopher Gorham's Trevor Elliot was faultless.

Season two was plagued with several awkward moments/scenes and diluted performances. This was not exclusive to Garcia Rulfo. The romantic interludes, for instance, were superfluous, clumsy, and again, the acting appeared to be the culprit. But so many quality actors (including Neve Campbell, BTW) not performing well, forced me to admit that it was the writing (sorry Mr. Connelly et al.), and possibly some flaws in direction, both the story's outline as well as the actual scripted lines. When Campbell's character left for San Diego the morning after their latest tryst, Mickey's character is supposed to be clueless and forlorn. The scene was forced. Then the story cuts to happy go lucky Mickey in the classic Lincoln ragtop (top down, of course) taking in LA's streets with gaiety. Also incongruous was a lovely shot of snowcapped mountains. Unfortunately, it was supposed to be summertime in LA. One performer, Yaya DaCosta, whom I usually respect and enjoy, grossly over played the character. Perhaps this was in the production and direction, but I found her courtroom melodrama distracting.

Highlights: Becky Newton, Jazz Roycole, Elliot Gould, and Angus Sampson supported the production reliably with truly enjoyable performances. It's always a joy to see Ntare Guma Mbaho Mwine in any production. I'd enjoy more of him in this surrogate Bosch role. True to Connelly's books, greater Los Angeles as its own character provides continuity that is more than just a backdrop or setting. And Manuel Garcia-Rulfo is a good casting choice as Mickey. I hope season three (should there be one) gives him better material. The series need not be direct adaptations of Connelly books (nor should it be). But drawing from their style, tenor, and integrity would serve the series well.

Silent Witness: The Penitent - Part 2 (2023) Season 26, Episode 2

Missing Clarissa and Thomas, yet...

[1/10 · 29 July 2023]

When Liz Carr and Richard Lintern left, I was disappointed. A fine acting talent, Ms. Carr offered a rare glimpse into challenges, and more importantly, contributions of disabled populations. During her tenure on the show, several storylines and characters offered additional insight. However, her replacements this season and last, have shown potential as characters worthy of further exploration. Unfortunately, Genesis Lynea did not return. This season Alastair Michael will hopefully survive. Similarly, the addition of Aki Omoshaybi serves to as a potential worthy successor to Richard Lintern. For this, we can likely thank the writers, who laid the foundations for these new characters with substantial growth possibilities.

Sadly, this first two-part episode, "The Penitent" offered the audience more of Nikki's over the top melodrama (and abominable acting by Emilia Fox) as the character's moral (even colonial) superiority and lack of professional boundaries has ruined this show for me. The script (sorry might need to blame the writers on this one, but I suspect outside pressures/forces were at work here as well) was a vehicle for several of Nikki's self righteous colloquies that occur in situations grossly beyond the scope of any pathologist. Tracking down perpetrators in the name of their family members, solving the case in the field, rather than in the morgue and lab (as if no law enforcement force is ever capable) has become laughably ridiculous-chase scenes, explosions (and survivals), niche mafiosos, multi level corruption that, without Nikki Alexander would have been left to the economic ruin of all the United Kingdom. And, BTW - identifying the "inside man" was fairly obvious after the shot with the photo of kids.

Finally, the romance element indicates that the life of these characters are past their due by dates (Fonzi and sharks comes to mind). To be fair, I'm not sure if the David Caves' character could have been better developed, but in the shadow of the force called Emilia Fox, this may prove to be a missed opportunity. I gave this program one last chance, but I cannot support it any longer. It is utter rubbish at this point.

DI Ray (2022– )

Refreshing perspectives in this crime drama

[8/10 · 6 March 2023]

D. I. Ray is an enjoyable British cop show set in the Midlands. The show and story itself is fairly typical, but not poorly done. Some of the script lines scream for improvement, but thematically it is refreshing, reflecting perspectives of POCs and revealing overt discrimination and covert racism (including implicit biases, microaggressions) in the workplace and daily existence. Yes, the plot itself and some of the dialogue is predictable or simplistic in places, but not to the point of being distracting.

For those who are quick to attack us as the "woke" crowd: Imagine, if you would, what it might be like to constantly spend the energy that ensures that the others (i.e., members of dominant culture) around you feel "comfortable." That this metaphoric mask you must constantly wear is essential to your safety, liberty, and well being. And you have to make these accommodations, these constant adjustments all day, every day, in the workplace, in the park, in the grocery store, in the car wash, in the doctor's office, that is, anywhere in the public sphere. Imagine how it might feel if you spent the entire day walking on eggshells for no other reason that you remain on the outside of said dominant culture, that you are "different." Imagine, as you are constantly being judged for your behavior as you witness others from that same dominant culture around you proceeding with arrogance, privilege, entitlement, and at times abusive and demeaning behaviors without ever being at risk for THEIR safety, liberty, and well being-such jeopardy is not even a passing thought or possibility. Imagine how it feels to be presumed incompetent, or "not ready" or "unable to fit" for a job when subjected to a moving goal line of undefined double standards. And imagine sitting in a restaurant with your white partner and his pregnant sister when the waitress presumes the two white people are the couple and you are the third wheel. Imagine being re-violated when the same white partner "reminds" you afterwards that "oh, that was nothing," as if being rightfully offended, or at minimum hurt, is unwarranted, then dismissed out of hand.

