Reviews

Judge Rawley continues to have problems with that nerk 'Arris.

This is a strong episode with good comic dialogue and social commentary.

The general banter between Fletch and other inmates is at it's usual high standard, but for me the kangaroo court scene stands out as having the best moments. In a silly comical way it takes a good swipe at the disparities found in the justice system. Clement and La Frenais use the characters of Rawley and Harris particularly well.

Ronnie Barker is on great form as ever. Ronald Lacey is also a standout as he embodies his character in a way that brings out hints his evilness, but does it in a funny way. Sam Kelly also has some memorable moment as Warren.

Dark is an epic, temporal sci-fi drama with some very memorable moments.

A lot of thought has gone into the detail and connection of events portrayed in the plot. It is a challenge to process all the information and I would suggest making note of who is related to who as you go along. Plus as characters take significant actions in different time periods, either keep notes of this or read summaries of the previous episode before moving on to the next. It would probably be worth trying to familiarise yourself with some of the more well known theories of quantum mechanics before the third season.

For me the first season is the most intriguing as there is not as much revealed outside of various strange events. The second and third seasons expand the scope of storytelling and sci-fi concepts significantly and become quite mind-bending. I think it all leads to a great conclusion that is worth the investment of time and does not feel like an anticlimax.

All characters are fantastically written, with lots of detail put into their development and connections to each other and various events. All actors are consistently great in the roles and it's hard to pick a standout performer. For me Lisa Vicari is a great actress with awesome screen presence and has the strongest material to showcase her ability.

Generally the cinematography, sound effects, music, art design, period detail, colour grading, special effects and editing are all top quality. The filmmakers use everything at their disposal to keep the atmosphere bleak yet suspenseful throughout. Considering there is a lot of dialogue it never feels like we are being told what is happening characters as the visual storytelling is first class.

There are moments (especially on reflection) when you feel certain characters are being portrayed as overly mysterious or sinister purely for the sake of audience intrigue, but this is not a major issue.

The only downside for me (and this is just a matter of personal taste) is that the tone is constantly downbeat and the characters are written to be utterly humourless. I understand that the mood is supposed to be bleak, particularly relating to themes of humans acting selfishly on their deepest desires to the point where it causes harm to others. However, a moderate amount of black humour would not have been detrimental in my opinion.

It is pretty much impossible to write about the story details without spoiling, however it is safe to say the writers deliver the ending it needed after the complexity of the past two seasons.

What I like the most is that in a show that has been brutal with violence and self serving behaviour, we have a resolution where certain characters are required to do something positive.

Certain characters are used very well, particularly Jonas, Martha and Tannhaus. Plus the characters who appear in a final group scene together are quite memorable. All actors are tremendous as they have been throughout the series.

For me the writers owe the viewers a satisfying conclusion after we invested a lot of time in bleak and challenging story and they achieve it.

This is a pretty epic episode in the scope of the events portrayed.

I think the plotting lays solid foundations for the series to conclude.

The opening scenes of exposition dialogue are pretty unsubtle, but necessary given the nature of the sci-fi concepts portrayed previously. What follows is a series of mind blowing jumps through time that explain various events and suitably informs the audience before the finale, which I am hoping will provide a coherent explanation (for a layperson like me) of what caused the entwined timelines.

Considering the complexity of the narrative, the various plot threads unfold in a compelling way. I like how certain characters are shown from a different perspective and we see the evolution of certain key individuals.

Visually it is fantastic. I love the sci-fi spectacle, but also appreciate the art design required to portray multiple timelines. The editor deserves a lot of credit for making this one work well.

This is a difficult one to rate because there is a lot going on and so much information to process.

I understand why some people struggle, because unless you are comfortable with some of the sci-fi concepts portrayed it can feel quite incoherent. The writers apply a certain well known scientific paradox to the sci-fi concepts to help portray certain events. It works well for the convenience of the plot, but it is quite mind boggling. From here on it is hard to get invested in the fate of any characters as who knows what reveal will come next.

Whilst watching it for the first time I admit to having problems processing how every event connects and the depiction of multiple versions of characters, but when I reflect on the episode after rewatching (with the aid of a family tree and notes) I can see how the writers have created a plot that makes sense, but is a challenge to keep up with.

As always the acting by all cast is superb, with Lisa Vicari standing out in this one.

The production values are absolutely superb. In this episode there is some top drawer audiovisual spectacle that is very memorable.

My lasting impression from this one is that it is an ordeal that I find impossible to enjoy due to the content, particularly how it makes certain characters suffer. However, I have to admire the quality of its storytelling and filmmaking.

The writers have been incredibly thorough in crafting a narrative that is not epic in scope compared to certain shows and cinematic franchises, but in its detail it is very much epic. How certain events and individuals influence other characters and link to other situations is brilliantly portrayed.

