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Dark Matter (2024)
Counterpart clone
Dark Matter has a very similar feel to Counterpart, though after having watched only one episode of this, it's not clear which is better. Counterpart was terrific though, so this has big shoes to fill. Already I like the premise. I just hope the characters become a bit more 3-dimensional instead of the typical tired tropes this genre uses, of the mad, bad, power-hungry and megalomaniacal scientist versus the loving and committed family man, etc. Which is very much the impression episode one left. On a serious note though, perhaps it hints at the truth that we really do live in a multiverse, in which case it begs the philosophical and moral questions of what does the best version of ourselves look like, and how can something like that even begin to be quantified? Hopefully this series tries to resolve these quandaries and answer some of these questions in as interesting a way as possible.
Reacher (2022)
Not a stretch to Reacher
Must admit I've read a few of Lee Child's Reacher series, which set a high bar for this tv adaptation to live up to. Reacher is perfectly cast, as are the other roles. Great acting for the most part, with 3-dimensional characters and interesting plotlines, and twists. Has met or exceeded the expectations that the book created. No easy task. Am just finishing series 1 as of January 2024, and really looking forward to the coming season(s). The whole thing does justice to the Reacher universe; Reacher is a rough-around-the-edges but very likeable man we are all rooting for, who doesn't need to wear a cape because he's a real hero instead.
Better Call Saul: Saul Gone (2022)
A fitting finale
Well, it seems Jimmy McGill/Saul Goodman has finally come clean and got a weight of crimes off his chest. For a man for whom life is one big game, he gives the court performance of a lifetime, and wants to make sure Kim is there to witness the power of his confession in all it stark rawness (or raw starkness, whichever you prefer), yet complete truth (for once). Throwing caution entirely to the wind, he ensures his own doom if only with the genuine intention of securing Kim's freedom by absolving her of crime and placing the weight of guilt upon himself. There's a gleefulness and joie de vivre to it all, which makes for extermely compelling viewing. In various flashbacks, Goodman/Mc Gill admits to the other integral protagonists of the show, that it was always about the money, and even dark soul Walter White comments on the permance of his fellow hideaway's reprobacy. On a final comedic note, it appears that Jimmy will continue to make dough for the remainder of his years, as he has done in one form or another throughout his life, whether that is through petty crime, self-injury compensation scams, as the personal lawyer of a meth-lab criminal mastermind, working as the cinnabbon store boss, via elaborate schemes for fleecing unsuspecting marks, and/or now finally and most literally as a prison baker. Thank you to all the cast and crew for making magic happen for the viewer, as a welcome weekly distraction as BCS aired for the whole six seasons over the last seven years. Real perfection is a rare thing indeed in any field of endeavour.
Jerry & Marge Go Large (2022)
The feel-good film of the year (2022)
Brilliant acting from Bryan Cranston, which I guess as an audience we've come to expect after his role in Breaking Bad (notably among other pictures/series). This is a great film, very heart-warming and human-interest leaning. A gifted, yet kind and generous retiree spots a flaw in the local lottery, allowing him to 'game' the system. After some reasonably big wins his reputation for success brings on board the whole town, and they divvy up ever larger profits amongst the residents, until they're all financially prosperous. But a young Harvard student and his cohorts thwart their plans by setting up a rival lottery-betting syndicate, which is more ruthless in its dealings. Things turn a bit acrimonious but experience and wisdom prevails in the end. An excellent way to spend an otherwise idle 90 mins. Would also highly recommend "In Our Prime" as a film of a similar genre with another feel-good plot if altogether different premise.
Better Call Saul: Point and Shoot (2022)
Masterful
Superb episode. A few knots got tied off with this. Lalo and H Hamlin's fate; despite knowing that Lalo doesn't survive and it's Gus that must prevail in their encounter, it still doesn't detract from the action and drama of this episode. The suspense is palpable. The pivotal gun which Gus placed in the tracks of the excavator proved to be decisive. A thoroughly shell-shocked Saul and Kim given the score by Mike who lays down the law for their own future benefit. Finally, the cinematic introduction and explanatory ending. When some things are left unfilmed or unsaid, but instead just inferred or implied, it's powerful. The audience (I feel) initially believe Lalo, but know that can't be the whole story and he's concocting a ruse to try and thwart Gus, in which Kim and Saul are frightened pawns. Ultimately, Lalo is outwitted by Gus, who is the grand master at strategising. Yet Lalo proves a formidable and worthy opponent. Mike expresses his extreme dissatisfaction at the turn of events and the precariousness of Fring's survival. Overall, an excellent
piece of drama.