I look forward to enjoying future seasons of Parminder Nagra's performance as D. I. Ray.

Gangs of London (2020– )

It Is What It Is

[5/10 · 1 January 2023]

Who is the target demographic for this AMC show? The typical programming for this channel and streaming service is usually carries a certain amount of gravitas, multiple layers to characters and storytelling, quality actors, writing, direction, and overall production. Season one was more action driven than many/most AMC shows. However, the premise accommodated said layers, acting, character development, etc., making it a decent viewer escape, i.e., a death of a kingpin created a power vacuum that set into motion several agendas and storylines by multiple players, i.e., gangs. Then government spooks showed up toward the end. There were some fights and guns with screentime somewhat balanced by the A, B, C, D., etc. Plots. It took some effort to keep track of all the ethnic gangs and players, but that was a feature, not a flaw. Season 2 likely appeases popular audiences, including myself on some days, who might in the mood for blockbuster style, over the top violence, betrayal, never ending militaristic combat. However, when previewing this cast of actors on this streaming service, this second season was not what I anticipated.

Both seasons have some gaping holes in the story and for today's sophisticated audiences, in terms of police detectives and forensics. Characters in this show, with what would usually be fatal stab and gunshot wounds, magically recuperate within unsanitary medical conditions (if they are explained at all). By the end of the second series, it became a bit ridiculous. A couple of the sillier scenes: 1) A warlike battle in a motel with floor to ceiling stacks of heroin bricks in one of the rooms attracted no law enforcement and, it would seem, had no impact on any other guests, as they apparently did not exist. 2) Toward the end when cops did show up for another one on one battle between the two male leads, they apparently did not find any DNA or prints or other evidence of the one who got away to apparently be present anywhere on the scene. Yes, it was outdoors, but the guy touched and bled and sweated on all kinds of inanimate objects.

It's unfortunate that this is where the revenue is, and that fine actors (of which there are many in this show) involve themselves in these types of shows. Who can blame them? That's not my issue.

My concern: I sincerely hope that AMC does not abandon its roots of cerebral and smart programming yield only to shows like this. I will cancel my subscription should this become a trend.

Silent Witness (1996– )

It's all about Nikki

[3/10 · 20 December 2022]

I agree entirely with jdhb.

The earlier episodes with Amanda Burton acting and storytelling reflected trends of the time, which are dated today, but were acceptable as reflections of the time. When the series became ensemble-focused, it was enjoyable. Billing rotated, so no one actor out ranked another, at least not officially. When Tom Ward left, Emily Fox's on-screen presence elevated until she finally became top billed for the duration--the proverbial beginning of the end, as it were. The show has become increasingly less enjoyable or tolerable as it is now dominated by a sanctimonious Nikki (Emilia Fox).

Some storylines over the years were a bit silly, particularly ones with globetrotting. Why did the Lyell Center need to go to Africa? Oh, and why doesn't Nikki have a South African accent if that's where she was raised? William Gaminara's final episodes when the Lyell Center team "goes to Afghanistan." It's as if they are Hope, Crosby, and Dorothy Lamour galivanting across the globe for no substantive reason whatsoever, other than to be entitled "civilized," first world people slumming with, and condescending to the natives. (That said, his, Gaminara's, departure is a loss.) In this particular adventure, Nikki was all kinds of self righteous and judgmental of local values, reality, and ways of life. Likewise, David Caves' character's first means to resolve any conflict is with toxic masculinity and physical violence. Seriously?

Finally, forensic and pathology personnel are not cops. They don't travel (even to Scotland) to engage in cases. Yes, CSI did this too--allowing the science geeks to carry guns and conduct suspect interviews. It is a lazy means to create pseudo and unrealistic drama.

To the producers, please return to this show's roots, as a team of actors playing scientists who use their profession and brainpower toward crime-solving.

Night Sky (2022)

Exhale and Enjoy

[8/10 · 22 May 2022]

Landing last night on Amazon's Night Sky delivered a delightful evening. It is a character based, dialogue driven, and no/low scare about teleporting across the globe and, in one case, the cosmos. It did not have a Rod Serling style morality message, but there were thematic elements targeting belief systems in general, and the tendency, or slippery slope toward cultism, some addressing racism and tolerance (although they were a little clumsy at times), and addresses ageism from seniors' perspective. Mine was quite the enjoyable journey binging this series.

To the folks who are upset or impatient with its pace, yes, its cadence is low key. That's the point. The story unfolds slowly and deliberately, with flashbacks and paced revealed unknowns. To the one reviewer who was upset at people speaking Spanish-that's kind of a thing in Argentina.

