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Reviews, Television

BILLIONS (SEASON 4) – TV REVIEW – MORE MACHIAVELLIAN TV MAYHEM!

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BILLIONS (SEASON 4) – SHOWTIME TV REVIEW

Created by: Brian Koppelman, David Levien, Andrew Ross Sorkin

Writers: Brian Koppelman, David Levien, Andrew Ross Sorkin, Lenore Zion, Michael Russell Gunn, Adam R. Perlman, Alice O’Neill etc.

Directors: Colin Bucksey, Adam Bernstein, Neil Burger, Matthew McLoota, Jessica Yu, Laurie Collyer, Naomi Geraghty

Starring: Paul Giamatti, Damian Lewis, Maggie Siff, Malin Åkerman, Toby Leonard Moore, David Costabile, Condola Rashād, Asia Kate Dillon, Jeffrey DeMunn, John Malkovich, Kelly Aucoin, Stephen Kunken, Nina Arianda, Kevin Pollak, Clancy Brown etc.

Distributor: Showtime Network

**CONTAIN SPOILERS of BILLIONS – SEASONS 1 – 3**

One of the great sober pleasures in life and culture is finding a great television show and digging into it from the start. Don’t get me wrong, I love doing catch-up binges of programmes I missed first time. Indeed, I recently just finished imbibing seven mercurial seasons of the amazing Mad Men. Yet, having watched it from the outset, Billions, has now become a high priority watch for me every year.

Season 4 once again delivers all that I want from my Billions fixation. If you haven’t seen it then it is essentially about spoilt, rich narcissists at the higher echelons of American justice and business trying to destroy each other. The first three seasons found Paul Giamatti’s legal demon battling Damian Lewis’ financial titan. It’s good old fashioned revenge drama, with a reliance on proper plotting, sharp dialogue and an amazing ensemble cast.

The latest season begins with amazingly, Chuck and Bobby, enjoying a kind of peace, assisting each other against various foes. All the same themes are in place with greed and power destroying love and trust, except, if I’m not mistaken, the narrative beats are even faster-paced and brutal. Amidst the back-stabbing dramatics though the writers do find some time for wicked humour; especially in the very funny episodes, Chickentown and American Champion.

But the main reason for watching is to experience these corporate and legal vipers bite each others faces off. Indeed, the devious plots that are set in motion are quite breath-taking. The writing is as twisted as a corkscrew plunged into the forehead. Moreover, the cast just relish playing these characters with Lewis, Giamatti, Maggie Siff and David “Wags” Constabile regularly stealing scenes from each other.

As Bobby’s 4 nemesis, Taylor Mason, Asia Kate Dillon was also brilliant. The sub-plot involving her fathers’ (Kevin Pollak) start-up technology firm was especially strong, proving that mixing family and business relationships are doomed in this world. I’d also say Chuck’s battle with Attorney General Jock Jeffcoate (Clancy Brown), was arguably a major highlight of a very strong season. Perhaps John Malkovich’s Russian Oligarch could have been given more to do, but overall, the Machiavellian machinations of Billions had me gripped from start to finish. It was, literally, the absolute business!

Mark: 9.5 out of 11

Comedy, Reviews, Television

GHOSTS (2019) – BBC TV REVIEW

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GHOSTS (2019) – BBC TV REVIEW

Created and written by: Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard & Ben Willibond

Directed by: Tom Kingsley

Producer: Matthew Mulot

Starring: Lolly Adefope, Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Laurence Rickard, Charlotte Ritchie, Kiell Smith-Bynoe, Ben Willibond, Katy Wix etc.

Original Network: Six Episodes on BBC1

**MAY CONTAIN SPOILERS**

After the horror viewing that was Chernobyl (2019), police corruption in Line of Duty (2019), and general death and drama of Game of Thrones (2019), I decided I needed a bit of a laugh. So, I watched six lovely episodes of the hilarious BBC comedy show called Ghosts (2019). Not to say there isn’t death in the show; after all it is about ghosts! But it’s a fantasy comedy that is so likeable and full of daft characters that you cannot help but feel your spirits lifted after watching it.

The story concerns a late twenty-something couple, Alison (Charlotte Ritchie) and Mike (Kiell Smith-Bynoe), who, like many people in the city are financially stretched and looking for somewhere to live. With property prices high and a severe lack of wealth, all they can afford is the equivalent to an urban rabbit hutch. Then, suddenly, Alison inherits a gigantic house in the country from a forgotten Aunt and fortune seems to shine on them. But it’s not all it is cracked up to be. The house is a crumbling mess of a |”money pit”; plus they have some spectral “guests” who do not want them there.