The Boys: Herogasm (2022)
Why did the photo go to jail?
Because they were shopped.
Good episode. Not deserving of 10 though. Still 8 out of 10 ain't bad. Seems Homelander has met his match.
The mirror scene with his (even more) evil alter-ego was a nice touch, strongly vibing The Picture of Dorian Gray, one of the best novels Wilde ever wrote. Not a fan of gratuitous violence, though it seems this denouement of sorts was a culmination of tensions brewing for the whole of the series thus far. Can't wait for part two, but I feel Homelander cannot be underestimated, the wily and slippery creature that he is. Is really shaping up for an interesting few more episodes. Favourite scene in an episode so far this season was the one at the theme park where all the attractions were plays/puns on woke-ness, I thought that was clever. Would like to see more of the back story of Vought as well, and former executive Edgar's origins. Soldier Boy doesn't disappoint, but there has to be more to it than just taking down Homelander. The only thing left as "The Big Bad" after Homelander is gone is probably something like "A Comet Strike"/"Aliens"/"Time Travel"/"The Supernatural", two of which have already been beaten to death. Just find it hard to imagine what comes next. The problem with superheroes is where do you go after that? Was more interesting when Butcher had to defeat supes with guile and cunning. It's the most satisfying, when the odds against the protagonists are astronomical, yet somehow they prevail through sheer ingenuity and inventiveness. Just a thought.
Memory (2022)
Impressive
Liam Neeson is excellent in this. At times tremendously violent, though it's not necessarily all gratuitously so. It straddles many different truths and realities of modern-day American life. Perhaps most prominently
child-trafficking and abuse; is it just a coincidence that the female puppet-master's initials are DS? Who covers up her own son's monstrous crimes. Two other big themes are Alzheimer's disease and its associated memory loss - a savage disease that prematurely robs people of their werewithal - as well as the utter corruptness and contemptibility of the (soi-disant) American Justice system, where egregious wealth can "buy" exoneration for unpardonable crimes. This films shines a light on these and other uncomfortable truths in a remarkable and original way. Definitely recommended viewing.
Dual (2022)
Morality Tale for our Times
A thought-provoking, unsettling and unnerving film. So much is left unsaid, but just implied, which is powerful. Little pivotal moments like the water bottle, the contact lenses, etc. The characters all had a strange vocal cadence as if the society depicted is a humourless one - for sure it's dystopic. And one symptomatic of (for want of a better word) unthinking-ness. A warning as much as anything else as to the dangers of scientific progress sans ethical, moral and spiritual principles and practices. But above all, an overly and overtly materialistic world and pervading gestalt. Truly disturbing, macabre and at times bizarre. But quite compulsive viewing. It's the juxtaposition of the familiar with the surreal. Everything seems literal and too matter-of-fact, and there's very little nuance (in the world depicted, not the film itself). Perhaps deserves an 8 out of 10, but still highly recommended.
On a side note, never thought I'd see "Guarding & Cleaning" listed in production credits, but again, those were the COVID-rife times then inhabited.
Don't Look Up (2021)
A sniggerfest
The entire cast of this pretty woeful production is "woke". They know how contemptible, wrong headed and just plain wrong most of their thinking is, yet they persist anyway. Dress it up however you will, try and make it humorous, but actually the truth is this. All good scientists are really just engineers at heart. The experimental method/empiricism really does rule the day. Many things spring to mind with this production. Where to start really? This film is a strange meld of Network, Idiocracy and Armageddon, though not as good as any of them when each is taken in their own right. Funnily enough the plot is most similar to Armageddon, though despite its ridiculousness it was far more believable as well as life-affirming than this pos. Why you say? Because Harry Stamper played by Bruce Willis realised two things - men will step up to the mark when required - and it has to be men and man - cometh the hour cometh the man - and that family/those we love are everything. The ending of Armageddon is what would have happened under a Trump presidency. It's called sacrifice. 100 or so men would lay down their lives as they've done historically - countless billions in fact - for the greater good. But instead Isherworth, who is a sad cross between Gill Bates and Boe Jiden (I know, I haven't heard of those guys either) gets to play out his sad and innefectual pretence at being a man, with his sad drones and sad escape ship. In fact as Trump would put it so succintly: "Sad". So you assume I must be some Trump fanbois then - no not really, but I can clearly see that Trump is a man, and he is an inspirational leader. Which didn't happen by accident. Why it's as if Trump says what he means and means what he says. I know, an incredible and revolutionary concept right? Try it some time. I agree fully with the other commenter who has the top review - they were more generous than I and gave it seven instead of six; however they were spot on when they said "This is not a fiction, this is a documentary". It gets six because comedy is always a redeeming feature, but neverthelss, a sad commentary and indictment of the proclivities of present-day society, beholden to consumerism and vacuity and (almost) entirely devoid of originality, meaningfulness, sincerity and earnestness.