This series is well acted, and decently written and directed. J. K. Simmons and Sissy Spacek performed to their expected standards. I was impressed with the lesser-known actors, particularly Chai Hansen and Kiah McKirnan. Adam Bartley's sidetracking (and low key humor) provided balance. Julieta Zylberberg and Rocío Hernández offered insight into rural life in Argentina, and for those familiar, spoke with authentic dialects and pronunciations.

The ending left open opportunities and possibilities, as sci-fi (please know, this label is not to be misinterpreted--this series has no aliens or horror-related elements) is wont to do, subtly. I was left wanting for more, but was just slightly disappointed at the closing of the two plotlines.

I encourage anyone to decelerate and decompress with this gem of a series.

West Side Story (1961)

the sum and its parts

[5 March 2022]

I don't know what didn't work exactly, but the movie's overall rhythm, maybe, i.e., editing and direction?? The talent was there. The updated, more honest dialogue was there. The racial tension was accurate, sufficiently "gritty," real. Let me see if I can dissect to make more sense of my visceral response. Analysis paralysis ahead.

Bailando - The core numbers were mostly true to Jerome Robbins' choreography. The dancers were technically and artistically fine. This did not disappoint.

Cantando - all players actually sang, no need for Marni Nixon et al. The coloratura soprano worked for Zegler's Maria, and DuBose's Broadway strong pipes had real bite. Supporting cast all provided all stage level performances.

Musical numbers in general - "Mambo," "America," "Officer Krupke" stuck out for me.

The gym number did not deviate much from the original, nor should it have. And "America" taking to the streets struck a chord (pun intended).

The comedic relief of "Officer Krupke" - nice fun. There was an awkward pause at the number's opening, that missed the mark slightly for me, but thereafter, the boys really pulled it off. Props as well to the musical direction and staging. The number was re-timed with more comedically effective cadencing. Excellent ensemble.

"Cool" was reimagined-I enjoyed this. The tension between Tony and Riff was a necessary enhancement. And Mike Faist kinda effin' killed it.

"Quintet" was a bit over staged for me. Did the Puerto Rican women really need to be veiled in church and (later) portrayed as cleaning women (yea, this crawed in my throat, but perhaps that was the intent?). Spielberg apparently wished to portray each character in his/her element, I get that. The juxtaposed Maria and Jets walking in opposite directions under the building scaffolding was effective, though.

The moment when Chino helped Tony open the "gates to the rumble" was appropriately theatrical. Nice touch, Mr. Spielberg.

One number I could do without entirely (in any production) is "I feel Pretty." Pointless. But it gives Maria another opportunity to show off her singing voice, yep, appropriately superfluous.

Finally, to paraphrase Kamau Bell, "we must talk about the rape scene." The solidarity was refreshing, i.e., Anybodys and Graciela supported Anita, bookended by Veronica shutting slamming the culprits into submission. Inserting Anybodys into this scene layered the complexities of gender identity, empathy, and support against oppressors. The scene really could have been staged even uglier; thankfully, it was not. Take note that we who are triggered by such things have a special relationship this moment.

Música - the gym number opened with a real mambo band kickoff, and included a bandstand version of an instrumental mambo (interlude) with solo trumpet. (Wow so many connotations to the word, "mambo.") There was an actual 3/2 clavé that clicked off the opening of the "Puerto Rico" introductory verse into "America," when the Anita was pulling her laundry off the with her fellow Borinqéñas over neighborhood fire escapes. El velezolano, Gustavo Dúdamel was the conductor, so, kudos for infusing properly ethnic musicality. Most of the rest of the score and lyrics stayed true to Bernstein and Sondheim.

Bernardo - David Alvarez is Latino albeit a Quebecois version. He played the role uncompromisingly authentic. If George Chakiris' Bernardo was a boxer, I missed it in the many viewings over the years. Neither have strong voices, but decent enough. Chakiris in his prime was the better dancer, looser, more fluid higher hops, etc. Alvarez danced well, do not get me wrong, just didn't have that extra, je n'se croix. That said, Chakiris, is Greek. Alvarez' Bernardo was auténtico. He is also beefier than Chakiris was at the time. His accent and Spanish had a distinctly cubano inflections at times, however. (So, I just looked him up, and lo & behold, his folks were Cuban.) Still, he was not, nor was anyone for that matter, in bloody brown face. I enjoyed and value his performance. This takes nothing away from the talents of George Chakiris.

Riff - Mike Faist's edge and dancing were equal to Russ Tamblyn's modernized Mercutio, in most every way (perhaps he was even edgier in a contemporary sense). I did miss Russ' tumbling though. The bar scene, where Faist is buying the gun established his "street cred" and aptness in the role. He, Faist, has a nasaly speaking intonation, and slightly resembles John Mulaney in looks and New Yorker accent. Faist's Riff was a more familiar "white boy street gangster" than Tamblyn's (reflection of the filmmaking times, perhaps), and, more importantly, revealed consistent, simmering issues and tension with Tony. So yes, Faist played Riff a bit intense at times, which was a good thing. He and Alvarez were well cast as each other's counterparts.