Ghosts – Picture Shows: Lady Button (MARTHA HOWE-DOUGLAS), The Captain (BEN WILLBOND), Julian (SIMON FARNABY), Kitty (LOLLY ADEFOPE), Mary (KATY WIX), Thomas Thorne (MAT BAYNTON) – (C) Button Hall Productions – Photographer: Mark Johnson

Joining the very likable couple is a tremendous ensemble of gifted comedy actors who portray multiple characters, notably the ghosts who died and are consequently trapped on the property. The sheer number of characters means they all vie for laughs; however, the writing is witty and fast-paced with a succession of verbal, physical and slapstick humour. There are some particularly inventive running gags and I especially loved the ghosts from the plague pit in the basement, who happen to be plumbing experts due to close proximity to the boiler. Other characters veer toward stereotypes, notably Simon Farnaby’s sleazy, trouser-less MP, yet, the brilliant comedic performances breathe energy and life into the all the ghostly incarnations.

Comedic ghost stories are hardly the most original template. Indeed, I grew up watching and enjoying the very silly Rentaghost (1976 – 1984). Plus, films such as: Blithe Spirit (1945), Ghostbusters (1984) and Beetlejuice (1988), all use the supernatural within humorous scenarios. So, if you want similar entertainment I’m NOT afraid to say in terms of the head-spinning rate of gags and funny situations, Ghosts, is frighteningly good.

Mark: 9 out of 11

Cinema, New Releases, Reviews

THE CINEMA FIX PRESENTS: JUNE MOVIE ROUND-UP INCLUDING – MA (2019); GODZILLA 2 (2019); EXTREMELY WICKED. . . (2019) ETC.

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CINEMA FIX PRESENTS: JUNE MOVIE REVIEW ROUND-UP

After the relative cinematic highs of Avengers: Endgame (2019) and John Wick 3 (2019), I’ve been choosing my battles in regard to the big budget blockbuster movies currently released at the cinema. I’m sure they are very good but I have swerved Aladdin (2019) and Rocketman (2019) as they did not appeal to me.

Anyway, I’ve mixed up some of my film viewing choices so far this month with big and lower budget films at the cinema and via online streaming platforms. Here are some mini-reviews with the usual marks out of eleven.

**MAY CONTAIN SPOILERS**

MA (2019) – ODEON CINEMA

Like Isabelle Huppert in Greta (2019), another amazing actress takes on the role of a disturbed matriarch figure with terrifying aplomb. Indeed, Octavia Spencer is absolutely brilliant in her role as the seemingly kind but ultimately vicious avenging angel, Sue Ann Ellington A.K.A, ‘Ma.’ The story begins with a casual encounter between some teenagers and Sue Ann. They are after illicit alcohol and somewhere to party. What starts innocently then spirals into a full-on psychological horror movie by the end.

The script slowly builds the tension as Ma’s plan carefully moves from convivial host to the unhinged nutter. I liked that they developed Ma’s character motivation beyond the standard cardboard cut-out pantomime villain. Plus, the levels of gore and suspense were darkly enjoyable. Thematically, the film has some familiar genre tropes such as: the new girl trying to fit in; rebellious teens being taught a lesson; past events creating a vengeful monster; and an element of Munchausen’s by proxy etc. However, these aren’t really developed and are window-dressing to the twisted joy of watching Octavia Spencer go into full “bunny boiler” mode and then some!!

Mark: 8 out of 11

GODZILLA 2: KING OF THE MONSTERS (2019) – ODEON CINEMA

Despite really enjoying King Kong: Skull Island (2017) I wasn’t bothered about watching this sequel to the recent Godzilla (2014), because Godzilla/Gojira is a fundamentally dull creature. I get that it’s a cultural phenomenon in Japan; one that reflects the horror of nuclear devastation; however, on the big screen it’s usually a lumbering lizard which, while presenting a strong visual image, is essentially all about destruction. The first film I found pretty boring with too little of Godzilla to make it very exciting. Thankfully, the sequel goes monster mad and you get four fantastic beasts for your money.

Thus, for sheer energy and the appearances of Godzilla, Mothra, Rodan and Ghidorah, all battling each other at various times, Michael Dougherty and his production team deserve some credit. However, the mistake they made was trying to give the story an interesting human angle. While the cast, including Kyle Chandler, Vera Farmiga and Millie Bobby Brown, did their best as the dysfunctional nuclear family, they were poorly established, creating an empathy vacuum that just got in the way of the monster stuff. Overall, it’s clumsy B-movie narrative is blown away by the impressive visuals, in a mostly waste-of-budget and ultimately forgettable cinema experience.

