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American Gods (2017)
Season Two is a shame.
I enjoyed the first season of the show as it mostly followed the excellent narrative and themes of the Neil Gaiman novel. The second season obviously is left with a lot of story to fill for time's sake, so the plot is interrupted with a lot of political propaganda that does nothing to forward the narrative, characters or interest. While the novel explored a variety of themes, (and some political) the heavy-handedness used in the last few episodes I've watched of season two not only clash jarringly with where the story started, it's drowning the themes the novel was written on.
I really wish Hollywood could save its preaching for fundraisers and rallies. The source material for this show was solid enough to carry the show. I had been looking forward to how the show would wrap things up, but sadly I don't care very much now.
Fyre (2019)
Terrifying in a way
I remember reading about this music festival when it initially collapsed, but dismissed it as just another millenial "it" event that flopped. Watching it all laid out in this documentary actually frightened me about the mentality that not only went into conceiving and selling this thing, but the audience that bought in.
This is cleanly put together and capably illustrates how this went from a big sales pitch to a disaster. What I found lacking in this documentary is a closer look at Billy McFarland. Several interviews detail the charisma and fundraising power this guy had, but the clips of him show a twitchy, nervous and awkward seeming man trying to hide behind a too-bright smile. How did this guy snow so many investors into this thing? How did a hip-hop artist become such a key figure in organizing a massive business venture? How does a music festival with pretty low-level talent and a few models in bikinis drag so many trust-fund babies out to a poorly-detailed event?
McFarland's claim to fame seems to be a dressed-up credit card for self-absorbed club rats. Somehow he parleyed this into a fountain of investor cash no matter how ludicrous and vague his ideas were. Have we all become so immensely shallow and foolish that a credit card that "clinks" on a bar buys a barely-adult man entrepreneurial carte blanche? I came away wanting to know more, but what the documentary demonstrates is frightening enough. It's hard to find sympathy for anyone involved in the Fyre festival because - on paper - it is the kind of thing an 8th grader might concoct in a classroom daydream. It would take an amazing amount of vanity and hubris for anyone to stake their money or careers on this thing. I hope seeing it all set out in this movie has an impact on younger viewers.
The Punisher (2017)
Season 1 is great, Season 2 is a significant step down.
I loved this series after I finished the first season. Bernthal is intense on the level of a young Deniro, perfect for the role. The writing was solid with a plausible and interesting plot, good acting all around and a nice mix of conflict within a guy who ultimately wants to do good. The second series really was a step down in writing. The ludicrous character decisions and motivations became too much for me to stomach even in the context of a comic book story. The character "Amy" was added - I guess - for some levity, but I found her hyper-millennial act extremely annoying. On top of that, the actress looks like a woman in her mid-20s, but they treat the character as if she's 16 or so...which is odd. I did enjoy the character of John Pilgrim, which was performed wonderfully by Josh Stewart. Really, the acting is what saved the 2nd season for me as it's mostly very good. As for the story, it's definitely full of action and gunplay. As most action-based modern series, this season of the show ramps up the sadism and brutality to cover for weak plot lines. I felt it kind of limped into the ending. I will be surprised if this one makes it another season. (At least on Netflix) If it does resurface, I hope it retains Bernthal... who has played this role far above any of the many others to attempt it. I also hope they invest in better writers.
Cobra Kai (2018)
A lot of fun...for the most part.
This show was pretty much what you would expect it to be. Just like The Karate Kid, it was mostly fun and the actors and writers let it run that way. I really enjoyed Zabka's reprisal of Johnny. You end up liking the guy and even maybe rooting him on. When the series decided to have a finger-wagging, responsible Disney ending, that's where it went wrong for me. The rapid and dramatic changes in many of the characters that brought season one to its conclusion were disappointing and the direction suggested for a second season is predictable and boring. I enjoyed it, but I'm not sure it left me wanting more.
Hot Tub Time Machine (2010)
Heartless
I'm not sure when it started, but the mix of feigned airheaded and highly sarcastic 'humor' dominating most comedy films today is wearing thin on me. It's laid on so thick in Hot Tub Time Machine, I almost want to give the creators the benefit of the doubt for a scathing parody of the phenomenon, but I can't quite make myself believe it.
The movie is a fairly cookie cutter back-in-time affair, but unlike most comedy in that vein, this film seems to have a real contempt for its subject matter. Rather than seeking to establish a setting realistic to the 80s era it unfolds in, Hot Tub Time Machine settles for a few hair band soundtrack standards, a few token costume nods and a handful of visual references to the movies of the era. However, there is nothing of the feeling of the time as the film continues along the usual modern trend of screamed obscenity and low brow physical humor. The actors are irrelevant as their cardboard cutout characters never get developed to any significant degree. The story, even if written in parody, is a limp cliché from start to finish. The jokes are tired. Even the soundtrack plays like a 80s party hits template.
This movie ultimately has the feel of a bad idea, badly executed that got reluctantly tossed out for scrap DVD sales. As someone who grew up in the 80s, I didn't find it even tokenly fun as it really seems to despise its subject matter. On its own merit, it doesn't even measure as a half-hearted attempt.
Star Trek (2009)
Certainly a Star Trek for the present age.
