Reviews

... but unfortunately no-one's home.

By which I mean to say: Plenty of things are happening, but there is no evocative core, character building, or genuine emotion.

It's a film for people that need things to happen, without any feels involved.

It's full of bombast, exposition, left field cuts and platitudinous axioms that essentially do not amount to much. This leaves very little space for performance or subtlety from the leads.

That being said there is good space (made) for comedy, and it's very well done. Ultimately, though, it's a shame that those short moments (which gave more character than any other in the film) are few and far between. Even the physical comedy is good. It's by no means a dark and broody affair, it's just that the pace is far too fast, and the cuts are far too frequent for any personal narrative to build over all the stuff that is happening.

This is a shame, because the film is gorgeous, and I was genuinely blown away a few times. Visually it's stunning, however that really translates poorly to any drama for the characters involved.

I believe that there is a film in there, somewhere, perhaps on the cutting room floor, I do not know. Perhaps I needed a bit more time with him as a person before and after before we were thrown in to scene after scene of (quite, quite, awesome) action.

Ultimately, I think they've struggled to tame the language, and have perhaps gone a bit too respectful of the source material, which is unweildy at the best of times. Dumbing it down really could have helped the performances sell this a little more, and since we are at the start of the good Doctor's journey, that might not have been too bad a thing.

It's fine, but there is more film in there somewhere, begging to get out of the mirror that this is.

This show actually came out of nowhere for me, but on first helping I'm all in.

In England this was just signed up by Amazon as an 'exclusive' and, unlike their recent 'original' (the collection) this (from TNT in the states) is actually really rather good on all accounts. It's a medium burn affair and has (to my ridiculously poor memory) more in common with Point Break than the original film. Where the film was brutal and unforgiving (emotionally, mainly, but also physically) this is a slightly more laid back affair on the whole, but there's an underlying brooding ... perhaps that's the sound work, but credit to all performances.

Through the washed out lens we're already given a slight haze, and through the lens of Finn Cole's "J" we're given more haze. He's shaken, though, and major adjustments are all we're seeing for him.

Where this goes next I am actually really begging to find out, and hope that the tone and intensity (of key performances) can be kept up.

Highly recommend watching this first episode, I have an inkling that the whole thing will be worth it.

I will try episode two, but this was really not that good, I'm afraid.

The setting seems off, the music is impertinent, performances shallow, and so much of it seems really ... just ... I dunno ... not up to the standards that I expect from Amazon, I'm just not that convinced, I'm afraid.

One exception to the performances was Jenna Thiam as Nina, who's depth of character was astounding. I hope that's not just because she was around players that were perhaps not at their best (although I feel actors usually up their game around better actors ... so it's weird) on screen. I obviously don't wish to be harsh on the other performances, perhaps I'm missing bits, perhaps they were marred by the poor set design and general production. It really does feel like it's completely shot in a studio.

I mentioned the music, right? Wow the music (not on radios/in clubs) is overpoweringly annoying here ... I can't help but feel like a more delicate touch (or none at all) might have helped focus on the more important things. That's not meant as a back seat director comment (I would be *awful*), but more of how it felt to be assaulted by it seemingly all the time.

Let's not forget the dream ... holy wow ... Oh(!) and Billy's line "I like to remember what made Paris so unforgettable." Man. OK ... Will try episode two, and amend this score (and possibly this) ... but I think there's a little climb here.

I will try episode two, but this was really not that good, I'm afraid.

The setting seems off, the music is impertinent, performances shallow, and so much of it seems really ... just ... I dunno ... not up to the standards that I expect from Amazon, I'm just not that convinced, I'm afraid.

One exception to the performances was Jenna Thiam as Nina, who's depth of character was astounding. I hope that's not just because she was hanging around worse performers, but no-one is totally awful here. I obviously don't wish to be harsh on the other performances, perhaps I'm missing bits, perhaps they were marred by the poor set design and general production. It really does feel like it's completely shot in a studio.

