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Reviews
Skyfall (2012)
so tiresome, can't anyone plot an action movie?
The many reviews here have cataloged the glaring weakness of this movie--so I'll just add my own personal observations
Score: the score of this movie was constantly obtrusive and shared many similarities with the Batman Begins score.
Super Villain: How long will it take Hollywood to realize super villains who think of everything--and I mean everything--suck the drama out of movies? Judy Dench as Bond girl: yikes.
Action sequences being monitored by tech analysts: This was somewhat camp-ily acceptable in a soap opera like "24", but now it has become a Hollywood big budget stable.
Pre-credit action sequence overwhelming the entire movie: check! Disolute super hero--err--super agent--going on a bender" check!
The New Adventures of Old Christine (2006)
likable characters, so so writing
This show is a mixed bag, its likable characters managing to prop up its dramatic emptiness an often flat writing.Julia Louis-Dreyfus has aged well, and still can steal a scene with smile or eye roll. Her character here is raunchier than the refined Elaine of Seinfed days. Hamish Linklater and Clark Gregg provide likable foils as Christine's brother and ex-husband. Both have a knack for allowing space for Dreyfus's out sized overacting. The other characters are less successful. Emily Rutherfurd'a new Christine character is somewhat undefined and largely unlikeable. I would have thought the show would center around a counterpoint of new and old Christine, but new Chistine seldom interacts with Louis-Dreyfus at all, and often seems a dramatic after thought. Wanda Sykes plays old Chistine's friend and business associate. Her classic black sitcom stylings seem a little out of place in this white bread comedy. But she gets good lines and proves a likable--if not lovable-- curmudgeon. Its not Seinfeld, but its not bad either.
Columbo: Columbo Likes the Nightlife (2003)
out with a whimper
I believe this was the last episode in the Columbo franchise, and it is by far one the weakest. Aging Peter Falk--making an uneasy transition form dithering to doddering--is still up to the task, but the script and direction neglect the singular appeal of the franchise: the psychological entwining of murderer and constable. Otherwise, the ploy of placing grandfatherly Columbo in the Los Angeles rave scene is largely unsuccessful. The emphasis on noisy club venues negates Falks talent for conversational nuance and exasperating pauses. I see a missed opportunity here--pitting the indefatigable Columbo against a distracted 90's valley girl would have made a worthy series finale.