Free Guy (2021)
Dead Cool
See what I did there with the title? This was a funny film that leans heavily on many titles of the same genre that preceded it; I can think of eleven which it's very reminiscent of - the four it's most like are: "The 13th Floor", "Ready Player One", "Boss Level" and the tv series "Westworld". Essentially the premise of the film is that people live boring, meaningless lives doing dreary jobs full of drudge work and are looking for escapism. While that's a somewhat cynical view of things, and the simple fact is that many if not perhaps most people have hidden talents/passions and abilities latent or otherwise for doing creative things outside the ordinary or mundane, humdrum space and pace of quotidian life, it's just they're not advertised widely - probably to avoid or at least not invite ridicule, but maybe because doing interesting and/or creative and artistic things is reward enough in and of itself without having to advertise it to the world or seek some sort of validation. But I heavily digress; the NPCs or Non-Playable-Characters in this film represent the people who seek an escape from mundanity by playing fantastical characters within this strange sphere. In this way, it's very reminiscent of Westworld, where it's a morality tale saying that the created people are more decent, human and humane, than those that seek to take advantage of them playing as characters in the artificial reality, but who are people in real life in the real world so to speak. I've not seen Avatar and personally wouldn't watch it, because it's a step too far in terms of the fantastical for me - in fact it's quite repulsive as I see it, but there are very simplistic similarities between the two - aside from this though, it has much more in common with the Matrix, Devil's Advocate, and The Truman Show - in a more meaningful way. Finally, in some aspects, Free Guy has similar parallels that can be drawn between it and the following three films to boot: Star Trek, Paycheck and Ex Machina. In particular, there are several Star Trek episodes where artificially created sentient beings are looked upon compassionately by Jean Luc Picard, who promises them a more reified existence in future times but pledges to save their existences digitally until such time as their lives can be fully materialised. To my mind, this is true of reality itself, where for me the bottom line is that your voice is who you really are - the real you is conveyed by your voice and all the emotions are detectable through it's inflexions and intonations etc. But aside from my philosophising above, watch this film, it will make you laugh, and maybe even cry a (tiny) bit at the end. Definitely worth a view. Addendum: 16-12-2021 - Of course, I overlooked one other great film, released just last year (in 2020), namely Superintelligence featuring (the voice of) James Corden, and Melissa McCarthy - if anything, Free Guy and Superintelligence are more similar than any of the other list of eleven films mentioned previously - for an obvious reason which will become apparent after watching both - I don't want to give any real spoilers, but perhaps then in this regard I also omitted to say there are a few (weaker) parallels with Person of Interest for example, as well.
The Boys: The Innocents (2019)
Terrific Episode
The best bit I really appreciated was the moment in the bar, when my initial thought was, "Homelander" has sent the "Amorphous man" (who is like the all blue lady in X-Men, that can turn herself into anyone), the omni-impersonator, in order to lure Hughie away from Starlight and into his clutches. "Homelander's" back-story becomes ever-more disturbing and unsettling with each new episode; luckily for Hughie, he is almost palpably relieved, when he realises it is actually Butcher, who is just messing with him. The only way it seems Butcher comes out of this alive, is (I'm guessing or can envisage) the Asian super-woman kidnapped by terrorists joins forces with Starlight to stave off "Homelander's" vengeance. All characters are likeable, but "Frenchie" and "Butcher" are my personal favourites - even Homelander elicits some sympathy and understanding in light of his obviously horrendous childhood - the "wicked witch" is clearly Stillwell. Think that whole thing's going to take a very sinister turn as well, before too long. The other standout moment for me thus far, which was a masterful performance from Mr Quaid, was his improvisational "gay blackmail" speech against the hypocrite "Ezekiel"; probably hard for him to do with a straight face; it was so out-of-character, but such a genius move to ad-lib under pressure as a desperate last play/ploy to seize the moment, and (very reluctantly) take the initiative. Finally, it seems all the seven "supes" are representing one of the cardinal sins - the Deep is obviously lust, which becomes apparent most readily; "Homelander's" is almost certainly hubris/pride - it's unclear whether we are pre- or post- fall (presently, as of Season 1 Episode 6) though. Not that Starlight fits into this paradigm; however "Translucent's" vice was likely to have been sloth; though again this is all supposition. Obviously "Homelander" offends on multiple counts though; two propensities already directly displayed or heavily referenced and alluded to are also anger/wrath and lust. Not sure about "Queen Maeve" - though I understand the name correlates with being red-headed/auburn - however I'd guess it might be envy. The other "supes" are more mysterious; it's not clear what their function or "powers" might be, but that certainly leaves at least greed and gluttony as-yet unaccounted for, though it's a only a slight inference, and certainly not explicit or in any way overt, just more of a (hypothetical) sub-text that bubbles subconsciously underneath the surface (maybe).
