Reviews

Ok, so I love this movie because it's not just the classic Adam Sandler bathroom humor type comedy of his early movies. It's adorable to see the whole Sandler clan join in, which lends a really unique dynamic and balance to the whole story.

The interaction between the sisters is terrific and realistic. Jackie's also great, though it's funny that she plays the mom of a different character, which was a little funny since the girls are literally visibly a perfect blend of both their parents.

I also liked the film because there's a little something for everyone. The characters are all very relatable. The film reminded me a little of the Judy Blume books I grew up with and the difficult rights of passage we all go through as kids, the moments we realize what it means to grow up. The film itself is a lovely mitzvah (No spoilers!!! Go watch this one.)

There was also a great deal of diversity in the cast, which helps to showcase the point that many individuals in previous generations have been trying to impress upon us since the time of Moses. In short, it's just lovely from start to finish.

With the exception of ONE small scene at the waterside cliff scene (no spoilers), the movie is fun, relatable and well done.

I really do hope to see more films like this. (Do you hear me Adam? More like this. The Sandler ladies are fab.)

Considering the budget that must have gone into casting for this film -- and featuring nearly every Batman/Superman character since the birth of Methuselah -- the overall production was really poor. Ezra Miller as the lead -- initially awkward, which he's known for, then gradually coming out of his shell as Flash/Barry -- is fine, but the storyline is extremely convoluted (no spoilers for those who have the time to go watch the movie). Seeing our favorite Batman(s) was nice, but Cavil's obvious absence given the multiple Batman/Superman cameos made the film extremely awkward and ridiculous. Of course it gives Keaton a bit more time to shine -- no complaints there. But the reported excuses of "confusing viewers" with too many Superman cameos when they basically threw in everything and the kitchen sink into the movie tells viewers that this is simply hogwash.

No spoilers to the plot. The plot will spoil itself.

John Ritter's demise on the set of "8 Simple Rules" is the reason for his abrupt absence in the sitcom at the start of their Season 2.

Kevin Can Wait (Season 2) has the same abrupt start -- which indicates a COMPLETE lack of taste and sensitivity on the part of the network and all those involved in the casting. There isn't even a mention of HOW Erin Hayes' character supposedly meets her end; the new season simply launches into jokes about spam mail... (no spoilers). There is also the EXTREMELY AWKWARD overlapping introduction of Leah Remini (end of Season 1), who one presumes will be one of several temporary guest stars on the show. Given the ridiculous start of Season 2 and the increasingly awkward presence of Remini, there would have been really nothing to save this show, despite cast and network claims that Hayes' was removed to help save the show and extend its time on the air. The move of letting Hayes go (1) didn't pay off and (2) wasn't worth all the horribly awkward plots the audience has to endure in Season 2.

Side characters Ryan Cartwright (in the domestic scenes of Seasons 1 and 2) and Bas Rutten (in the Season 1 neighborhood scenes and the Season 1-2 workplace scenes) keep the show light and funny.

Unfortunately, even with the inclusion of the major moguls like Ray Romano and Adam Sandler the show doesn't hold its own and the plot lines are continually collapsing. It's a shame because usually I do appreciate Kevin James as a funny and lovable character across all his shows and movies. Perhaps bring him back for a new season of CREW, which was well done.

One of the best shows of its time -- with a combination of child and adult actors who didn't come off with a pack of tragic back stories as a result of working on set together, thank goodness. At the time I recall that the concept of gender stereotypes in the workplace were very stringent and the show was a very refreshing breath of fresh air, showing the depth and humor of them main characters without ridiculing or depreciating their real-life efforts, struggles, etc. I loved this show and hope to be able to find the episodes online at some point to rewatch them. :)

Just as Blackish (where the Zoey Johnson character is introduced) is a reboot of the Cosby Show, Grownish is a Reboot of Different World where the self-discovering Denise Huxtable character goes off to college.

Just as in the case of Different World, Grownish gives the viewer a few little chuckles but without the supporting main cast from Blackish the show falls flat (just as Different World did a few years ago).

The mistake here is that the Zoey Johnson character is groomed to look and react precisely the way that Denise Huxtable did, which was increasingly dull as the show progressed. Everything from the hair and wardrobe through the reactions are all basically identical. The only different is that there are cellphones and laptops now. (Sigh.)

What saved Different World were the episodes when Denise visited her family (or vice versa). (No spoiler for Grownish.)

Not a great idea to reboot both the Cosby Show AND ALSO Different World, Kenya Barris and Yara Shahidi. The first of the two would have been enough.

No offense to the really gorgeous Yara Shahidi (producer and also the lead character), but this show wasn't interesting enough to continue watching. Blackish was much more touching and funny.