I mentioned the music, right? Wow the music (not on radios/in clubs) is overpoweringly annoying here ... I can't help but feel like a more delicate touch (or none at all) might have helped focus on the more important things. That's not meant as a back seat director comment (I would be *awful*), but more of how it felt to be assaulted by it seemingly all the time.

Let's not forget the dream ... holy wow ... Oh(!) and Billy's line "I like to remember what made Paris so unforgettable." Man. OK ... Will try episode two, and amend this score (and possibly this) ... but I think there's a little climb here.

Don't watch this film.

Right, that said, here's what I attacked my arm with a sharpie with whilst watching this awful, awful, film. I have pictorial evidence of this which I'm happy to DM or something here, I was going to link to a tinypic, but that seemed a little dodgy. Here's what I 'memento'd' my arm with: intro ... actors ... Expoition ... A-Team intro ... pacing ... Enchantress Good ... not convincing ... violence too old / humour too young ... no drama for Joker despite good performance ... incomprehensible dark fight ... comic beats all miss ... ---censored quote from end of film--- ...

So, three things up front: Firstly, because of how I wrote my arm comments, the reaction here will be mostly (but not obviously) chronologically based on what happened, but there are no spoilers here. Secondly, I've not exposed myself to hype or reaction to the film, so thoughts and feelings are my own, uninfluenced by media, social media, or friends. Then finally (related to number two) I go in to a film straight, meaning that even if I love the trailer I'll not go in thinking it'll be great. This works the other way, too ... I really found Sisters quite hilarious.

OK, I've given my 'intro', so why not look at theirs ... theirs being the first, painful, forty minutes of a film this year, which basically boils down to "The A-Team". So, yeah, I'm not sure that I've seen more exposition so obviously spelled out for me on screen in years ... sometimes literally. But there's more expository nonsense that just keeps flooding, and flooding, your ears and eyes. I have a theory that if you remove 90% of the flashbacks you might have a shorter film buy the performances would actually have some subtlety to them. Harley's craziness would be ... CRAZY ... Joker's motivations (as I believe they should be) would be indecipherable ... Laton's few genuine emotions would be sold so hard. I do feel like this over usage of flashback (without overtly fetishising it for irony-lolz) is just more heavy literal thinking and expository pointlessness. The actors on show here can *perform* and most of that is lost if you spell out all of that to the viewer.

That's probably the only issue with the performances, I think. They all seem to be doing a relatively good job with what was written the horrible pacing and structure just bury emotion, humour, and subtlety which basically kills any effective character development. Although I'll focus minutely on Robbie's performance which I just couldn't get anything from, I do put that down to editorial interference though, it just feels like your fringe friend that is pretending a little too hard. She does, though, like every other player, get given one decent emotional moment to sell (you'll know them when they come because of the massive sign on the screen saying "BIG EMOTIONAL MOMENT"), and these are all handled well enough, but are completely buried by the overwrought stylings of the film.

I guess that can nicely lead in to my one large positive from this complete mess of a film; Cara Delavigne's performance and most of the handling of The Enchantress in general. This said, I didn't feel that she was super threatening, but that's neither here nor there in this part of the analysis. The character really did fit the GRIMDARK aesthetic of the DC films thus far, and I think she'd have worked very well in any of the other properties that they have, so I'd like to see her kept around for when they get to magic in their Universe. I think the lack of threat probably came from it looking much like a weaker version of the planet smasher from MOS. Anyway, I digress, Delavigne is using those peepers perfectly, and really holds the screen and your thoughts well. It feels very much like the only decent, real, emotional, character building that happens, and when it does it's so sparse that I think that it's good that we got what we did out of it.