Overall, I'm blown away though; and rooting for "Team Boys", but understanding that the "supes" are very damaged people, possibly through no fault of their own, but just as much unwitting victims as anyone else, even if seemingly absurdly empowered ones, albeit in an illusory and less-than-human way. "Vought corporation" is the real villain; with which I feel Stillwell's story is likely to be heavily entwined - I'm not sure of the specific reference, but I think it's Shakespearean*, and it sums the whole Boys versus Supes franchise up nicely: "What fresh hell is this?"
*A quick goo-gel (great for all your hair-styling needs) reveals that it may actually have been Dorothy Parker that originated this idiom.
41 (2012)
A different kind of primer
Really enjoyed this film - a brilliant little corker. Perhaps "Primer" is the gold standard of the limited-budget productions within this genre, i.e. Time Travel. That is until this film was made however; which is a pleasanter version utilising much the same premise without any dystopian overtones and a more generous interpretation of human's capacity for loving kindness, as opposed to seeking power, wealth and the massaging of the ego. Maybe because the protagonist isn't some self-styled technologist/tech-specialist, but rather a philosophy student who makes a shocking discovery, then decides to make a profound impact in someone else's life, namely his grandmother's, by effectively sacrificing his own. Above all, it's a head-scratcher, and as with all the best films, be they big or small budget, they make you think, astound and astonish you, as well as perhaps encouraging you, however tacitly or implicitly, to live an examined life. A pity more film-makers don't put in even one quarter of the thought that went into this production, and it would make for a far superior cinematic universe and viewing experience. Really excellent film, and all the more remarkable given the modest budget.
Stand and Deliver (1988)
Escalante's Escapades
Wow. A tremendous film, full of life and humour. School, tests, slacking, exams, revision, cheating and so on, are all familiar and well worn tropes in the film/movie world. It's likely that this film itself, was inspired by others of the same genre going back several decades before this was released in 1988. My film knowledge is not detailed or extensive enough to know what other films this one might have channelled or referenced for inspiration; but I do know it is likely to have influenced in part those which came after it, and which I do have at least some knowledge of and appreciation for. Namely, those films in chronological order of first release are as follows:
"The Perfect Score (2004)", "Underwater Dreams (2014)", "Bad Genius (2017)", and finally "Super 30 (2019)". Each of these were either excellent or at least good in their own right, strangely enough with 2004's "The Perfect Score" probably being the weakest offering here, despite having the largest budget (even adjusted for inflation etc) by far. Nevertheless, it's still a solid, just if not spectacular offering. I guess the other three were more or less derived from true stories, whereas I'm not sure of its provenance, maybe at heart this is the reason for it being slightly (but not that much) weaker.
Anyhow, a quick analysis of "Stand and Deliver". It's a superb performance by Edward James Olmos as "Jaime Escalante"; the teacher is memorable and iconic. Also very strong performances by the young actors and actresses playing the students. While it may be somewhat predictable in many ways, it is still a feel-good and heart-warming film, whose central thesis is one of overcoming challenges and triumphing despite adversarial odds and perhaps less-than-favourable circumstances. Would wholeheartedly recommend this; it's deservedly entered film-lore as a classic.
Psycho Goreman (2020)
So bad it's good
First of all, this film made me laugh too many times to count. It's breathing the same rarified air as Idiocracy and has actually managed to bottle magic. You just know before PG suggests it that the "dodgeball"-esque game will be used to decide their fate. It's also funny because his name is probably a reference to the "Parental Guidance" rating; let's hope this film remains unrated because we live in humour-challenged times as a society at large; particularly in the West where a form of humourlessness, and
take-everything-at-face-value seems to have infected everything we hold dear, and at times, the art of nuance seems in danger of extinction. This restores my faith in the deep wellspring of human humour somewhat, after all it's only when we laugh that we're at our most human. Agree with the other reviewer that this is reminiscent of Wishmaster in some ways, but I feel it's better despite being lower budget because of the terrific comedic aspect. It was particularly great at the beginning, where the world-destroying pretensions of PG were quickly scotched by his lack of votive power. What made these segments even funnier were the seriousness and darkness of his pronouncements, such as, "I will bathe in your blood", and his dark and melancholy brooding. The two young actors playing brother and sister were superb; both have bright futures ahead of them in any field, even if it isn't acting per se. On a final note, this is obviously a limited-budget production; they seem to have raided the costume cupboard of many different films and assembled a motley arrangement of various monstrosities. Nonetheless though, it's the spirit and thought that always counts in any film and that makes or breaks it in the end. Here, the real comedy shines through abundantly and knits the whole thing together with enough coherency to keep the viewer watching and making it worthwhile. Yes, we could nitpick and find fault with everything, but (probably) nobody is going to watch this film because of its high production values; in this respect it may be the antithesis of something like the "Marvel" franchise, but give me this any day over airbrushed twaddle. How a "superhero/villain" movie should be.