Mark: 6 out of 11

EXTREMELY WICKED, SHOCKINGLY EVIL AND VILE (2019) – SKY CINEMA

If you have read or seen anything about the life of infamous serial-killer Ted Bundy, then this psychological drama doesn’t necessarily tell you anything you do not know. Bundy terrorized an abundance of innocent victims across many of the States in America, for much of the 1970s. A conventionally attractive, intelligent and charming manipulator on the outside, he hid a venal desire to attack, assault and murder young women.

Bundy denied these attacks until the very last, as Joe Berlinger’s solid biopic shows Bundy’s actions and character from the perspective of his girlfriend, Elizabeth Kendall (Lily Collins). The film takes a while to kick into gear but when we get to the prison escapes and court cases then the horror of Bundy’s crimes really impacts. Zac Efron is a revelation as Bundy and he owns the screen with a performance of magnetic evil. The final chilling scene where Kendall confronts him through the glass is a particularly memorable exchange.

Mark: 7.5 out of 11

THE PERFECTION (2019) – NETFLIX

This horror film started if off brilliantly. It begins with two talented musicians (Alison Williams and Logan Browning) meeting and taking time out of their schedule to tour rural China. Suddenly, one of them is attacked by a flesh-eating virus and you think so far, so nasty! However, it soon undoes the excellent opening by descending into a non-sensical revenge story full of plot-holes. To be honest the themes exploring: #MeToo and #Time’sUp combined with a critique of toxic-svengali-masculinity were absolutely fascinating. It’s a shame the sub-Cronenberg narrative fell apart by the end, as the gory events unfold with little sense of empathy or logic. Indeed, I’m still baffled what any of it had to do with classical music!!

Mark: 5.5 out of 11

Reviews, Television

CHERNOBYL (2019) – HBO TV REVIEW

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CHERNOBYL (2019) – HBO TV REVIEW

Created and written by: Craig Mazin

Executive Producers: Craig Mazin, Carolyn Strauss, Jane Featherstone

Producer: Sanne Wohlenberg

Directed by: Johann Renck

Starring: Jared Harris, Stellan Skarsgard, Paul Ritter, Jessie Buckley, Emily Watson, Con O’Neill, Adrian Rawlins, Sam Troughton, Robert Emms, David Dencik, Ralph Ineson, Barry Keoghan etc.

Composer: Hildure Guonadottir

Cinematography: Jakob Ihre

**MAY CONTAIN SPOILERS**

The horror. The human error. The inhumane error. The terror. Meltdown during a safety test. Flaws in the system as ghosts envelop the machine. Science in a brave new world invents progress with which we venture into, only to find we are murdering ourselves.

The terrifying events which took place are chartered with grey, brutalist accuracy. Regular Soviet families live in proximity to a ticking time bomb; believing they are protected by the State. The State trusts the science. The science trusts men to follow nuclear procedures to the letter. But what of pride? What of targets? What price the desire to obsess and force a flawed system?

On that fateful day on 26th April 1986, the nuclear time-bomb exploded. Initially, it was believed it could be contained. The Soviet machine could handle the fallout. Heat. Water. Steam. Graphite. Fire. All conspire to create one of the biggest disasters ever perpetrated against nature.

The Chernobyl nuclear disaster is well documented but for years the alleged truth was covered up. Death toll rose but official statistics stayed low. Naked miners, radiation sickness, blood, pus and falling hair. Style and look was natural and under-stated. Verisimilitude only heightening the horror.

Johann Renck directs with steely commitment from an incredible Craig Mazin screenplay. Jared Harris, Stellen Stensgaard, Jessie Buckley and Emily Watson lead a stirling cast of formidable character actors. The attention to detail in the HBO production is second-to-none. Thankfully the vicarious fear is palpable and I am able to view such events in the comfort of my own home.

We did this to ourselves but it could have been worse. When will humanity learn that we will bring about our own judgement on Earth. The Scientists led by Valery Legazov and composite character, Ulana Khomyuk, fought at length to contain and prevent this ever happening again. Who really believes it won’t? There are approximately four hundred and fifty nuclear power plants in the world. The threat hangs over humanity like a cancer.

I was at school in April 1986. Just sixteen years old. I saw events on the news. Historical dramas such as Chernobyl make real the fear that was there at the time. The site is still poisoned. The exclusion zone remains two-thousand and six-hundred square metres; uninhabitable for twenty thousand year, according to an online source. This event teaches us to never take anything for granted. We have built our own gallows.

1986. Former Soviet Union. Ukraine. Pripyat. Chernobyl Nuclear Power Plant. Disaster. Recovery. Suppression. Lies. Liquidation. Death. Suicide. Exclusion.

The horror. The horror.

Mark: 10 out of 11

Reviews

SUNSHINE BLOGGER AWARD – A THANK YOU!

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SUNSHINE BLOGGER AWARD – A THANK YOU!

A massive thanks to Debbi from I Found It At The Movies for nominating my blog for the above award.