Let's salute the GRIMDARK again, and take a quick snigger at the poor attempts to bring humour in to the fray. There is only one really good line that actually lands throughout the whole thing and it's Killer Croc that gets it. Otherwise the unfortunate literal nature of the film meant that I actually laughed more at one of Rick Flagg's last lines as an extremely helpful indicator of what was actually occurring for the characters... Tommy Wiseau level stuff. It's a sad time when you're laughing *at* a film rather than with it, it's sad because they could have cut some of the violence and aimed this solely at kids (it's a 15 in the UK) and lose some level of the 'bad guy' device, or ramp that up, and lose the Nickleodeon level "humour." So amongst the usual things that have plagued the Snyder films (he's EP on this, Ayer wrote and directed everything apart from a Boomerang Flashback) like the grimdark, the bad storytelling, the grimdark, the lack of humour, the gri... ... this just doesn't work on nearly every level. Poorly scripted, presented, directed, and ultimately this all ruining performances, it just all points to an unfortunate vision from Ayer.

I'm actually lowering my score having read back what I'd written here, which puts it level with 'The Room' ... maybe I'll have a think about that.

When the beat ticks down, and the most emotional thing to occur in this show happens, this became TV legend.

The metaphorical one-upping of the comic book here is truly an evocative moment which had me sobbing for a little bit. Balanced with some of the comedy on show here meant for a roller coaster of an episode and a fitting end to the season.

The producers had said that this (season) was the story of how Jesse et al get to where they are in the comic, and they've completely delivered on that.

This western is beautifully weird, funny, intense, and just plain pretty.

They've put together a television show that is altogether a different proposal to anything else that is on right now, and it's a thoroughbred affair for all to enjoy.

Except maybe some of the more fervent in the Christian religious families.

Do yourself a favour, put down your phone, and watch this altogether fabulous TV show.

Art is all around.

This episode completely blew me away, and Ruth Negga was near perfect.

The little touches are more and more what you notice here, too, thanks (again) to the sparse production design.

The dialling up of tension, and the re-use of the marvellous place titles which only help to accentuate (as spoiled at SDCC) hell, were so well paced that one couldn't help but be drawn in by what was happening on screen. It also starts as one thing (device wise) and ends as another, an almost meta way to do it.

So many origins being told, almost just in this one episode.

So good.

Sam Esmail has written and directed the perfect television episode, which is an unrelenting, beautiful, intense, masterpiece.

From the outset (which had elements of Tarantino) to the framing and movement he brings from Tod Campbell, to the final act. There is not a single dropped frame that doesn't hold emotional, metaphorical, and literal meaning in eps2.1.

Everyone does extremely well in this, but I had to pull out Michael Cristofer for what he does here. Reminding me a little of his character in Rubicon (they have very different make ups, of course) in just how much depth is built in to what is going on with every word he says. Doubleday also for similar reasons.

This is just a ridiculously fantastic piece of film making. It's worth watching the whole series just to get to this point.

This week's episode was very heavy on the deus ex machina ... in a reasonably literal sense.

How events panned out force Jesse's internalisation of the pressures on him to grow which means that the impact of what's happening here are really hitting home.

This said, it's a bit of an empty feeling I got from the episode overall. Perhaps my least favourite (yet still beautiful) of the season thus far. I think it starts out fantastically, and I don't mean the action, either. Some of the little bits from W. Earl Brown are so perfect that everyone else blends in to the background apart from Haley, who basically owns the episode.

Haley's performances throughout have been perhaps the most embodying (alon.... ) ... actually, no ... I can't pick him out. The actors all ... to a tee ... have embodied the characters they've been written so strongly it's ridiculous. That's no different here, the focus is just on Haley. From watching the first 'talking preacher' I see that they had a lot of rehearsal before hand, this has clearly really helped them hone character ... and in some instances change it a little to suit how they're feeling it.

As I say, though, for whatever reason I'm a little numb to this particular episode, and I don't know why. Perhaps it was the meat in the sandwich, because it begins and ends fantastically. Also that end ... I'm really hoping that has something to do with Arseface, however it's so unclear, and so joyfully abstract that who even knows.

... And it is. Natasha Braier's pictures under Refn's prodding, with the performances on show here will leave you so unaware of what you're feeling ... but feeling it so very hard that the world will be muted for an hour after you leave the theatre.

For me this is what cinema is for: Taking me away and *making* me feel. Feel it hard. This is guttural, and intensity born of coldness. I don't remember feels this hard from anything Refn has displayed before, but I do rather sleep around a lot ... so perhaps his films have just melded in to all the other films I've gotten in to bed with.