Anita - Ariana DeBose = Rita Moreno on steroids. They both played their respective versions of Anita perfectly. DeBose was simply transcendent. And, she's unapologetically Afro Latina. She kicked Maria's (and by extension Zegler's) ass in "Stick to Your Own Kind." And she danced her ass off. Yea, haven't enough superlatives for her talented performance.

Chino - this was a real highlight and major character enhancement. The writers developed this role properly, and he was played superbly by Josh Andrés Rivera. The original Chino was a portrayed by a Pilipino, Jose de Vega. Yes, he killed Tony, but he did not steal any scene, much less the show. This was a casting and writing error in 1960, IMHO (sorry, Jose). Rivera's nerdy Chino evolved into the story's antihero, the story's Paris, stopping the show a couple of times.

Maria - Rachel Zegler was well cast. Her vocal range shone. She's not a strong, near operatic soprano, like Nixon (again, Zegler has more of a thinner, coloratura timbre), but I did not miss the Nixon's singing. Zegler acted well, and, like her castmates, spoke real Spanish, so there's that.

Tony - To be honest I didn't like Richard Beymer that much more than Ansel Elgort, but that's not really saying anything. Elgort grew on me as the movie progressed, and, perhaps it's my conditioning, but I envision Tony as being a more "alpha" character. After all, he once led the Jets. It is possible to have become more sensitive without losing one's command, his authority. My boomer conditioned sexism has consequences, I suppose. That said, the story revolves around the Romeo and Juliet characters, but the true stars are, and always have been Riff and Anita, and of course, finally, in this version, Chino.

Anybodies - Iris Means, They were perfect. The TG character was played true to form and additional dialogue brought issues into the 21st. Well done all.

Baby John - I admit, I missed Eliot Feld.

Veronica -the story's only major divergence, as an updated version to Ned Glass's doc. Rita Moreno played Doc's widow.

The Friar Laurence character is, traditionally, the story's balance, voice of reason, so I loved that they gave Rita "Somewhere" to sing. This is a difficult tune, intended for a strong voice with a wide range. Moreno, in her day, had a decent voice albeit with limited range. But she could belt within that range, during her prime. "Somewhere" should require the strength and technique of a Marni Nixon. However, Rita Moreno worked around her limitations by singing the tune somberly and within an apropos milieu.

Another hightlight: The Spanish lesson with Tony was a scream, "Yo key-air oh ess -tar con teego pair ah see ehm pray." Just as she played Anita perfectly in 1960, Rita Moreno's Veronica was equally sublime.

So, after tearing it apart, nothing about the movie's parts had gaping holes. Yet, the gestalt seemed to miss the mark, and I still don't know why. I viewed a second time, and was not so distracted, so perhaps my initial response was about timing, that is I was not in a proper headspace at the time.

Yet, I think, in the end, the movie did not need to be remade. I would have preferred a filming of a stage production. We've all seen the movie-give us the play.

Code 404 (2020–2022)

A Rare 10

[10/10 · 29 September 2021]

I feel the need to share that two geniuses shine in this show. Two veteran Brits, Stephen Graham and Daniel Mays simply kill in this series. Their juxtaposed London / Scouse accents are characters in themselves. For those who have followed these actors both over the years, these are not their typical dramatic roles (although Mays has a few more comedic characters in his resume).

Don't blink or you'll likely miss some of the many subtle witticisms in the impeccable writing. The first couple of episodes had quite a bit of fun with the Mays character's use of American idioms, resulting from his programmer being a yank, (Yea, we say "pissed" to mean "pissed off," not referencing that someone is "blitzed"), which annoys Graham, he who is usually associated with intense, gritty roles plays, to his wit's end. Stephen Graham is a sublime tight assed straight man. They are half hour episodes, but do not expect a typical sitcom; prepare for so much more. Amanda Payton, Michelle Greenidge, Rosie Cavelliero, and Anna Maxwell Martin support with grace, and what a pleasant surprise when Blackfish himself (Clive Russell) made an appearance as Mays' father.

Simply put, this show is a gem. Don't miss it if you have access to streamed seasons.

And her name is "Judith!"

Salamander (2012–2018)

Don't take it too seriously-is worthwhile journey into escapism

[16 August 2021]

I always feel the need to respond to critiques I feel unfair or perhaps to which I can contribute. Regarding coincidences-yes there are many; all roads seem to lead to Paul Gerardi or the Salamander crew or both. Are they unrealistic, perhaps n some cases, especially when sending Gerardi's daughter to the same boarding school as DeWolfe's granddaughter, then subsequently running into DeWolfe's daughter (and future lover) at a mixer. Does this make the series necessarily bad. IMHO--No. It's just a reminder that fluke, chance, luck are tenets of fiction, especially episodic programming, and part of storytelling lore. To those who disparage this, I ask: Have you ever read Dickens or Dostoyevsky or Shakespeare or any ancient mythology? How about Jackie Collins or Jacqueline Susanne? Raymond Chandler? Agatha Christie? Coincidence is a proven and useful literary or dramatic device.