After viewing this reboot of the original series, I was confused at the critical reaction it has received in the press. After re-reading much of it now, I clearly see the critics tend toward judging the intent of the movie rather than the film itself. In this light, the glowing reviews are perhaps understandable. I, however, left disappointed.
The original Star Trek series was a hokie bit of 60s era sci-fi, however in the midst of the green body paint and plastic ears, a certain amount of dignity and chemistry came to fore. Where circumstances may prove comedically ridiculous, clever social, psychological and even political ideas were played with. Character and relationships were played out with compelling seriousness. Altogether, it created a phenomenon which survived several decades. As in all things, Hollywood has polished up a naturally dying name and slapped it onto a new package. The new era of entertainment is a study in mimicry and this new Trek proves no different. Like the karaoke of American Idol, the words are already written. The tune is familiar. The substance that made the hit, however, is nowhere in evidence.
Abrams' Trek dishes up a series of two-dimensional paint-by-numbers primers on the events that led Spock and Kirk towards their respective destinies. The story never digs. Everything lies lightly on the surface as the movie blows through a scattered plot at warp speed. The connection to the franchise's history is treated so tongue-in-cheek almost to seem parody at times. The actors play their familiar parts in a confusing mix of near impersonation (in the case of Dr. McCoy and Scotty) to bland indifference (as in the case of Kirk). Where character development is neglected, cliché rules the day as Kirk becomes the familiar rebel without a cause figure and the typically soft spoken figure of Uhura is redrawn as a modern day stereotypical rough and tough female. Although Eric Bana plays the Romulan villain Nero with a great deal of evident pain and anger, his back story of obsession is tossed into the mix almost as an afterthought and the film speeds to its conclusion with little connection to anything beyond fast edits, a lot of special effects and a zinger-filled mix of melodramatic and comedic dialog that would do a soap opera credit. While I realize the creators were dealing with an ambitious redrawing, much time and effort wasted on manufactured drama such as the interlude on the ice planet or Scotty's waterpipe ordeal could have better been spent establishing the relationships and characters which were the backbone of the original series, which, let's face it...they've branded themselves with.
Ultimately, however, the critics are right. This will sell. This will achieve what it sets out to do...deliver a Star Trek palatable to today's audience. That they have proved successful is a sad note for a franchise which always looked to the future with hope.
Quantum of Solace (2008)
Bad direction for Bond
Although loaded to concussive levels with rapid-fire edits, explosions and high impact action, the nod to story and character Casino Royale so effectively returned to the Bond series is mostly absent. Though it keeps a hard edge throughout, the implied vengeful, out of control direction Bond was pushing towards as Casino ended is never effectively communicated in Quantum of Solace. Daniel Craig makes another good turn as 007, providing a depth of character the film's writing doesn't deserve. The plot is vague and meandering, the villains are substance-less and dull and the evolution of the Bond character misses a chance to effectively detail the eventual birth of the super spy, choosing rather to wallow in dizzy, witless brutality with few glimpses of the well played humor and charm of Casino. The supporting cast is adequate, though forgettable. While a fun ride in terms of pure action, Quantum never feels like much of anything resembling a Bond film. Rather than push the character towards the witty, charming and deadly character Casino Royale was carefully molding, we step backwards into Steven Seagal territory. Many are comparing this movie to the Bourne trilogy, but even Bourne took enough time from the whirling storm of fists and edits to put together a cohesive story and characters. If this new Bond seeks to imitate Bourne, it has some work to do.
The Fountain (2006)
Beautiful and creative
After reading several lukewarm to negative reviews of this movie, it was several months before I finally saw The Fountain. I was pleasantly surprised. It is a beautiful, ambitious and legitimately moving piece of work. It takes quite an interesting direction approaching the subject of grief and does so with an amazing lack of pretentiousness. Hugh Jackman does a magnificent job of carrying the tone of this almost impressionistic take on the complexity of dealing with extreme emotions. It really is a gorgeous film which will leave you reflecting long after the credits roll. It is much more human and far less cynical than Aronofsky's other works and I would have to say it currently rates as his best. As many reviews pointed out, the movie has more than its share of flaws, but as with most worthwhile creations, the flaws often become part of the beauty. As with its protagonist, the movie seems to unconsciously sense the ugliness of perfection and in the end, it realizes strength in its shortcomings.
I highly recommend this movie. In a film industry era consumed with assembly line production, it's a rare treat to see such a creative and ambitious piece of film-making outside of the art house world.
9/10.
Transformers (2007)
That was one expensive bore fest
I couldn't even make it through this movie. It has wonderful effects, is very visually intense, I have little doubt in a good theater sound environment it would melt your brain from the overload of stimulation. Myself, I watched it on the small screen, and I was bored to tears.
The characters are all thin, poorly developed and generally uninteresting. The plot barely keeps its head above the clumsy pile of bad comedy relief, teen angst and Mtv-style geek sexuality. The robots are impressive, though soulless. Michael Bay continues to show outside of blowing things up, he's not worth much. It makes for a loud roller-coaster ride of special effects and explosions, but it sorely lacking in story, character development, plot development or anything else remotely interesting.
When the two most compelling elements of your movie are a chattering boom-box and a fake- tanned hard-body, you haven't got much to fill the drawn out dimensions this beast took up. I gave it an hour and a half. Beyond that, I couldn't even bring myself to follow along.