One note: I might be dumb, but I saw no metaphor here, as others have suggested to me that this has on show, but that could be the aforementioned ignorance. LA is a monster, maybe?

The Neon Demon easily brushes aside the other films I've put in front of my eyes this year. It needs to be put in front of yours.

Let's start by acknowledging the unfortunately large grey mammal in the room ... these things are usually horribly bad. Lots of unfunny people given a green light to tell "offensive" jokes that are made OK because someone from the demeaned group is there laughing and OK'ing it.

Thing is, jokes can be funny, and when it's owned, and has ... no ... I think I'm going to lose this thread of conversation. I'm so annoyingly not rabidly against anything open and funny against any given target, and also so annoyingly not hating "SJWs" for actually being totally right and fighting for the progression of society. It's a shame that life is 1's and 0's these days, but that's 01101100011010010110011001100101.

This show is actually phenomenal. I don't really want to ruin the comic beats, but I'll say that it's a massive crescendo that actually peaks slightly early ... however the last //indefinite number// were still fantastic.

I can't recommend this hard enough.

What I'm trying to say is that ... even though I tried not to single the comedians out and completely ruin the whole thing for you, I kinda did a little, and I'm a bit sorry. But that's still ... it's a bit of a ... well ... it's a certain kind of move. Without the ones that aren't as funny, the ones that are funnier wouldn't be as funny as they were.

I'll shut up. This is blinking great.

Not amazing yet definitely above average, although I'd not say much for the camera direction and the majority of performances of those under 50.

Hemsworth is fine, and does enough, but I get nothing emotionally from his interactions, and I don't think that's intended.

The ending didn't totally stink of deus-ex machine, but it was an obvious telegraphable move, which was unfortunate as (other reviewers pointed out here on Amazon) it removes the element of paranoia. However (as opposed to said reviewers) I think the lack of tension and any psychological worry is down to the performances here. It's quite possible that the script didn't offer much for the players to play with, but I think two seconds from Dreyfuss under insultation from his son showed what's possible with what was offered. It had a broad beat, but his eyes and facial performance took my breath away. There were a couple of moments from Ford on that note, but not as strong as this, and Oldman was as dependable as both the actors older than him.

This unfortunately ends up just looking like a vehicle for Hemsworth, which is a shame. Because there's real promise in the raw material available here.

I'll be reviewing each episode as and when I can (usually first day) and adding the approved reviews to this one.

... Episode 1 Review link: - http://www.imdb.com/title/tt1316546/reviews-3 .

... Review score: 7 out of 10.

... Review title: A Very Solid Start.

and based on episode one I'm intrigued to see more.

Not having read the source material past issue one I've no attachments to anything that already existed, and I like what the players are doing on screen. So with that in mind I don't have any hangups about it and I'm not sure that I really do that anyway. But this is engaging and the performances all have depth and colour.

It might sound like an odd thing to bring up, but the sound design is very polished, and helps with the spare visual look which is very pretty in itself.

I say that you should check this out, I think based on the first showing you'll probably want to watch another, and as long as it doesn't become too much like a monster of the week, I think it could have legs. As always we'll know more after four, five, or six, episodes.

... Episode 2 Review link: - http://www.imdb.com/title/tt5236114/reviews-1 .

... Review score: 8 out of 10.

... Review title: Prod Beaut.

This week's episode was a production beaut.

It was slow as all hell, and used the production design to bring everything we needed out of us.

The titles, score, sound, and direction were on fire. It was a very solid, unified vision.

Cooper dropped his accent pretty badly once, however there was an intensity from all the characters on screen that belies the show's two episode depth. I feel like we're a season in already and it's not even that dense. I'm not sure why that is, perhaps they've just got so much to play with it gives them the ability to evoke so much out of us.

I'd be sold on the performances alone.

... Episode 3 Review link: - http://www.imdb.com/title/tt5236116/reviews-1 .

... Review score: 7 out of 10.