Run Hide Fight (2020)
Lack of Imagination
This film should never have been made. The problem with evil is, it's utter lack of imagination, and how it so readily misunderstands reality. It can't see past its own squalor and depravity. Evil only flourishes when good people do nothing. I was disgusted and appalled at this film - it creates very strong feelings of revulsion. Technology can be used either for good or evil. Here, it was used predominantly for evil. But in and of itself, it is almost entirely neutral. A mere tool. A hammer can be used for nailing a house together, or it can be used to bludgeon someone to death with. The tool itself is neither inherently good nor evil, it's the manner in which it's used that matters. Because this film engenders such a high level of despair, I would just like to leave this review with a note of optimism; it's a quote from a book, which when I first read it almost broke my heart, both because it's a subject close to my heart, but also because of the tragedy (and fatality, obviously) of death, if not perhaps its finality. But it's the hope (and belief of the faithful), which springs eternal, that death is not final, that creates all that is good in the world and makes the human spirit resilient in the face of adversity. Anyway, I digress, and the quote is as follows, verbatim:
"This book is a sequel to my Beginner's Guide to Mathematical Logic [Smullyan, 2014]. I originally intended both volumes to be a single volume, but I felt that at my age (now 96), I could pass away at any time, and I wanted to be sure that I would at least get the basic material out"
- Raymond Smullyan, writing in the Preface to "A Beginner's Further Guide to Mathematical Logic", in the first half of 2016.
Indeed it proved sadly that Mr Smullyan's fears were well-founded. But contrast his words, which indicated sad resignation at his own mortality (not because of the fact he might soon pass away per se, but rather that he still had positive things to contribute to this world, and thereby help impart useful information to others - the value of his insights and accumulated wisdom in his subject area) with those of the base and execrable "instincts" on display in this film, ostensibly also "human" ones, but only barely so. At its heart, his is/was an unselfish assessment of his plight/predicament. He wishes to live longer so that he can continue to serve other people usefully and purposefully. It's a spirit of generosity and humility that we would all do well to emulate, no matter how mundane our existences are, and of course the very act of living itself necessitates that we undergo mundane (and therefore by definition quotidian) experiences on a daily basis.
Synchronic (2019)
Syn-chronic? More like syn-acute...
...given the short timescales ("window of travel") involved in the actual
"time travel" experience itself (of 7 mins duration). The entire film has the look and feel of True Detective. It's very reminiscent of that series, both in the themes covered, stories and plotlines, overarching narrative on the human condition, but also the visual landscape and colour filters used to give everything a grey, bland drabness, helping to echo the themes of despair, decay, helplessness and hopelessness. Very surreal scenes.
In this film, the usual "stoner" narrative of "Where am I?" is more like "When am I?" It also begs the existential question, "Why am I?" Or where is this experience we call life leading to, and what will be its ultimate finality and destination? That is a question that perhaps only G-d can answer, but is still something everyone should reflect on at least every once in a while, and struggle to come to terms with - not coming to terms with death, but perhaps how to live the most meaningful life possible.
Supernatural: Carry On (2020)
On second reflection...