There are several hard hitting moments and overall the tone is pretty grim. Some characters seriously lack humanity outside basic desire and it leaves you feeling quite bleak.

The acting and production values are exceptionally good as always. The more violent scenes are portrayed in a very disturbing way.

Jonas and alt-Marta connect.

This is another very strong episode with cinematic moments.

As ever the storytelling is detailed with those fantastic connections between characters and events across time. There are a number of standout character moments that hit hard and make previous events and interactions make sense.

Generally the plot unfolds towards a big character reveal that that is quite impactful when it happens. Importantly the filmmakers use good visuals to show this as opposed to have at come in exposition dialogue. This is pretty impressive considering how much dialogue there is generally in the show.

As always there is a tremendous atmosphere generated in all scenes thanks to the cinematography, art design and sounds. The choice of music for the montage sequence is particularly good.

Three silent movie stars get drawn into a conflict between a village and an infamous bandito.

¡Three Amigos¡ is a frivolous spoof of The Magnificent Seven and western movies. I think to appreciate it fully it helps be a fan of the lead actors and have an interest in the subject being parodied. Being a child of the eighties (like me) and remembering it from its time of release is a bonus. It certainly does not help to look for "realism" or take any of it seriously.

There are some funny dialogue exchanges and strong sight gags, but I would not describe the comedy as prolific as my favourite John Landis' films such as Animal House, The Blues Brothers, and Trading Places.

I think the performances of Steve Martin, Chevy Chase, Martin Short, Alfonso Arau and Tony Plana enhance the best jokes and make the movie generally enjoyable and entertaining. Comedy as always is in the eye of the beholder so it will depend on your own sense of humour.

Technically, I think it it looks great. The Western settings and costumes are great fun. Landis employs his OTT brand comedy visuals to great effect. I love the recreation of silent era style filmmaking.

It's a 7.5/10 for me, but I round upwards.

Jonas finds himself in unfamiliar territory.

I wondered how the writers were going to keep the story fresh and they do it by following on well from what they introduced at the end of series 2. (As if the narrative was not complicated enough to begin with!)

Most characters have a different perspective placed upon them. This is compelling to watch and intriguing to wonder what will be revealed next. There are also some new individuals introduced, with one being particularly creepy. All actors are on great form and it's hard to pick a standout.

Visually it is excellent, especially as the filmmakers do enough to help the audience distinguish between alternate versions of various characters.

We see the aftermath of the first series finale.

It feels more like a continuation from a mid-season break than a new season, but there are some very memorable moments.

I remember being captivated by the black and white opening when I saw this episode on its initial release. On a rewatch it is not quite the same, but works well in a different way because I know the outcome.

I like that the writers do not move on from how the previous encounter with Tuco ended, but acknowledge the consequences immediately and make it part of the overarching narrative. Plenty of dark humour and a strong sense of paranoia is generated from this, particularly the scenes involving the character Gonzo.

Generally the humour involving the Hank is top drawer as always. His oblivious to Walt's criminal life is superbly done and his scene with Skyler is fantastic. Dean Norris and Anna Gunn are both awesome in this scene, especially Gunn.

The scenes involving Walt and Jesse are great as always, with both actors on form as ever.

For me it is an 8.5/10, but I round upwards.

Walt and Jessie commit to a big production and a baby shower gift causes problems.

I love the black comedy in this one and it starts almost immediately in the school meeting and continues at various points throughout. All the scenes involving people's ignorance to Walt's double life are very funny. I also enjoyed the humorous parts of the meth cooking scene.

All shenanigans relating to the tiara are very good. Not just from an entertainment perspective, but also for character development.

The more serious parts are very well done, particularly Walt's speech for the home movie shot at the baby shower. Bryan Cranston delivers it brilliantly.

There is a very nasty scene towards the end that feels at this point somewhat forced into it to generate fear and revulsion around a particular character, plus to show Walt and Jessie's predicament. It has the desired effect but also makes the victim look very foolish to make that mistake.

The cinematography and art design are excellent as always. I have never seen a more cinematic looking junkyard on screen.

Another high quality episode, especially considering the writers strike at the time. For me it's an 8.5/10, but I round upwards.

We see events preceding Michael's suicide.

This is not very uplifting, but is an incredibly well made episode.

It is hard to say much about the plot without spoiling, but it is safe to say it contains great intricate storytelling and emotional moments. All characters are used well and some interactions are unforgettable.

Visually it is perfect. The cinematography, lighting, use of colours, outside locations and physical mannerisms of the actors work so well. Virtually every frame is so beautifully captured it is hard to pick standouts. One of my favourite involves some great camera movement used to capture a party scene.