To the schmuck or schmuckette who thinks Gerardi is somehow "uncool" in season 2 because in five years he's put on a few pounds-really? Fat shaming a middle aged man is no less offensive than were it aimed at a teenage girl. It reveals more about the insulter than the insulted.

For my thoughts on "Salamander:" It's a decent means for a weekend escape. It entertains, has a few over acted moments, but in 20 or so episodes that's to be expected. It also has some unlikely plotlines, e.g., the hacker geek and former intelligence cop presently living as devout monks who reside in a monastery that allows civilians (including the teenage daughter) to come and go freely. It has reliant conventions found in a light grit, lone wolf cop series, but is not burdened by over-the-top alpha male lead arrogance and entitlement ala Schwarzenegger, Bruce Willis, Dwayne Johnson, or even any of the Hemsworth brothers. The direction and cinematography transport viewers into Belgium and Africa. Architecture of centuries past against gorgeous landscapes screams Old Europe in the modern world. The first season weaves in historical, WWII, fiction, which I particularly find engaging.

Season 1: Mystery involves historical references and backdrop, mostly spoken in Flemish (Dutch) with light scatterings of Belgian French.

Season 2: Set more in current day Belgium and Africa with increased French peppered in with the Flemish. Story references moments of times past (the Salamander must continue to live on after all).

Both Seasons: Themes include familial loss, betrayal, corruption, revenge, political intrigue, integrity/truth/honor, grey areas that blur lines amid good and evil, between protagonist and antagonists.

In sum, "Salamander" is a character-driven mystery-thriller drama with storylines to include cops, secret societies, decades-long Fascism and oligarchic power structures, collusion, deception, and yes, coincidence.

Halston (2021)

Meh

[5/10 · 14 May 2021]

I don't know what I was expecting, but this wasn't it. The casting convinced me to watch the series, which was my primary disappointment. Ewan McGregor is usually a sure bet, especially when exploring regional characters, their quirks as well as dialects (Fargo was a delight). Halston was on the effete side, but McGregor's portrayal still felt like a caricature, particularly the melodramatic childhood memories. David Pittu, on the other hand brought authenticity to his role. Most of the remaining cast were fine, Krysta Rodriguez was a highlight for me. She didn't "do" Liza, but she is a musical theater talent in her own right, playing to her strengths. Bill Pullman always brings his "A" game and Gian Franco Rodriguez is to be kept an eye on, a talent indeed. I personally found scenes with Rebecca Dayan delightful.

The story's arc was entirely formulaic (could set your metaphoric watch), including the chestnut, yet accurate, Studio 54 "scene" and the revolving door of characters. Was Halston's life in itself a cliché? If so, why do we need the predictable mini-series. I'd like to think there is more to people than the tabloid versions we already know about.

All that said, the series was entertaining enough, worthy weekend escapism if you're not looking for anything too real or serious.

Update: Streaming on Amazon Prime is a documentary on the man. If you really want to get a feel for the man and the time, check this out.

Law & Order: Organized Crime (2021– )

Room for improvement, but will give it a chance...

[6/10 · 10 April 2021]

After he left SVU, we've had the good fortune of seeing Meloni's talents in a few places, which I've enjoyed; he's a solid actor. Perhaps it's me, but I'm tired of the stereotypical, alpha dog male cop lead. Stabler seems more overbearing than he used to be, which I find unfortunate. The PTS storyline is worth exploring, but he's overdoing it all just a bit.

To respond to the plagiarism charges, there's an adage, "there's no such thing as an old joke, just old people." I prefer to consider the "Third Man" reference and other swipes (I'm not much of a James Bond aficionado) as homages-giving some leeway to the writers. There's talented casting, newcomers and veterans alike. I have every confidence that Tamara Taylor is the right choice to straddle the legal lines of her role. Dylan McDermott, likewise, matches wits and skill. Poor Chazz Palminteri is cast as the same mafia Don guy again, but he does it well and demonstrates his versatility in a few fleeting moments where the script allows. The borderline spectrum hacker geek is becoming cliché, that could be adjusted. There is a concerted effort toward inclusion. I recommend that the writers explore/address the issues rather than whitewash and ignore them in some Pollyannaish fashion. The chicken and waffles moment was a start, but what an opportunity with the multicultural family and TG characters. I'd also like to see less formulaic scripting and predictable characters.

Hopefully, the franchise's newest installment will settle and grow.