... Review title: Tilting At Windmills.

We're stepping in to some very odd waters here, and that's not me just falling for the tilting camera angles.

This was the slowest one yet, and is there to flesh out some of the meanings of why everyone is here. If someone is batch watching this it'll work better in a sandwich of the previous and likely next episodes. It's important, though, as motivations are set in stone, which is a very nice upending, because it meant that the first episode was free of needless exposition.

That first episode's lack of exposition and this episode's modicum of it told us that the writer(s) is(are) ensuring that we were hooked in to start with some prime action and a good hit of the strange power at work here then bring the story in. I like how they're approaching this show we're adults, we're able to get the main things required for us to invest in characters without knowing everything about them. You can drip feed us, but we do need significant portions when you do.

Mostly I'm glad this isn't monster of the week with a trickle of story, and is (instead) a good¹ monster of the season, and a meaty story. I'm till not sure who to root for and where to pull joy from this (Negga is scrumptious, though, in her portrayal) so I'm in for more of this now. Sign me up.

¹ As in good guy, I think, inside Jesse.

This week's episode was a production beaut.

It was slow as all hell, and used the production design to bring everything we needed out of us.

The titles, score, sound, and direction were on fire. It was a very solid, unified vision.

Cooper dropped his accent pretty badly once, however there was an intensity from all the characters on screen that belies the show's two episode depth. I feel like we're a season in already and it's not even that dense. I'm not sure why that is, perhaps they've just got so much to play with it gives them the ability to evoke so much out of us.

I'd be sold on the performances alone.

We're stepping in to some very odd waters here, and that's not me just falling for the tilting camera angles.

This was the slowest one yet, and is there to flesh out some of the meanings of why everyone is here. If someone is batch watching this it'll work better in a sandwich of the previous and likely next episodes. It's important, though, as motivations are set in stone, which is a very nice upending, because it meant that the first episode was free of needless exposition.

That first episode's lack of exposition and this episode's modicum of it told us that the writer(s) is(are) ensuring that we were hooked in to start with some prime action and a good hit of the strange power at work here then bring the story in. I like how they're approaching this show we're adults, we're able to get the main things required for us to invest in characters without knowing everything about them. You can drip feed us, but we do need significant portions when you do.

Mostly I'm glad this isn't monster of the week with a trickle of story, and is (instead) a good¹ monster of the season, and a meaty story. I'm till not sure who to root for and where to pull joy from this (Negga is scrumptious, though, in her portrayal) so I'm in for more of this now. Sign me up.

¹ As in good guy, I think, inside Jesse.

I'm glad I'm not quite sure how to classify this, saying 'Die Hard In A City With A Family' would be grossly unfair to either film.

Even if it was it'd be 'Some kind of weird die ha..." ... look, it's just an odd one to handle. The emotion here runs deep, your connection to the protagonists (including Brosnan, playing away from his recent straight to digital affair tropes) is so strong.

It's not for a lack of the right prodding from the director, either. Things are not subtle, for sure, if you've come to this for a character thriller, please walk away. However, each actor is very well cast and performs to exactly the right level required, and no-one's weirdly disproportionate in terms of their situation. There's a good measure of this with Wilson in the lift near the kick start of when everything begins to go The direction / cinematography does nothing really flashy bar slow-mo, and that's used only sparingly, and only at the right time. The focus for required in this (to direct the viewer) has hints of Gareth Evans, and that is definitely my tiny mind talking, but y'know ... go away ... it's one of my favourite things about this. Sound design is valid, and not overwhelming, which emphasises that this is a normal family, not Bruce Willis' brethren, too.

Look, this is actually really good, and I'd heavily recommend anyone watching it. You'll connect with what's important, and you'll be incredibly invested in how it turns out. Watch it, love what's going on, and enjoy.

I really, really, liked this episode, and the ending was really rather stirring. Great performances all around, and this is shaping up to be one of my favourite seasons in terms of actually gelling and everything feeling balanced from a story telling point of view. Production design is also great, too, although I laughed aloud at the Tully's ridiculous abode. It's frankly completely unexpected within the land that I've seen so far on screen. I could accept it on the continent, with some truly stupendous citadels, but it just comes out of nowhere, so it's a bit of a joke. Still, absolutely lovely once the shock wears off.