All actors are on top form, with Sebastian Rudolph and Louis Hofmann doing particularly good work.

Discoveries are made in two time periods.

This is another impressive episode of complex storytelling and effective visuals.

As Dark progresses the plot gets increasingly complex, with various connections between characters and events. This leads to impactful moments of information reveals to individuals and this episode has its share. For me the most powerful moment involves Katarina in the school office as it combines great emotion with visual storytelling. There is a big reveal to the audience near the end, but as it is on the basis of a character's hearsay I'm not ruling out it might be a red herring.

All the characters are used well by the filmmakers, particularly the adults shown in 2020 as they piece certain details together. I also like the scene with Claudia at the library as for a few seconds some light humour actually emerges from the usual bleakness.

Visually it's fantastic like previous episodes. The cinematography, period detail, art design and editing is superb.

More information is revealed about the night Mikkel disappeared and Jonas makes a big discovery.

This episode includes more compelling plot development and character moments. Again the writers cleverly weave threads of story through multiple timelines. This includes revealing information we need to know whilst keeping certain aspects hidden. The way it ends is a great hook for the second season, particularly how it expands the scope of storytelling and raises stakes considerably.

All actors are excellent, particularly Louis Hofmann who I think is outstanding in some of the emotional moments.

Visually it is wonderfully designed, filmed, scored, and edited, with the addition of some good effects where necessary.

Walter starts cancer treatment as Jesse works on a deal.

For me this is when the filmmakers offer a first glimpse of what the lead character can do and some of the psychology that underlies his behaviour. It is quite clever how writers manipulate you into cheering him on at the key moments. It also shows their ability to create exciting spectacle without sacrificing too much plausibility.

As ever the ironic humour involving Walt's family and their ignorance to his extracurricular activities is excellent. His scene with Hank at the school and the also poker game with all the family together are great examples. There is generally a great level of irony to everything that happens in this episode as there is in so much of Breaking Bad.

It is admirable that along with glamourising certain aspects of Walt's behaviour, there is a contrast with more somber moments, such as the depiction of cancer treatment and the associated side effects. Importantly the sub-plot involving one incredibly nice and caring guest character is very effective and shows the impact of certain behaviours on decent well meaning bystanders.

Bryan Cranston is on tremendous form and is supported well by other cast members. Raymond Cruz in particular deserves a lot of credit for an unhinged and psychotic performance.

The cinematography, art direction and editing is great as always. I like the intimidating environment the filmmakers create for Tuco's place and the effectiveness of the action spectacle, particularly how it is revealed in the episode's narrative.

For me it's a 9.5/10, but I round upwards.

Sign is a high quality episode with a plot the builds to a great ending.

In traditional Bluey style the moments of humour and emotion are top drawer. All characters are used very well especially the central four plus Trixy, Rad, Muffin and Socks. It's great to see so many have a contribution and visual nods to previous episodes.

Regarding the final decision, I love what the writers make happen and the clever plot details involving the butterfly (from Slide) and the coin. You cannot underestimate the importance of stability in the life of children and it is tackled brilliantly with great heart. The final visual sequence is an iconic moment in the show.

Ulrich time travels to 1953 and the stranger has a revealing conversation.

The plot covers a lot of ground as usual. The setting and characters of 1953 are introduced very well. We are shown plenty of interesting moments of characters portrayed younger and some we have not seen before. Some aspects are very interesting and prompt more questions. As to be expected the period detail is excellent.

Ulrich continues his search for the guilty party, which includes several quite compelling and ironic interactions with various characters that you feel might have implications on events already portrayed in later times periods. One scene is particularly disturbing and pushes his character arc to a very dark place.

There is a big scene of exposition that is done as well as possible for this type of detail. I like that the filmmakers break it up into segments and include more than just two people talking. Some dialogue sensibly includes cutaway shots for it to become narration. Plus when we see the characters talking the visuals are very atmospheric.

Ulrich pushes hard to establish guilt for Mikkel's disappearance, as Jonas faces a paradox.

The plot slow burns, but gives just enough details for it to remain compelling. With each reveal you want to know more and this for me is effective storytelling.

From a character perspective, there are lots of interesting moments. Jonas situation is a classic paradox of time travel stories that makes you sympathise. It also makes you more curious about the mysterious peripheral characters who appear to be pulling strings.

The irony of Ulrich being fixated on the guilt of one individual works well with the scenes of Egon set in 1986. Although it has reached the point where the suspicious behaviour of Helge requires full explanation.

I love the visual storytelling as always, with the various clues provided being revealed well. Generally the cinematography and art design is excellent.

Walt faces up to his family, as Jesse attempts to make his way in the world.