Ever since I started reviewing films, TV, life and other cultural stuff I have mainly done it for my own enjoyment. I also blog because I want to express my opinion on things I watch and maybe get a better understanding of what does or doesn’t work from a subjective and creative perspective.

Little did I know that years later I would have cultivated some fine online pen or keyboard pals, who love movies such as me. I’m not one for awards per se but in the spirit of community I would like to nominate eleven WordPress blogs which I also recommend people read if they get some time.

So, thanks Debbi for the Sunshine award thingy – here are some other blogs which I think are brilliant too:

  1. I Found It At The Movies
  2. Keith and the Movies
  3. Assholes Watching Movies
  4. Plain Simple Tom Reviews
  5. Robbins Realm Blog
  6. BC Movie Diary
  7. Cindy Bruchman
  8. Sam Simon
  9. CineMuse Films
  10. The Film Blog
  11. Jordan and Eddie (The Movie Guys)

So, thanks to all those who read the blog and thanks again to Debbi. Regards,
Paul

**If you would like to nominate a really good film blog, please let me know and I will follow them!**

Game of Thrones, Reviews, Television

GAME OF THRONES – SEASON 8 – HBO TV REVIEW – AN EMOTIONAL FAREWELL FULL OF HIGHS AND LOWS!

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GAME OF THRONES – SEASON 8 – HBO TV REVIEW

“Lord of Light! Come to us in our darkness. We offer you these false gods. Take them and cast your light upon us. For the night is dark and full of terrors.“― Melisandre prays to R’hllor

Created by: George R.R. Martin, David Benioff, D.B. Weiss

Based on: A Song of Fire and Ice by George R.R. Martin

Executive Producers: George R.R. Martin, David Benioff, D.B. Weiss, Carolyn Strauss, Bernadette Caulfield, Bryan Cogman, Miguel Sapochnik, David Nutter

Producers: Mark Huffam, Frank Doelger, Chris Newman, Greg Spence, Lisa McAtackney, Bryan Cogman, Duncan Moggach

Writers – Season 8: David Benioff, D.B. Weiss, Dave Hill, Brian Cogman

Directors – Season 8: David Benioff, D.B. Weiss, Miguel Sapochnik, David Nutter

Main cast: Peter Dinklage, Nikolaj Coster-Waldau, Lena Headey, Emilia Clarke, Kit Harington, Maisie Williams, Liam Cunningham, Nathalie Emmanuel, Alfie Allen, John Bradley, Isaac Hempstead Wright, Gwendoline Christie, Conleth Hill, Rory McCann, Jerome Flynn, Iain Glen, Carice Van Houten etc.

**SPOILER FREE REVIEW**

THE BELLS!

Those damned bells. The first chime sent a chill in the air. Everything stopped for what seemed like an eternity. The second chime clanged. The third and then the fourth and suddenly the fate of a television show went from glorious triumph to a just about earned pyrrhic victory by the final episode credits. Thus, in the space of a minute or so, and the carnage that followed, Game of Thrones virtually threw seven seasons and 5 episodes under a narrative bus.

I’m of course talking about a key character and plot wrench in Season 8, episode 5, called The Bells. While what followed after Queen Daenerys’ decision to carry out her actions, was as spectacular a television set-piece as you could ever see, unfortunately it led to a badly judged final episode called The Iron Throne. In this final episode the writers gave us a series of baffling creative decisions which flew in the face of character arcs and also many rules of the Westeros world. Don’t get me wrong, strong shocks and massive twists have always been part of the books and show. However, some of the decisions made were just mystifying.

“NOT TODAY!”

This is a spoiler-free and more emotional outburst so I won’t go into specifics. In my review of Season 7 — found here — I defended the writers, who I believe could be forgiven some sleight-of-hand contrivances and geographical inconsistencies, because the show was still one of the most entertaining programmes around. Conversely, the first seven seasons gave me some of the greatest televisual enjoyment I have ever experienced. Moreover, the novels are an incredible testament to the brilliant imagination, scope and mind of author George R.R. Martin.

In terms of character, plotting, dialogue, action, reversals, twists, shocks, romance, performance, political intrigue, editing, direction and jaw-dropping-heart-pounding-tension Game of Thrones is ONE OF THE GREATEST TV SHOWS EVER! Moreover, as aforementioned, George R. R. Martin’s books are just something else too. Indeed, the third book, A Storm of Swords, is one of the best works of fiction I have had the pleasure to read. But yet, Season 8 had some more amazing action and events too. It’s just THAT ending; THAT final episode.

Highlights of Season 8 were the build up to the attack by the dead. Winter had finally arrived i.e. death. It comes for us all and our heroes were witnessing a manifestation of death via the White Walkers and Others; all led by the ghoulish Night King. Then when battle commenced the third episode called The Long Night, was an incredible action feast, containing moments of high drama, horror and heroism from many characters we have come to love and even some we hate.