...I'm very glad Supernatural, the best show on television for the last 15 years, has had a 'natural' ending. The truth is that quotidian, mundane, everyday life is at once both boring and routine and yet still within that lies the supernatural. Our very existence on Earth is a miracle; the fact a child can be born is a miracle. Supernatural is both everywhere and nowhere. There are two ways of looking at the world - either everything is a miracle or nothing is. Or there is a third way, and that's that both things are true at the same time, kind of like an image where from one angle it's a beautiful young lady, yet when you squint slightly it's a haggard old woman. Yet those two people are simultaneously one and the same person. Being born and dying are the two most human things we can do. But really, they're not the important bits - it's the living in between that counts for the most. I firmly believe in the truth of the bible - and if maybe I don't agree with the petty destruction of a vengeful god, I do believe in the immortality of the soul, and the resurrection of the dead. I also know that as Jewish religious thought teaches, heaven is always a place on earth, and is actually the future world. Ever notice how politicians are constantly delaying and pushing things off into the future? They make up some latest buzzword, for example climate change and carbon emissions, and pretend like it's the be all and end all. Well no; the be all and end all is actually the ushering in of the future world, olam haba; eventually in the fullness of time, the 'future world' will no longer be in the future, it will be in the here and now. We are rapidly approaching that place, and every person of sound mind & conscience and good heart is well aware of the fact. The time of the liar, the politician, the proud, the vainglorious, the ignorant, the idle... the evil; it's all coming to an end. In wishing to become more than human, all these hateful people accomplish is to simply become less. The constant pettiness, the greed, the hatred sown in their hearts towards fellow man; turning brother against brother and sister against sister. And most hateful of all, is the arrogance. But. It. will. all. end. The lowly, the meek, the humble, those who persevere in spite of terrible adversity - who carry on despite tragedy, who see the good in others when all anyone can see is the bad in them - those are the true winners in life, and theirs will be a glorious world. And yet those who have hardened their hearts will go on living and dying, and will never see what is so obvious before them, until the time of the end. Up until now, the good have died for the sake of the wicked, but in a short time to come, the wicked will go on living for the sake of the good; and will have no choice but to change their ways, because as the bible says, and I paraphrase "They will look for death, but death will not be found". You can't live in the future world and be an evil-doer. But you also can't die. Therefore those that do evil now will change their ways; the master will do the servant's bidding; the lion will lie down in peace with the lamb. The point is, the future world is going to happen whether people want it to, or are ready for it, or not. Moreover, the fool has said in his heart "There is no god". But at the time of the end, the fool will have no choice but to repent. When death is no longer an option, living is all anyone can do, and we will all reap our true inheritance of life unending.
S1m0ne (2002)
Barrel of Laughs
Despite what some of the other reviews may say, this film IS worth watching. It may just require a slight suspension of disbelief; but then doesn't all good art, whether it's novels, paintings or films? S1m0ne is the brainchild of Hal, and has driven him slightly crazy for eight years, as well as causing a fatal eye tumour. Everyone wants a piece of S1m0ne, but only Viktor Taransky knows the truth; she exists solely in people's imaginations as a product of the ether. S1m0ne is really part comedy, part social commentary, part Hollywood-lampoon. Al Pacino does a really brilliant job here, at maintaining the illusion that he's created. It's like when something amazing just seems to fall into your lap, and you pick it up and run with it. He's almost thinking to himself, "Why didn't I or someone else do this before?" He can name any price, and people will seemingly pay it for someone who doesn't really exist. It's a great film, with a lot of humour. I much prefer it to more sci-fi/techno-wizardry type versions of this genre that are based on the same or similar premises. My advice would be to look past the lack of special effects etc, and appreciate the well of humour this film taps into.
Anon (2018)
Disturbing to say the least
I'm barely 20 minutes into this film presently (30-10-'20), but I'm just here to comment on the dystopia that's been created through the use of technology. What disturbed me most greatly was at about the 19 minute mark, when the two "agents" for want of a better word, are sitting on a wall discussing the ghost assassin. I felt like figuratively/metaphysically "butting into" their conversation, and saying, "Hmm, just imagine if we had something that could help identify who she is. Oh yeah, wait -we do!!! It's called a visual memory". It's not really a criticism of the film per se, but it is a reflection on even the present society we all inhabit. And the observation is this, sadly in today's world a majority of people have ceded/delegated/surrendered a part of their psyche to digital devices. Also a worryingly significant portion of their thought processes has been impaired through reliance on, and addiction to such devices - primarily smartphones, but increasingly an ever-more bizarre array of headsets, eyepieces, "fitness" trackers, and various other monitors and "tech". What I'm trying to get at so clumsily, is the fact that if we don't have a massive course change in our current trajectory, we are rapidly in danger of losing our humanity. I'm aware that as I sit here right now and write this on a desktop computer, I'm also guilty of using a digital device. However, the PC is the most useful and least damaging of all these devices, as it's much more structured for proper thought, with actual "programs" instead of just "applications". The PC and programs are to Smartphones and "apps", what classical book literature is to comic books.
The Wave (2019)
Riding the crest
This is quite a disturbing film, but as with all the best productions, very
thought-provoking simultaneously, and which begs the question, "What if...?"