Presumed Guilty (2018)

Could have been more enjoyable

[5/10 · 14 March 2021]

I always give foreign language programming time to establish the linguistic rhythm and account for the translation style. When it's a language with which I have some familiarity, Spanish in this case, falling into its groove and noticing regional dialects happens sooner than later. I was a little distracted in the first episodes when the lead character Jon, played by Miguel Ángel Muñoz, and his French girlfriend (Godeliv Van den Brandt) slipped between French and Spanish mid conversations (akin to "Spanglish" here in the U.S.) with a few unnecessary sentences in English thrown in. The remainder of the series was in local, regionalized Spanish.

The overall story and ending were not bad, although by episode 7 or so, "whodunnit" was becoming apparent. I am not sure how it was originally aired, but in stream/binge format I found this show belabored and taxing. In short, writers overwrote. Actors over acted. Perhaps some of that onus belongs in the series' direction. And every other conversation was some form of superfluous verbal conflict. The over the top barking among family members and their feuding rivals just overpowered the series' nicer qualities. Note to filmmakers, constant arguing, and toggled extreme emotions is not "deep." It's just amateur drama. Moreover, the episodes were not truncated into 45-55 minutes; they were over an hour each, not including previous and coming attractions. These all could have been cut to tolerable time frames.

Muñoz played the alpha male lead who dominated the first couple of episodes with two speeds, ANGRY and REALLY, REALLY ANGRY! The third episode opened up the storyline with more contributions from remaining characters, most of whom were more nuanced, but the scripting forced perpetual, unnecessary bickering even during inane or banal topics of conversation. A couple of times I blurted out in belly laugh, one time in particular sticks in mind, when Javier (Eduardo Rosa) stormed, turned, then pounded on a table (one of the latter episodes). In fairness, Rosa had better moments throughout the series-perhaps I was just getting tired.

So, for the good: lovely cinematography that explored and exploited the natural rolling landscapes of Basque Countryside and its seascape cliffs. Again, the story had promise; it was just over scripted. Some worthy acting threaded and peppered each episode. And, it took me out of my COVID head space most of this weekend.

Prodigal Son (2019–2021)

Thank you, UK

[8/10 · 3 March 2021]

According to some of my fellow IMDB reviewers, this second season is apparently radically PC. I had to revisit the synopses and still am not clear on this perspective, but likely this take is because whatever so called "PC" stance(s) have been integrated in plotlines are not really politically correct as much as just plain ol' "correct," which tends to upset those who are generally not.

So ignoring that, I love Michael Sheen's and Bellamy Young's camp, Lou Diamond Phillips' restraint as both Aurora Perrineau and Frank Harts deliver solid performances. The storylines are meant to be a bit OTT, yet they work. Yes, it's reminiscent of Hannibal, but that's not necessarily a bad thing. Subgenres are a thing.

The sister role played by Halston Sage, is a bit underdeveloped; she comes of dingy and rather silly at times, which I find distracting. I've seen Tom Payne in a few roles now, mostly in his native English environment. He's another successful Brit transplant, along with Welshman Sheen, that makes watching US network television enjoyable. Keiko Agena steals every scene--she's hilarious.

The surprise appearance of (Scot) Alan Cumming at the end of the "Face Value" episode, delighted as he matched the tongue in cheek performance as the posh, English Europol investigator, Simon Hoxley was just fun. Fellow Welshwoman, Catherine Zeta Jones, also makes an appearance, making all the UK well-represented. Yes, the stories are at times predictable, but the cast carries the show (with the one exception).

This show is meant to be playful. Just go with it.

I Care a Lot (2020)

Yes, It's Dark Satire

[5/10 · 1 March 2021]

For all those trolling and panning the movie, let's be fair. It's not the "worst movie ever." Nor is it brilliant by any stretch.

I found myself unimpressed by Rosamund Pike's portrayal, but am not convinced it was her acting as much as the script and her character's role. That said, most everyone else I the film seemed to deliver their lines without making me cringe. Peter Dinklage and Dianne Wiest were tastefully campy and villainous as the quasi protagonists. The girlfriend, played by Eiza González, was a believable performance. However, as the antagonist, Pike was detached and over the top. A few of her lines angered me a little, for e.g., when you have misbehaved badly, and are deservedly called a pejorative, albeit a chauvinistic one, you should never appropriate faux outrage and cry sexism. As an older woman, I would have called her a B too. Also, the car escape was a bit nonsensical as was the subsequent kidnapping and retaliation of Dinklage's character.

Now for the worthy: This film is a statement on capitalism, greed, senior abuse, and can be personal for some of us who approach the vulnerable age for whom unscrupulous guardianship and elder care is an uncomfortable possibility. I was a little pissed that Dinklage's character acquiesced, but upon reflection, that would not have been farfetched and consistent with the characters' inclinations. In the end, we're conditioned to film endings filled with righteous indignation and retribution, i.e., the Hollywood ending. "I Care a Lot" provided this satisfaction. It reminded me a little of "The Player" in the way the film kind of turned into itself. I would not likely watch it again, but it is not worth all the contempt either.