This said, it's far from my favourite television watching, and I find myself thinking sometimes that for writers there has to be more to drama than simply putting people through the blooming wringer.

Hopefully we can get a little more from our TV in the coming years now that Amazon and Netflix are upping everyone's collective game.

I liked it.

Highlights were Sabine and Matt. Sabine's completely brilliant and should be a heavy part of the show, co-presenter, I think. Matt delivered strongly, and nailed his lines completely, really bringing character and humour in to things.

However it was disjointed, and I think that's because they've clearly kept enough of the writers on (or the feel if they don't have them) from the old show. This doesn't fit with Evans. I think Evans works best without a script, and it seemed like he had one here, he felt too stilted and forced. Give him creative control, and let him freewheel it, there's a reason why he can be electric on screen ... let him be.

Let the show evolve, because it was more of the same, and it could do with a shake-up.

Get Sabine on full time, people!

... and based on episode one I'm intrigued to see more.

Not having read the source material past issue one I've no attachments to anything that already existed, and I like what the players are doing on screen. So with that in mind I don't have any hangups about it and I'm not sure that I really do that anyway. But this is engaging and the performances all have depth and colour.

It might sound like an odd thing to bring up, but the sound design is very polished, and helps with the spare visual look which is very pretty in itself.

I say that you should check this out, I think based on the first showing you'll probably want to watch another, and as long as it doesn't become too much like a monster of the week, I think it could have legs. As always we'll know more after four, five, or six, episodes.

OK, I'm going to say at the outset, this is just so badly written and directed. It's a confusing mess of a billion things happening, none of them interesting, with zero desire to care for any characters, events, or happenings.

So, yeah it's tremendously bad, possibly worse than MoS.

Nothing matters, stuff is just happening ... constantly. There's zero character development which therefore means that there's no reason to care about anyone or anything. You can pretty much sleep through most of it, as it does get old fast, people speaking in snapshots, no real conversation or life (barring one bath scene), and it really doesn't have a middle at all. In fact there's very little start to this film, either, just a whole heap of end ... End ......EEEEENNNNNNDDDDDD.

There was an ongoing thing a long while back whereby a lot of film viewers were saying that 'what we really need is a film where superman gets to hit things a lot. Yes, that will definitely make a good supes film' ........ Oh ... kay ... now you've had two of those, with zero hope, light, and love for the man, nothing. He's a flying fist (with the characterisation that goes with that) and somehow that fist scowls more than Bruce Wayne at someone's parent's Silver Anniversary.

This has all the scripting of YouTube 'versus fight' with figurines (except those have more than one -bad- joke).

The animated DCs aren't the most amazing cartoons these days (come on, guys, get it back on track with a bit of world building there) but at least they develop character, build story, and push you to care. Perhaps look over there for some talent, rather than the comic side of thing (which aren't going great).

I'll tell you now, I actually fell asleep during bits of this music video.

This is not a good film, and it's a shame, because there's so much to work with. I really hope that the awfulness of this film will actually propel the Suicide Squad, Wonder Woman, and Flash, films to greater acceptance. But only if the latter two (the first is about bad guys) actually have some real light in them. Spoiler alert there's only two seconds of sunlight in this one.

Well that was glib and not good.

With very little emotional involvement, this was nothing like the Lucas films that predate it. Except for the one thing, Daisy Ridley is a true successor to Mark Hamill, because ... hey ... neither of the actors can act or at least they don't in these films.

Also the lack of engagement with this meant that I didn't get any real sense of scale because if there's no importance, then why will I care how big some gun is? Anyway, everything is either enormous or not there at all.

There was no lingering anywhere, no time to drink it in. Ridley's character seems like she's supposed to be suffering, and barely living, but her (non) arc provides nothing of this until someone *actually says it out loud*. Even the flashbacks don't assist that, and her performance suggests nothing throughout.