This is a key episode for the arcs of the two main characters. The writers show Walt struggling with a huge decision, whilst also providing important backstory. Throughout it all the dark humour is prominent. It's hard not to be impressed and amused at the importance and awkwardness of certain moments in the party scenes. Plus the moments with Walt, Skyler, Walter Jr, Hank and Marie together brilliantly mix comedy and tragedy. All actors are tremendous in their exchanges.

Jesse's backstory was in focus previously so this more about him trying to realise ambitions with funny results. It all serves to bring the two main characters where they need to be by the end.

Visually it great as always, particularly in capturing body language of actors to express emotion and the difficulty of various interactions.

Ulrich digs into the past as Jonas continues to explore.

This is a great follow on from the reveal in the previous episode, with all central characters used very well by the writers. Scenes involving Ulrich, Regina, Katharina, Hannah, Martha, Magnus. All the actors are excellent and it is difficult to pick standouts, but for me I think Debra Kaufmann just about edges it. She is fantastic in one dialogue exchange with Oliver Masucci where she has to react to one false assumption his character makes.

The use of Theseus and the Minotaur ties in well to the plot and themes, and these scenes are captured brilliantly by the filmmakers. I love the cinematography, sound, and editing. In this one they enhance the sense of dread and general emotional impact of certain scenes and not just created the eerie atmosphere.

The plot includes another strong reveal and ends at a point that makes you want to find out what happens next.

Deception is prominent as the Hannah, Ulrich and Katherina triangle is in focus in both timelines.

Very little plot detail can be revealed without spoiling, but it is safe to to say that events set in both 1986 and 2019 unfold in a compelling way. The writers connect individuals and themes superbly. Characters like Hannah, Ulrich, Katherina, and Mikkel are used particularly well.

When certain truths are revealed the impact does not disappoint, especially one moment that the past few episodes have been building up to cleverly.

Visually it is excellent, with great cinematography, art design, sound and editing. The split screen helps the brain keep track of who is who just well as show certain parallels.

The Monty Python crew do the ultimate biblical movie.

Much like 'The Holy Grail', the plot is a series of sketches connected by the themes, setting and prominence of a main character. I think how much you enjoy will depend on how much the humour appeals to you over the ninety-four minutes. For me it works consistently and there are so many great moments I cannot pick favourites.

Amongst the hilarity and satire there are some interesting points made about the religious followers, violence, conformity, fundamentalism and political revolutionaries. All of this is done in an entertaining way.

Visually I think it is excellent. Great use is made of the Tunisian backdrops for the ancient settings and this is complimented by the cinematography and art design.

Graham Chapman, John Cleese, Michael Palin, Eric Idle and Terry Jones are all brilliant.

The mystery continues a slow burn with more eerie moments and character establishment.

There have been comparisons made to the work of David Lynch and I feel it clearly in this one. I feel the underlying dark secrets lurking below the surface of the community as if they were barrels of toxic nuclear waste. This makes it quite compelling and makes me want to find out more.

I used the word "implausibility" loosely in the review title, as this is after all sci-fi fantasy, so it's best not to take certain plot details too seriously. In this I refer to certain aspects of behaviour shown that make characters fit the "too stupid to live" trope and (if it exists) the similar one I call "too stupid to be parents". Given the premise established in the previous episode, we see instances of characters wandering alone in the woods, walking alone or causing young children to be in a position of having to walk home alone. Some of this is a stretch and requires a liberal suspension of disbelief.

As in the previous episodes the cinematography, lighting, art design and sounds come together to create a tremendously effective atmosphere.

I rate this one as a 7.5/10, but like to round upwards.

A certain character finds himself alone and disoriented.

Episode three continues the central mystery well and looks a certain characters from a very different perspective. The sci-fi premise is very intriguing, particularly if you like this type of concept on screen. It follows up the final reveal in a way that does not disappoint.

Some shows with this theme would focus on satisfying the appetites of viewers who like nostalgia, but this (so far) this sticks to the characters and key plot developments.

Visually, I think it is even better than the first two as it includes an element of period design that is very well done. This combined with the atmospheric cinematography, lighting, sound and editing makes for quite immersive experience. The end sequence is memorable.

It's an 8.5/10 for me, but I round upwards.

Mikkel's disappearance has Ulrich frantically searching.

This episode builds on the introductions of the first by creating mystery in scenes of characters piecing together puzzles and deal with the fallout. There have been a lot of hints about what might be going on and this episode went where I thought it would go, however that is not a negative aspect from my point of view. The way it finished made me want to watch the next episode.

Similar to the first episode, a large amount of praised should go to the production values. There is a lot of strong camerawork, lighting, creepy art design and the audio track enhances everything tenfold.