I didn’t even mind that the black night meant it was difficult to see some action. Moonlight, fire, the Red Women and dragons lit up the sky enough to see what was occurring. The blackness was in context and added to the doom facing our characters. My issue was that the fight with the Night King was an end-of-the-world event. Surely, this battle should have closed the show. But no, there was more to follow; the final battle for the Iron Throne itself. In my view, anything following The Last Night could be open to anti-climax. So, it proved.

HEROES AND VILLAINS

Let me reiterate: I still loved Season 8 and I DID NOT SIGN A PETITION for the writers to take the black! These so-called fans signing on-line petitions need to get a life and if they want to take a stand need to take a good LOOK AT THE REAL WORLD! But there was no smoke without fire for the online pitchfork hordes. I too did not agree with how rushed the final season was and many of the character choices that were made. During The Long Night and The Bells episodes I witnessed two of the finest television episodes ever seen from a production perspective. They were jaw-dropping. But from a structural stand-point they were as broken as Bran.

It would appear the showrunners were working from George RR Martin’s template as to how it may end. However, we definitely got a bullet-point conclusion; leaving it hitting certain emotional plot events without earning them. Basically, the complexity of characterisation was lost in favour of wrapping up the storylines too quickly. However, I still cannot praise the massive crew and cast who made this TV show. It genuinely made my life worth living from a cultural perspective.

WINTER HAS GONE!

The main reason for watching and loving the show was for the heroism in the face of death and darkness. Life can be shitty and tough and Game of Thrones was about escape for me. Personally, I felt characters such as Jon Snow, Daenerys and Jamie deserved more heroic endings, but instead got disappointing ones. Similarly, Cersei’s visceral flame just fizzled out. I know they aren’t real people but I wanted their conclusions to be more rousing. The likes of Arya, Sansa, Brienne of Tarth, Samwell Tarly; and even Sandor Clegane got somewhat satisfying endings. I guess you can’t have everything, though.

Don’t get me wrong, Game of Thrones has a propensity to surprise and shock and amaze and it definitely did that in Season 8; right up until THAT vanilla ending. Because as the troubadour once sung, “It’s better to burn out than fade away;” so it’s a shame the lord of light diminished somewhat at the end. Still, it’s all about the journey and the quest rather the final destination. Winter and come and winter has gone and it’s a one I will never forget!

Game of Thrones – Season 8 – Mark: 9 out of 11

Game of Thrones – Overall – Mark: 11 out of 11

Reviews, Television

THE ROMANOFFS (2018) – AMAZON TV REVIEW

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THE ROMANOFFS (2018) – AMAZON TV REVIEW

Created and directed by: Matthew Weiner

Writer(s): Matthew Weiner, Michael Goldbach, Mary Sweeney, Semi Challas, Andre Jacquemetton, Maria Jacquemetton, Donald Joh, Kris Turner Towner etc.

Composers: Anton Sanko, David Carbonara, Giona Ostinelli, Sonya Belousova, Marcelo Zarvos etc.

Cinematography: Christopher Manley

Original Network: Amazon Studios

**MAY CONTAIN SPOILERS**

Matthew Weiner and his production team were behind one of the most brilliant television series of recent years in Mad Men. The quality of writing, directing, acting, art direction and attention to period detail on that show was incredibly rich. Overall, Mad Men wasn’t about big surprises and massive plot twists, but rather strong characterisation, evocation of an era and dense analysis of existential moments within romantic, family and industrial relationships.

Weiner’s next project The Romanoffs, finds him in a similar character driven mode. It’s a contemporary anthology series about people who are descendants of the Russian Royal family. The eight stories loosely connect but mainly stand alone, dealing with the lives, loves, turmoil and deaths of privileged people. As such mostly first world and high class problems abide. Altogether, the productions are expertly presented with Amazon clearly throwing a lot of money at them.

As they are self-contained narratives I have decided to order them in personal preference, rather than Amazon’s air order. Thus, here are said mini-reviews with usual marks out of eleven.

THE ONE THAT HOLDS EVERYTHING (EPISODE 8)

Main cast: Hugh Skinner, Hera Hilmar, Ben Miles, JJ Feild

This is the final story in the series and they saved the best until last. It is an incredibly dark exploration of family conflict that traverses the life of Hugh Skinner’s tragic Simon Romanov. Flash-backs entwine with flash-backs as his story unfolds from various perspectives. The script is incredible and certainly one of the best stories I have seen all year.

