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Reviews
It's Always Sunny in Philadelphia: Dennis Takes a Mental Health Day (2023)
Most naturally entertaining episode in years
This is not formulaic IASIP, so I understand why some reviews are negative. But I've slodged through the last few years waiting for something reminiscent of the old magic - when the show was fresh and original - and this was worth the wait.
A) well structured: pacing is great, tension build is steady, callbacks and foreshadowing are nuanced, and the ending is provocative. New meaning to the phrase "I'll rip your heart out."
B) character balancing: There is a classic A storyline and B storyline, with one character dominating the A line but with interface to the B line. It's much more watchable rather than each of the 5 characters getting exactly 20% of the jokes as the writers often strive for lately. And it lets the B storyline steal the show with comedy gold because of the change of pace.
C) plot: The MacGuffin of "system" overload is relatable, and yields the naturally outrageous situations, but Howerton's range to showcase his struggle to manage them during his zen time is just beautiful. And I really enjoyed the ending FWIW, but familiarity with The Usual Suspects helps.
Others are calling this the season finale. If so, my only minor complaint is while it's very memorable it doesn't close out a season with any grand flourish. But I'll take it over a clunker any day.
They'll Love Me When I'm Dead (2018)
Fascinating look at a bygone legend, era, and insane filmmaking process
I've seen Citizen Kane a few times over the decades, and loved it more each time. I also recall first becoming aware of Orson Welles as he was being reduced by the 1970s tabloids into a caricature of overindulgence. So I really enjoyed this documentary for filling in the details of Welles' professional trials and tribulations.
Anyone who loves movies, and certainly anyone involved in moviemaking, will gain valuable lessons and insights from this doc. There is the inside look about the culture of Hollywood as well.
But it's really a tale of the intersection of extreme talent and unhealthy psychology. In retrospect, it's both clear and amazing that Welles has more than enough money to complete the movie "The Other Side of the Wind", but his lack of discipline and focus causes him to run out of money and never finish his experimental opus. The cause of that lack of discipline and the implicit disregard he had for others lives - the Rich Little tale is a perfect example - are hinted at but never conclusively defined. Just as well -- ambiguity creates fascination, so Welles remains as fascinating as ever.
The Other Side of the Wind (2018)
Can a mess of a movie also be signficant?
By itself, this is a horrible movie. Most viewers today won't be familiar with Cinema Verite, and this indulgent, contrived mess defecates on the notion of a window into the soul of real life anyway. So instead of working as the intended satire of avant-garde filmmakers, it's merely a parody of its own hubris.
The film is only significant because of the drama surrounding Orson Welles' involvement, and there are a few scattered scenes that are artistically crafted by him. So if you must watch this, I recommend first watching the making-of documentary "They'll Love Me When I'm Dead" to appreciate the forces that ground this herculean effort into a fought-over corpse before resurrecting it decades later for curiosity sake.
Uncut Gems (2019)
Not for everyone, but the right choice for many
Everyone will feel off kilter for most of the movie, but especially if you are a straight-and-narrow type about lying and cheating. There are few absolutes here, as all the moralism is relative.
Ostensibly the movie is about sports gambling and a precious gem, but those are McGuffins ---this is a character study of a kind-hearted narcissist (oxymoron) and his pulsating impact on his social sphere. If you are intrigued by that type of social/anti-social dichotomy, or even better know someone like that, then you will bravely navigate through the chaos in the bulk of the movie to a riveting denouement. The energy is high - much yelling and cursing, often overwrought - because Sandler's character pushes every opportunity and relationship to its limit for perverse gratification.
The story telling is intelligent; natural with no clunky exposition. The unusual choice to set in 2012 pays off thanks to the cameos. The lust to orbit athletes and performers is assumed as given. The Wkend scene seemed gratuitous initially, but added a layer. Loose ends (like the inflated gem appraisal) are left loose. The movie could have doubled its box office with a safe Hollywood ending; but kudos for the gutsy depiction to seemingly glorify flawed humanity, living on the edge, until displaying the repercussions of falling off.
Sandler has been universally praised for his performance, but I would say his character as drawn, the rapid-fire situations, and fine supporting actors (Julia Fox is a newcomer with the IT factor) make it comfortable for Sandler to deliver a solid performance. But truthfully, Sandler only operates in one gear here - albeit a different one than we are used to. I envision a gifted dramedy actor like Paul Giamatti would have been able to supply more nuance to deliver more pathos - but that is nitpicking.
This movie is about choices. If you're in the mood for an intense, unflinching look at life on the edge, this is a good choice for you.
Ozark (2017)
Adjust your expectations: think Dynasty, not Breaking Bad
To be clear: this had the ingredients to be a masterful crime series - fantastic cast, solid premise, and unique setting - but they made a broader soap-opera instead. Why? I don't know - maybe for mass appeal, or maybe they settled for what their writing talent could deliver. (Sopranos and Breaking Bad both had a twinge of contrived nonsense to keep our attention of course, but this doles it out in crack-addictive quantities.) You will find transient entertainment here for sure - hence the fans' zestful ratings - but there is no lasting mesmerization. Instead of making a gourmet extravaganza we would fondly recall in ten years, they served junk food we enjoy but will soon forget about. (There's nothing wrong with a good fast food dinner, unless you're expecting Filet Mignon. Cuz then you're gonna be disappointed. Which is why I'm warning you.)