I've had a bit of a think before writing this review and came up with 13 other films which I've seen, that this film is like in some way. In fact, I'd recommend people with an interest in the supernatural/paranormal/psychically strange watch every one of these other films, if they haven't already done so, as they all explore similar themes and topics centred around the paradoxes of human existence, primarily by amplifying things to an absurd and hyper-real level.
I've further divided them into three sections, depending on how much they resemble "The Wave". Incidentally, before I get into the details, every single one of these films was filmed and produced somewhere between the years 2000 and 2020, which I believe is the "golden age" for this particular genre. Anyhow, I digress. The first tranche are three films that are the most alike in feel, plot and character development etc to this one - namely, they are "Memento (2000)", "1408 (2007)", and "The Butterfly Effect (2004)". I'll just give a quick synopsis of how I think these films are very similar to one another: In Memento, Guy Pearce plays a character who has memory issues, specifically a form of amnesia which also brings with it time displacement side effects, and he gets caught up in time loops. In fact, in a way reminiscent of "Prison Break", he resolves his predicament by getting permanent tattoos on his body, as he uncovers key elements of his paradoxical plight, and eventually unravels every part of the mystery at the heart of his situation. 1408 is a film starring John Cusack, about a haunted, paranormal hotel room which kills every one of its guests who attempt to spend the night there. It too involves space and time discontinuities, where the protagonist will jump from one location to another; and it's not clear whether he's still inside the room or external to it, in various different places from his past. The Butterfly Effect features Ashton Kutcher, as someone who can alter his present situation by changing his past as his consciousness is transported back to incidents from his timeline, and in which he can change his behaviour in subtle ways, that therefore influence his current life for the better or worse. So he effectively travels through time and space to alter his current reality. The key thing with all three of these films, and the reason why they belong in the grouping designated most like The Wave, is that in each film, the main character has very little control over the shifts in time and space as they occur, but with repeated exposure to the weirdness, they each learn to control the shifts (with the possible exception of 1408, I've forgotten much of the details), and turn things round so that they now work more in their favour. I won't go into particular detail when listing the next set of films; these are also still quite like The Wave to a degree, but less so than the first three three films I've just mentioned. They are: "Lost (2004)" (I know, I know, it's a TV series not a film, but what the hell), "Jumper (2008)" (aka "Cardigan" - that was a joke, btw) "The Adjustment Bureau (2011)", "The Time Traveller's Wife (2009)". You'll have to watch all of these films to see how much of an overlap there is in terms of the themes and storylines of each, but you can take my word for it that there is still a lot of commonality and shared concepts among them. Finally, the last six films which The Wave has similarities to, though perhaps less striking ones than for the films just listed above, are: "Predestination (2014)", "Inception (2010)", "Primer (2004)", "Infinity Chamber (2016)", "Frequency (2000)", and finally, "Lucy (2014)". Like before, I won't go into the particulars of each film, but each has portions which are reminiscent of The Wave, in nature, feel, and plot.
So finally, before I end this perhaps overly long review, just a few words on The Wave itself, without giving away any spoilers. This is an infusion of psychedelic, temporal and spatial (quantum mechanics, maybe?) "weirdness",
meaning distortions, discontinuities and general strangeness and absurdity.
It's portrayed as some kind of acid trip, but it's hyper-real at the same time. I'm sure most everyone has at some time had a dream, that is so vivid and rich that it resembles reality, or perhaps even exceeds it, though something is still always "off" about the place, and it's that feeling/emotion/sense/sentiment that this film taps into heavily and trades off of. I was genuinely pleased, and despite the undoubtedly morally dubious nature of how the "trip", or experience was initiated, it is a mind-expanding film that sparks (or at least should spark) the imagination and challenges us to think outside of our mundane and quotidian reality.
The Devil Wears Prada (2006)
It's not true...
...The Devil doesn't wear Prada, that is. But I was pleasantly enough surprised at watching this film, despite being a man, because there are some universal truths to be gleaned and lessons learned from it. I should immediately state that it is obviously soppy and sentimental for large parts, it's not really a man's film. Which is why I had to watch it over about three or four days in 15/20 minute intervals, because Terminator it definitely ain't. But the main takeaway is, that it's easy to lose your soul and be drawn into the corporate world and materialist mindset. The only correct attitude ever to fashion and all that nonsense, is that you only judge the person who's wearing the clothes, not the clothes themselves, and to be completely brand-blind; which I certainly am. Obviously the fashion world is the be-all and end-all for Emily which is sad. The positive to be taken from it though, is that Andrea eventually learns to play the game, and to be a very efficient and capable operator who becomes great at scheduling Miranda's life and getting things done. After getting drawn into the appearance-obsessed world for a brief spell, she eventually sees the light, and decides that this work and world is really not for her, and she just wants to be a proper journalist (wow, aren't they a rare thing and endangered species these days?), and eventually finds her calling after quitting as Miranda's assistant in dramatic fashion. Perhaps the positives that she took from her experience as "the new Emily" is a better dress sense and stronger work ethic, plus better time management skills. But who she was as a character before undergoing the transformative experience was actually a superior human being than that which she came to play to fit in and thrive/excel at the role she took. Overall it was a good film; like I said at the beginning of this review, very hard to watch for a man;
male-orientated films tend to have much more humour, blowing things up, and casual/playful aggression between characters, of which there was none of that to really be found here. I persevered through it though, and am at least a bit glad I had the patience to watch and see what all the fuss was about. A solid effort, but definitely aimed at a mostly female audience.