Mark: 10 out of 11

HOUSE OF SPECIAL PURPOSE (EPISODE 3)

Main cast: Christina Hendricks, Isabelle Huppert, Jack Huston, Paul Reiser

This is an absolutely brilliant satire about the filmmaking process. It finds Hendricks’ movie star on the crazy set of Isabelle Huppert’s eccentric director. The narrative channels horror, surrealist, comedy, drama and romance genres with a complex screenplay. Huppert and Hendricks are superb; as is the jaw-dropping ending!

Mark: 9 out of 11

BRIGHT AND HIGH CIRCLE (EPISODE 5)

Main cast: Diane Lane, Ron Livingston, David Patton

Thematically very strong, the story finds Diane Lane and Ron Livingston as wealthy parents whose children may or may not have been abused by their piano teacher. It’s a subtle exploration of middle class paranoia and universal fear glued together by a superlative performance from Lane.

Mark: 8 out of 11

END OF THE LINE (EPISODE 7)

Main Cast: Kathryn Hahn, Jay R. Ferguson, Annet Mahendru

Like the very watchable Netflix film Private LIves (2018), this story finds Kathryn Hahn portraying another parent desperate for a child. Hahn and her husband, Ferguson, travel to Vladivostock to adopt a Russian child and face all manner of cultural, geographical, health and language barriers. It’s an absorbing piece which really drags you in but ultimately the drama felt protracted by the end.

Mark: 7.5 out of 11

PANORAMA (EPISODE 6)

Main cast: Radha Mitchell, Juan Pable Castaneda, Griffin Dunne

More travelogue and history lesson with a mild romantic drama added, this story promises much but peters out by the end. Castaneda’s journalist investigates medical malpractice but it’s left to Radha Mitchell and the wonderful setting of Mexico City to provide the emotional depth.

Mark: 7 out of 11

THE VIOLET HOUR (EPISODE 1)

Main cast: Aaron Eckhart, Marthe Keller, Louise Bourgoin, Ines Melab

What starts off as a fascinating culture clash dramedy between an elderly racist and her Muslim carer, strangely left-turns into an tacked-on romance story. The cast are excellent and there’s some fine dialogue but it felt unbelievable toward the end for me.

Mark: 6.5 out of 11

THE ROYAL WE (EPISODE 2)

Main cast: Kerry Bishe, Corey Stoll, Janet Montgomery

Mid-life crises and male “seven-year itches” drive the narrative as a bunch of selfish and adulterous actions made me hate Stoll’s character. The Jury Service scenes are interesting but aside from Kerry Bishe’s decent character, I found this a painful way to spend eighty-or-so minutes.

Mark: 6 out of 11

EXPECTATION (EPISODE 4)

Main cast: Amanda Peet, Emily Rudd, John Slattery

Amanda Peet’s character has a bad day – THE END! Even the appearance of the mercurial John Slattery cannot save this disappointingly empty story.

Mark: 4 out of 11

Reviews, Television

BARRY (2018 – PRESENT) – S1 & S2- HBO TV REVIEW

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BARRY (2018 – PRESENT) – S1 & S2- HBO TV REVIEW

Created by: Alec Berg, Bill Hader

Producer(s): Aida Rodgers, Emily Heller

Writer(s): Alec Berg, Bill Hader, Emily Heller, Liz Sarnoff, Sarah Solemani, Ben Smith etc.

Director(s): Alec Berg, Maggie Carey, Bill Hader, Hiro Murai, Liza Johnson, Minkie Spiro etc.

Cast: Sarah Goldberg, Bill Hader, Stephen Root, Glenn Fleshler, Anthony Carrigan, Henry Winkler etc.

Original Network: HBO

**MAY CONTAIN SPOILERS**

Critically acclaimed and Emmy award-winning dark comedy satire, Barry (2018) stars Bill Hader. He plays the eponymous lead, a hitman, who travels to Los Angeles for “work” and then finds himself joining an acting class by mistake. The comedy and drama of his finely written and directed HBO show derives from the dialectic juxtaposition of crime and war film tropes mixed with narcissistic and delusional Hollywood creative types. But is it any good? Yes and no!

Technically this is first rate and challenging entertainment; obsidian black in its’ humour and at times very compelling as drama. Stylistic influences are clearly the likes of: the Coens, Quentin Tarantino, Robert Altman and Elmore Leonard’s novel/film/TV series Get Shorty. However, I don’t think I liked it as much as those or as much as the panel of Emmy Award judges.

Personally, I don’t like, irrespective of their quality, shows or films titled after a single-name character. It’s just a personal thing. More importantly the show tries so hard to be cool. It has a knowing “everything-but-the-kitchen-sink-cultural-melange” vibe. Plus, tonally it is all over the shop. One scene will be a hilarious situation involving bad acting from the class; and the next Barry will be blowing someone away. How am I meant to feel about such a lunge from comedy to drama involving so many unlikeable characters?