Clarice (2021)

It Has Potential

[7/10 · 28 February 2021]

Three episodes in and this show is shaping up. Despite the clichéd characters and semi-predictable storylines, this show is another example of raised standards in network (broadcast) television (thank you cable and streaming channels). I watched "Criminal Minds," but from that show forward I've rolled my eyes whenever profilers' assessments are presumed to be results of an exact science and therefore always accurate, all while these profiles drive the scripts. This show allows for latitude in Clarice's erroneous assertions as she is establishing the field (BAU) and she is allowed errors for being a young agent as well. Rebecca Breeds certainly has the Appalachian character down-another Aussie playing a regionalized American better than many who were born here. Breeds continues to impress me with her performances.

I still have hopes that this show becomes more of an ensemble cast rather that the "Clarice show." I hope the writers lighten up and allow all the characters to grow, evolve with depth. Right now, they remain one dimensional and, to be redundant, obvious and predictable. I'd really like to see more out of Kal Penn's character, Tripathi, simply because he's a wasted talent and resource thus far. Lucca De Oliveira's Esquivel supports Clarice's character and sets her up as contrasting perspective (foil) to expose the "real" truths as only Clarice can reveal. He does not disappoint as a young actor. Michael Cudlitz's role as the stereotyped A-hole boss has (again) predictably softened, ever-so-slightly, in his demeanor and will hopefully become less of an oppositional force to the revered Clarice. I anticipate that this will be the show's trajectory. Shawn Doyle reliably performs well, and, like Penn, could serve the series well were given the opportunity. Seriously, why waste a bench like this?

What unifies each episode into cohesive drama is Jeff Russo's score, which combines synthesized effects with minimalist melodic lines to enhance show's intended eeriness. The scores are intuitive and effective.

A final note---comparing versions and spinoffs is unavoidable. I agree with the comment regarding Mads Mikkelsen's "Hannibal." That show had a less prescribed atmosphere and scripts. And it captivated its audience each week. "Clarice" does not equal these measures, but this show is her perspective, not Hannibal's. And, in the end it's still a cop show, FWIW. Hannibal did eventually fizzle, likely in part because it's difficult to maintain that level of intensity over time.

The Way We Were (1973)

Had to be there

[5/10 · 23 February 2021]

"What's going on?" I asked. She was a good big sister and gave me the history lesson after we got home from the theater.

I was 13-14 or so. Streisand and Redford were hot tix items at the time. I knew then it was a sappy love story with some socio political backstories that seemed disjointed, but important for context to my pubescent brain. Sis connected those contextual dots.

A half century later, I do not hold The Way We Were to the standards of today yet comparing is unavoidable. Revisiting this film this evening confirmed that it was exactly what we could, and did, expect for its time. The politics and McCarthy hearings were grossly underdeveloped and some choppy editing caused pronounced continuity issues in several scenes. Streisand was borderline nauseating in her lovesick melodramatic portrayal, but that was a large part what audiences expected in the 1970s. To be fair, more substantive acting and direction would not likely have been well received in 1973-apt metaphor for Hubbell's film writing and watered-down scripts during the blacklist era. Conversely, Redford was better than I remembered, what a talent. The script was clearly edited to bits, which in this revisiting, I find sad. This film could have been so much better were it made today.

According to Ben Mankowitz, Trumbo and Coppola had a hand in some of the writing, but word is that many substantive contributions were cut out, likely the cause of some of those awkward cinematic moments. Trumbo, of course, likely would have imparted meaty social commentary, beyond the Katie character's relentless social conscience. I also remembered the ending as being abrupt with much too much compacted into a few lines about the couple's time apart and future life trajectories. This viewing did not change that perception-another missed opportunity for a better developed story arc. Memory often imprints reaction rather than specifics. Such was the case with The Way We Were. In short, meh. Still worth listening to Barbra sing the theme song, though.

Little Fires Everywhere (2020)

Why all the hate?

[7/10 · 15 February 2021]

I'm a few episodes in and decided to take a peak at reviews--this was likely a mistake, but I felt the need to defend Kerry Washington and address the perspectives of these reviews.

I've not had an opinion on Washington, either way, in the past. She's always delivered believable performances, can carry a tune (Prom), but has never "wow'd" me. That's not important, though. She is a quality actor.

But when I read all this vitriol with little note on how Reese Witherspoon is the same character as she frequently plays, i.e., entitled, uptight, suburban white woman, and her demeanor and conduct. Witherspoon's demeanor is meant to offset and contrast Washington's. It is a white/black differential in perspectives, sorry folks.

The comments about Washington's facial expressions--really!? To many of us, they spoke our reality, our truth. For example, when offered a position as a maid, a raised eyebrow and cold stare is restraint. If you found it offensive, you need to check your implicit biases.