The reason this is a soap opera instead of a crime drama is because you need to devote a maximum degree of suspending disbelief about the contrived action. On a meta-level, you have to accept that a Mexican drug cartel is omnipotent on American soil (so forget that El Chapo is just a ruthless buffoon in real life), that the police and FBI (until Maya) are basically incompetent at closing a case (even when at least 3 confidential informants have spilled the beans), and that the characters are momentarily upset about being kidnapped or having family members murdered but not affected long enough to stop it from happening over and over.
And then there's the family dynamic - granted, Sopranos and BB had their own dumb subplots involving the kids, but the Emancipation idiocy from season 2 was an excruciating viewer insult. (Season 2 in general is tedious - Good plot goal to expand the business, but 75% of the season is devoted to securing governmental approval-- #Yawn)
The last point is the writing is not-nuanced at all, probably because a soap-opera can't have too many "normal" supporting characters, otherwise the ludicrous action is too contrasted: everyone here has to be majorly flawed to avoid begging intelligent questions, so we get the array of lunatics and psychotics to propel the action. There is no Dr. Melfi (Sopranos) or DEA Brother-in-Law Hank (BB) for grounding. Season 1 had three discerning supporting roles (Buddy, Jacob, and Rachel), and no surprise they are all gone by season 3 as they were unsustainable in the burgeoning melodrama. But as a result of these writing choices there is also no satisfying depth from proven devices like foreshadowing or characters' moral growth arcs - it's all very superficial fluff from emotional manipulation. (I must stress the viewing can be very cathartic and extremely well performed at the same time -- if you get to season3-Ep9, the starting soliloquy by Ben and ending meltdown by Wendy are riveting.) Again - as long as you are expecting that type of genre, Enjoy!
I was going to write more contrasting this soap opera narrative with the more resonating reality of Sopranos/BB, and will append later with more detail if people like the review so far. If not, no worries. 😊
Columbo: An Exercise in Fatality (1974)
Fun look at 70s health scene
Very watchable episode for Robert Conrad's legendary intensity and for the time-warp look at the health club scene in the 1970's with a nod to Jack LaLanne's influence. A shirtless Conrad or bikini-clad Gretchen Corbett as his secretary is a great incentive to watch as well, depending on your preference.
I'm surprised at how many previous posters seem to misunderstand Columbo's deduction of the clues in this one and to feel parts were unnecessary. The clues might be a bit incredible -- they always are to some degree or another -- but the conclusion that they point to is legitimate circumstantial evidence to conclude Conrad is guilty.
Robert Conrad (RC) heads a fitness center chain, and kills one of his franchise owners who is about to expose RC's unethical business practices. After hours, Conrad goes to that man's gym, chases after him which causes the man's dress shoes to scuff the floor, strangles him, dresses the dead man in gym clothes, and stages a fake death scene showing the man died by a barbell crushing his neck while working out alone. Conrad tapes all his calls, so he then rushes to a party at his house where - conveniently since he has 2 phone lines there -- calls his own house from a back room.
RC's secretary answers the phone and hears a tape playing the dead man's voice ask for RC. RC emerges from the back room to take the phone from the secretary and pretends to talk to the dead man. He then notes aloud to everyone at the party that the dead man is in gym clothes and about to work out. (THIS is the part which bothers people since it is unnecessary rope to hang himself with, but RC wants to make an impression on people about the slob really getting into working out so they will remember the details to be better alibi witnesses.)
Anyway, Columbo notices and is bothered by things per usual that by themselves are not conclusive but paint a picture: --- RC has burns on his hand --- the scuff marks on floor --- the dead man's dress shoes were found still tied as if they were pulled off his feet --- RC's phone lights not working --- RC's alibi weakening when the car dealer he claimed was closed was open --- and the dead man's wife's confrontation with RC over information a private detective/accountant had found, exposing a motive.
Based on those, Colombo zeroes in on RC, gets a warrant to show how parts of the tapes were used to create the illusion to the secretary, and proves the dead man did not tie the gym shoes he was found wearing since their loops don't match his loops he made on his dress shoes, thus proving a murder took place. So now RC is boxed in.
A) RC can say someone else cut the tapes to fool the secretary, but then why did RC keep up the conversation beyond that if he wasn't the murderer?
B) RC can say another man murdered the franchise owner and tied his shoes, but then how can RC explain the fact that the owner supposedly told RC that he was already dressed for the gym when calling.
Now, of course this deduction is not foolproof. A good defense attorney can still raise reasonable doubt. Perhaps the dead man tied his own gym shoes when they were off his feet and liked to slip them on and off. Or perhaps when he was murdered in his gym clothes by someone other than RC after calling RC, his gym shoes fell off during the struggle so the other murderer put them back on him. And we don't see RC confess in this one at the end like we normally do from other Columbo killers, fwiw.
MY TAKE -- as many have mentioned, the HUGE PLOT HOLE is that for some reason Columbo hasn't yet checked the dead man's phone records to prove that he called RC (which he didn't, of course). So my fan-fiction post script to this episode is that Columbo has used all this circumstantial evidence to put the final nail in the case by getting the phone records to prove RC was lying all along.