As Barry Block/Berman, Bill Hader is absolutely brilliant. He wants out of the murder business and is haunted by events from the military. Because of this I have much sympathy for him. However, this empathy is tested by some of his more heinous actions. Hader nonetheless delivers an iceberg cool performance with a searing internal pain. In the second season especially, his post-traumatic stress is explored intensely; and when he explodes with anger it resonates powerfully. Conversely, I wanted more of this than the parodic Chechen and Bolivian gangsters, who just aren’t funny.

In support, Stephen Root is brilliant as Barry’s exploitative handler and so-called friend. Sarah Goldberg as the neurotic actress, Sally Reed is a revelation. This is especially the case in the second season when her character gets some interesting storylines and great monologues. Likewise, Henry Winkler steals many scenes as the acting coach, Gene Cousineau; forever name-dropping and shilling for a quick buck.

Overall, Barry can be recommended for the excellent cast and mostly complex characters. While I would have preferred the dumb comedy to be reduced, there are indeed some great episodes throughout the two seasons. So, if you are looking for an intense exploration of human existence you get an element of that within the mix of: humour, satire, violence, shoot-outs and plot twists. But maybe, like the lead character, Barry tries to do too much all at once; however, at least it tries.

Mark: 8 out of 11

Cinema, New Releases, Reviews

JOHN WICK: CHAPTER 3 – PARABELLUM

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JOHN WICK: CHAPTER 3 – PARABELLUM – MOVIE REVIEW

Directed by: Chad Stahelski

Produced by: Basil Iwanyk, Erica Lee

Screenplay by: Derek Kolstad, Shay Hatten, Chris Collins, Marc Abrams

Cast: Keanu Reeves, Halle Berry, Laurence Fishburne, Mark Dacascos, Asia Kate Dillon, Lance Reddick, Ian McShane, Anjelica Huston etc.

Cinematography: Dan Laustsen

**MAY CONTAIN SPOILERS**

Have you ever thought: what’s the point in carrying on? We know we’re going to die someday so why bother trying to live? Dead French bloke Albert Camus wrote an existential essay called The Myth of Sisyphus and deemed life an exercise in the absurd. He offered mythological character Sisyphus as an example. Sisyphus was condemned to immortality for deceiving the Gods and his penance was to push a massive rock up a hill over and over. Camus wasn’t all doom and gloom, because he opined Sisyphus’s struggle ultimately gave his life meaning.

Why am I skirting around such philosophical musings? Well, John Wick is a classic “Sisyphean” character; destined to a repetitive cycle of life and death with very slim reasons for carrying on. In the first film it was revenge. In the second film it was paying back a marker; and then revenge. In the current, and third film of the franchise, it’s because he broke the rules of the assassin’s world and must pay the $14 million price. Plus, more revenge.

Yet, plot and reason are not the main purpose for watching this franchise. I watch it for the non-stop-Asian-infused-rainy-New-York-noir-flavoured-non-stop-balletic-violence-and-stunts. Here the incredible death toll and bloody killing is differentiated somewhat with: animals, vehicles and assorted sharp ojects joining the array of guns and fists used to hurt the two-dimensional bad people sent by the mysterious High Table gangsters. It doesn’t pay to analyse the film with logic, so just enjoy the immaculate: set design, art direction, cinematography, choreography, editing, visuals; and all-encompassing sound and fury.

Keanu Reeves, once again ignores the limits of his emotional range to deliver a formidable physical performance. Just his face, actions and movement alone are enough to convey his desires. Meanwhile, the writers open out John Wick’s back-story; shading in his past relationships and historical beginnings. This allows us to escape New York and venture to the Middle East, for a bit of sun and much needed change of scenery.

The film also welcomes a slew of fine character actors in support roles including: Halle Berry, Jerome Flynn, Asia Kate Dillon and Angelica Huston. They join the ever reliable Ian McShane, Laurence Fishburne and Lance Reddick from the first two chapters. Although, someone may have asked Fishburne to “rain” in his more bombastic moments, it’s still fun to see Neo and Morpheus on screen together. Oh, but the stunt dogs and 1990s B-movie action hero, Mark Dacascos, steal the show in their featured moments.

Overall, while showing signs of formula fatigue, John Wick: Chapter 3, remains a simple but wonderfully entertaining guilty pleasure. The choreography within the fight scenes and car/horse/motorcycle chases just transcend the action genre. Using: humour, pace, shock and sheer kinetic power they consistently startle and astound. Lastly, one could look at Wick’s character in mythical terms, perpetually fighting the Gods and forever pushing the rock up that hill. Indeed, I guess, like Sisyphus, Wick will carry on ad infinitum as long as there is someone to kill; and an audience wanting to watch such exquisite carnage on a big screen.