Another e.g., the scene with the rent-a-cop depicted the very real, divergent experiences and relationships with law enforcement. Washington's fear and guard rails is authentic and a stark contrast to the entitlement of the suburban white family. The point of the scene was to highlight this. Similarly, tracking Pearl's academic acumen reflects another sociological ill that the show attempted to demonstrate, but that seems to be missed (willfully ignored) by some.

NOTE: When you comment on a POC's behaviors, expressions, mannerisms, especially in comparison with those of the dominant norm you have demonstrated bias. Code words include: "doesn't fit," angry, facial expressions, attitude, unprofessional, behaviorisms.

And yes, a privileged suburban white woman can be a villain. Masking "good intentions" in superficial, disingenuous conduct and being lauded and excused for any nefarious acts on their part is the point. This latitude in perception is not reciprocated for POCs.

The Equalizer: The Equalizer (2021) Season 1, Episode 1

Check Your Biases

[8/10 · 14 February 2021]

I truly believe that judging a series by its first episode is entirely unfair. So much of a first script is designed to establish premise and character. I watched this because I remember Edward Woodward's gravitas and Denzel's intensity to the lead role--so my expectations were not without my own implicit biases. These two interpretations preview that the Robert/Robin McCall character is malleable, versatile, with nuanced competency. Queen Latifah was more impressive than I believe she has been credited for. She is not YET a polished actor, but is a natural and possesses the talent to expand the role. I look forward to watching her develop this character.

The writing was predictable, but in fairness, network TV requires this. I've certainly seen worse. Network TV also needs more POC representation in primary characters and executive, behind-the-scene roles. This show honors the former with a quality, inclusive cast. Producing and directing will hopefully follow suit.

Writing: the deep fake thing--a bit corny. The remaining storyline wasn't bad, though. Again, watching families of color portrayed as realistic humans, not embarrassing caricatures, was ever so refreshing. I'm always holding my breath when POCs are written by non-POCs. I suspect this is in large part Queen Latifah's contribution, the authenticity. I've always enjoyed Liza Lapira and her performance here did not disappoint. Adam Goldberg was himself, but he does it so well! Chris Noth, as well, honors the show with a solid performance.

Give this show the opportunity and room to grow--it has real potential.

Blue Bloods: The New Normal (2021) Season 11, Episode 6

Enough

[1/10 · 6 February 2021]

The show has always been right of center. But lately, its trend is toward infantile both sidesism. Justifying Selleck's Frank character's penchant with militarized policing has turned from annoying to offensive. Quitting a job is not the same as deserting a post in the armed forces. And equitability in bail requirements does not always lead to endangering citizens. In fact, incarcerating disenfranchised populations who violate laws for survival reasons is the vicious cycle. Crime is the symptom; poverty is the cause. Similarly, the "woke" (pejorative used by Jamie) approach to using trained mental health or social worker professionals in situations having a myopic effect and vision rationalizes existing police policies that encourage brutality and disproportionately endangers the lives of people of color.

The show screams of cognitive dissonance. Blue Bloods is not deep. It is in fact embarrassingly shallow and inaccurate. I used to watch it as an innocuous escape, despite any philosophical differences I may have had with it. No longer.

Young Wallander (2020–2022)

It's ok

[8/10 · 6 September 2020]

The two versions of the original character, Swedish & English, took me a few moments to negotiate, but after accepting each as its own entity, I valued both. So, yes setting details distract me.

But I do get over them. This series mixes all kinds of crossover issues. Young Wallander is set in contemporary Sweden (Henriksson would have been of age in the 1960s, Branaugh on the 80s, but I digress again. Although set in Malmö, this series is clearly a London vibe, (despite Pälsson's accent). Then there was a Scot, then an Irishman, I started to get dizzy.

But again, I got over it. The story kept me engaged. Some was predictable but I'm old & watch many of these shows. The actors carried me on the journey, as did the the direction & cinematography. Weaving in threads of Mankell's story, e.g., the father's artwork was a nice touch.

I accept this series for its own merit. It has potential for a few seasons, which I will eagerly view.

Young Wallander: Episode 3 (2020) Season 1, Episode 3

I will watch the next installment

[8/10 · 6 September 2020]

The two versions of the original character, Swedish & English, took me a few moments to negotiate, but after accepting each as its own entity, I valued both. So, yes setting details distract me.

But I do get over them. This series mixes all kinds of crossover issues. Young Wallander is set in contemporary Sweden (Henriksson would have been of age in the 1960s, Branaugh on the 70s, but I digress again. Although set in Malmö, this series is clearly a London vibe, (despite Pälsson's accent). Then there was a Scot, then an Irishman, I started to get dizzy.

But again, I got over it. The story kept me engaged. Some was predictable but I'm old & watch many of these shows. The actors carried me on the journey, as did the the direction & cinematography. Weaving in threads of Mankell's story, e.g., the father's artwork was a nice touch.

I accept this series on its own merit. It has potential for a few seasons, which I will eagerly view.