Talk of story brings us to this weird overly 'expositional' (I like to make up words, sue me) style, and despite the film having a literal description of what has happened so far they spend the half the thing explaining everything ... which is so redundant it hurts. These are supposed to be films for kids, and kids get visual story telling, they've got this. There were six of the things so far, and they've only looked away for the twenty minutes of Vader and Darth mommy making the most horrible couple ever. There is room to tell a visual story here ... there are two more films!!!!

Due to the mountains of explanations, that mire this script beyond all recognition, little happens beyond run, fight, bomb ... FLASHBACK!

Too much exposition, no meaning.

What's that, JJ? These miserable 'emo' rejects are supposed to be a force in the galaxy?!? And OK, if you're going to spend some time explaining everything, why not put some effort into the threat? HUH? I mean ... these guys *really* don't come across as imposing at all! Also the generals and admirals seem like some casting agent really screwed Disney on this one.

All of this reminds me, if you wanted Luke to have *any* meaning then just build him properly and stretch the story to the next film.

So the ironic combination of everyone dragging us through this and the fact that there's less plot than Spectre is not a joy to behold. Watching this as a child the only part of me that was sated was my need for SOMETHING TO BE HAPPENING ALL THE TIME PLEASE ... MUMMY, MY E NUMBERS ARE LOW!

The shining light in the whole thing is John Boyega. He's fantastic, giving a performance that hopefully kids will really love, given enough (or making enough) to provide actual emotion to the character and make you really care what happens to him. Fisher and Isaac do well in the short amount amount of screen time that they have. Isaac is *very* assured, but only gets one real character scene, having to Wedge the rest of it ... but as I said, solid. Fisher brings feels in the split seconds she's on screen ... which really makes me happy she was involved.

Oh, and one final thing ... main refrain aside, the score is limp, at best. Rey's theme is so toss it hurts, and the rest just blows by with the other crap.

Perhaps JJA has done one very good thing with this film. He screwed himself so that all the other directors can work unencumbered by having to do the same.

Transparent is the most joyous, beautiful, nuanced, clever, hilarious, touching, television show that I've watched in years.

I can't make you watch it, but I can definitely say that your life (y'know, if it has a reasonable amount of televisual consumption) will be better with this series included in it.

It's so powerful, so moving, that it solves the problem of "should I binge watch the whole thing because it's there?" You can't *take* this much awesome all at once, you'd be a wreck.

I've paid Amazon to watch this show, I'm happy about that decision. Thank you, capitalism and art, you have scammed me into your cold, clammy, liver spotted, arms again.

xx

**vague spoilers** I guess I'm just *conditioned* to laugh at awesomeness.

This was excellent, and another jab at Glee, with SNL newbie Taran Killam as the Glee club instructor (or whatever) putting in a pretty good performance. His character turns on SNL have usually been pretty good, and this works, too.

Fans of the show and Doctor Who lovers/haters will love the Dr. Space Time bits, as Pudi whites up for the role, and Glover puts on a commendable accent for his assistant.

I know that this is slightly irrelevant, but I did want to say how much I loved Troy locking the blanket fort in the last episode.

Oh, and enjoy the coda, it's just silly enough.

Merry Dean/Chang-mas!

sad is not meant as an insult.

emotionally, this should hopefully rip in to you almost completely throughout.

the film doesn't bite its tongue, and performs at the perfect pace. the cast (digital and non) are perfect.

if you want to be literal, or detail oriented with your viewing; with the small touches it is very much in theme with everything around it (its legacy/future).

it's it plays perfectly, too. it's like the first chapter of something immense ...

wonderful.

And it is a disaster movie, with the unfortunate happenstance of being completely true.

I would say that this is an actors piece, most definitely, with not a poor performance (although some perhaps hackneyed) within.

I would also say that, since it's a disaster movie, we might have been given some more of that disaster at the death ... instead of the horrible thing said twice to make it mean more.

You should watch this, and make everyone else that you know watch it. Let them know how close we came, and how close we are right now, to complete disaster.