Mark: 8.5 out of 11

Cinema, New Releases, Reviews

MARVEL AVENGERS: ENDGAME (2019) – MOVIE REVIEW

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MARVEL AVENGERS: ENDGAME (2019) – MOVIE REVIEW

Directed by: Anthony Russo & Joe Russo

Produced by: Kevin Feige

Screenplay: Christopher Markus and Stephen McFeely

Based on The Avengers by Stan Lee & Jack Kirby

Starring: Robert Downey Jnr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Bradley Cooper, Josh Brolin and many, many more.

Music by: Alan Silvestri

Cinematography: Trent Opaloch

Edited by: Jeffrey Ford and Matthew Schmidt

Production Company: Marvel Studios

**RELATIVELY SPOILER FREE REVIEW**

So, we are finally here; assembled and ready to experience the last battle in this particular phase of Marvel films. Twenty-two movies released over an eleven year period now culminate in the adroitly named: Avengers: Endgame. While they may have all the money in the multiverse backing their superhero endeavours, Marvel deserve much credit for releasing so many great films within the eleven year cycle. Yes, of course many have followed a tried and tested genre formula, however, their legion of production staff, producers, directors, writers and actors did whatever it took to entertain the public.

This final film was set up perfectly by what preceded. I mean, the dust had not even settled at the end of Infinity War, and I, along with many others, were agog at the crushing defeat suffered by our heroes and Earth, at the click of Thanos’ finger and thumb. Thanos had achieved the impossible and obtained the six soul stones and eradicated fifty per cent of the population. This tragic genocide included many of the Avengers we had grown to root for and Endgame begins where its predecessor finished. Here we find a depleted and dejected Avengers team on Earth and a barely surviving Tony Stark in space facing the abyss. Collectively they are hurting, grieving and feeling vengeful.

The sombre and angry tone to the opening of the film was something I was drawn to. Emotionally it made sense to, within the first hour, colour the film with a slower, mournful pace and darker mood. This is encapsulated in the character of Hawkeye, who is using his special set of skills for destructive and nihilistic purposes. Similarly, Thor is twisted into a self-pitying anti-god; and this plays out with both surprise and humour. Of course, the remaining Avengers are not going to lie down for three hours in a reflective study of sorrow. Because, they want their friends and the population of Earth back; and they will do whatever it takes to achieve this goal.

The middle part of the film is where the narrative really gathers pace. Once Stark, Bruce Banner and Scott Lang/Ant Man discover a means with which to somehow alter the tragic events, we are thrown into many imaginative and entertaining set-pieces. I was so pleased Paul Rudd was back as Ant-Man in a key role. He is such a likeable and funny actor who always brings sharp comedy timing and warmth to his roles. Further, like Lang, Karen Gillen as Nebula, while seemingly a secondary character, plays an important role in Endgame. In more ways than one Nebula becomes a vital cog in the intricate and multi-stranded plotting.

The various Avengers including the aforementioned and: Black Widow, Captain America, War Machine and Rocket etc. all splinter to different places in order to achieve their mission. Here the film really finds a perfect pace and stride, delivering a series of brilliant action scenes. Indeed, Endgame is full of brilliant cross-cutting call-backs to the previous Marvel films; presenting a multitude of ‘Easter Egg’ or inter-textual moments.

Safe to say the action unfurls rapidly but the writers also have the confidence to slow the pace and allow several key emotional moments for certain characters. But, mostly there is action and fighting and humour and just so many memorable moments of a light and dark tone. My personal favourite was during Captain America’s mission; this plot strand just sang and hit so many high notes.

I am striving hard to avoid spoilers here, so all I can add is that the Marvel production team deserve so much credit for bringing this multi-stranded story home in such a thrilling fashion. I just loved the direction they took it in regard to the temporal, spatial and universal narrative choices. They assembled, pushed and pulled the formula in certain ways which surprised and kept the characters vibrant and fresh. The tonal balance was positive and only ever slightly threatened to slip into parody; mostly with Chris Hemsworth’s depressed rendition of Thor. My only gripe was I felt Brie Larson’s effervescent Captain Marvel was sadly under-used.

Unsurprisingly, the final gigantic battle sequences were expected but still delivered on a massive scale. Thanos is, and was, a mighty enemy and the last war against him and his hordes were full of epic surprise, pulsating action and heartfelt emotion. Undeniably, it was a most spectacular and moving climax. Thus, overall, I am actually shocked at how much I enjoyed a bunch of superheroes made of computer pixels larking about on a big screen. Maybe, however, given the time, money and energy spent over the last eleven years by the filmmakers and audience alike, it was, like Thanos, inevitable!

Mark: 9.5 out of 11