Wishmaster (1997)
A vision straight outta Disturbia
This film is the age old story of the weaker sex triumphing over great masculine evil through guile and intelligence. The ending in particularly reminded me of Eowyn's defeat of the Witch King in the Lord of the Rings Trilogy. I think there is a lesson here to take away for the real world. And the lesson is that incredibly evil men can sometimes only be defeated by a woman. While women may be the weaker sense physically, they are almost certainly the stronger sex mentally, emotionally and psychically, all phenomena more closely emanating from the soul than the physical prowess which men possess. Not to diminish men for their brute strength in any way, after all I am a man - and have many great men as role models who I look up to - but to acknowledge that this attribute is of extremely limited utility, particularly so in the modern world, probably more so that than at any other time throughout history. I think it's fair to say that evil men are seduced by power, good men are seduced by women, and women aren't really seduced at all, but if they are slightly swayed by a man, then it should only be through accomplishment or achievement, but with goodness being a very vital and necessary if insufficient prerequisite to any such seduction.
Intelligence (2020)
Very funny
I agree with what Julie the other reviewer said, it's a "Bit of fun". Really makes you belly laugh; it's an interesting setting, and they keep things very fresh. It's really a bit of a spoof with lots of well-worn cliches and tropes; but they act it out extremely well and poke fun at everything. Nothing is safe. I'd watch at least a second and maybe a third series. I hope Sky does recommission it for more episodes; as some real thought and imagination has gone into crafting this. Thanks. A pleasure to watch.
I'd just like to say for those who have criticised this show, as well as the cast: Do you watch comedies for their realism value, or accuracy of character portrayals?
I'd venture most viewers suspend disbelief when watching films/tv series in general - that goes for books and every genre as well really, including art and music;
probably even more so for comedy. It seems some people need a full sense-of-humour transplant; as the humour organ is diseased.
What the hell is wrong with you people? If you weren't quite so curmudgeonly you might actually enjoy life every once in a while. Smiley winking face to cheer you up: ;-)
Better Call Saul: Something Unforgivable (2020)
The red mist descends on (a once) lake placid
So much for the "crack team" of would-be assassins. Seems they killed everyone EXCEPT Lalo. Good tactical awareness from Lalo; the tunnel entrance under the bath was masterful, I also like how it was conveyed as being perhaps a mistake to some, but inspired decision to other audience members, to leave the bath tub up and thereby betray his means of escape to the assailants; however on second reflection he probably took the small risk of them doing what he eventually did to them, and hightailed it out of the tunnel as quick as he could; realising that they'd split themselves up at the tunnel entrance, thus further weakening their position by dividing their numbers, and also giving him the element of surprise with which to make his final attack. I also think maybe when he exited the tunnel, he considered fleeing himself, but then decided no. So we now know Lalo is a hardcore and highly effective battle operator, and an excellent strategist. All that really happened in the episode was, the killing squad effectively angered Lalo to such an extent that he may end up killing himself in the process of bringing retribution for their slaying of innocents. If that is the case, and to be honest, it bids fair, I feel Lalo will bring the hellfire to Fring, even if it does result in his own untimely demise. Brilliant episode though. No such thing as gratuitous violence (or gratuitous anything for that matter) in an episode of BCS. 10/10 is so rare for me, but here entirely warranted.
Better Call Saul: Bagman (2020)
Epically good
I'm just over halfway through this episode as of writing this, and I must say it's had everything so far. I just knew there would be repercussions of Jimmy wasting water to clean a dirt stain off his shoe. In this show, nothing is ever really done gratuitously; I'm sure there's lots of little Easter Eggs and such like I am missing as well. But I also think maybe sometimes it seems as if events could go one way or another; for example when Gustavo Fring offered new hot Southern Fries taster samples to the rest of the board, I was half thinking maybe he's had them laced and is going to kill off the other representatives and usurp leadership.