The show is wonderfully cast -- Tracee Ellis Ross is one of my favorite actresses of all time and they bring classic artists Jenifer Lewis, Wanda Sykes, Raven-Symoné, Tyra Banks, Laurence Fishburne and many more guest stars onto the show. The plot itself is poignantly similar to the Cosby show (without the obvious stigma). The cool sibling Zoey, the awkward elder son Andre/Junior, the twins (subbing for the bossy and entitled middle sister and the sweet-faced baby of the family) are too identical to the Cosby show siblings. If you didn't see it, the Zoey character then branches off to the new series "Grownish" where she goes off to college (Hello Denise Huxtable @ Real World).

The one refreshing thing on the show is that the Mom (played by Tracee) is also the doctor of the family and the grandparents aren't such perfect role models 100% of the time.

There are some really funny moments (no spoilers) and some very socially poignant messaged (no spoilers) touching on identity, equality and family dynamics that I really did enjoy (just as much as I did as a kid watching the Cosby show).

Overall, a much needed show because of the horrible shroud and stigma hanging over anything that Cosby has touched in his lifetime.

Congrats to a great cast. If the show is continuing in 2022 consider ramping up the Andre/"Dre" character's role a bit so he's not such a pushover in the workplace.

While the premise of the show is great, it doesn't take 9 seasons to get to the bottom of Liz's Mommy/Daddy issues. A few important ethical topics are incorporated into the show along with a few unabashedly violent episodes that the show could frankly have done without. (No spoilers.)

James Spader and Hisham Tawfiq are remarkable in their roles, as are Amir Arison, Harry Lennix, Mozhan Marnò, Diego Klattenhoff and Ryan Eggold. The diversity of the cast and array of guest appearances (including Huey Lewis!!!) is impressive. The lackluster Megan Boone is basically an older Kristen Stewart (Twilight) because of her whiny, lackluster acting style. It's uncertain whether that's how her character is written up, whether that's simply what Boone brings to the table (or a little of both).

Funny? One season features Reg Rogers (the frustrated playwright from Friends). (No spoilers, but he plays opposite Boone for the greater part of the season and the irony isn't lost.)

What a hideously drawn out film. While there is a touch of class in the casting of the three characters (and the dog) as well as amazing set designs, this Anglo-Irish Dub of a million recycled 3-person plays (featuring one man caught between two diametrically opposed characters till he is "forced" to choose a side... and usually sticks with the path of least resistance to save his own neck above all else despite various grand and annoyingly dragged out monologues) was a fright to behold.

The team in charge of lighting dropped the ball as well. Despite verbal references to day and night and the random lighting of lanterns throughout the film, the entire thing takes place in very bright lighting, lending no actual sense of the passage of time, which is, theoretically, Midsummer Night and the wee hours of the ensuing morning.

Characters: The plain and sensible no-nonsense cook who lives and thinks within the confines of her means, the abundantly blessed waif -- wealthy, educated, and spoiled beyond all measure to compensate for her mother's passing and her elderly father's constant absence -- running wild in fits of idleness, and the valet/liveryman -- seemingly worldly but trapped between the sensible and the insane.

Plot: While her father is away, Miss Julie takes advantage of the solitude and runs wild about the vast household to amuse herself in whatever way she feels suitable. On Midsummer Night (aka, summer solstice -- see Shakespeare's classic, Midsummer Night's Dream or Lincoln Center's Midsummer Night Swing and similarly-themed productions designed to reflect the mad revelry of the British holiday), Miss Julie takes her flighty tendencies too far. (No Spoilers.) The rest of the psychological plot unfolds from there.

Setting: A very lavish estate set in 1890s Ireland -- mainly the kitchen, with clips of four other spaces (servants' quarters, the garden-facing picture window, part of a master bedroom and two hallways) as well as some scenes filmed outdoors. (All very pretty, and I'm quite jealous of the kitchen and fabulous natural lighting. WOW.)

Costumes & Props: The designs are all SO on point and accurately denote the traditional distinctions of social class in the jewel-toned colors of Miss Julie's gowns, the bedspread in the master bedroom, everything down to her father's little money satchel.

The cast, sets and costuming really make you WANT to love the film, which unfortunately falls flat. If you see a 10/10 rating it's probably the parents from a member of the cast and crew cheering on their kid's work.

As a rule I despise the collective works of Tennessee Williams, but this production really works. Everything from the authentic costumes and sets to the collection of actors (a far cry from the melodramatic Leigh, Taylor, Brando and rest of the troupe of old previously favored for earlier renditions of Williams' work). Chris Evans and Bryce Dallas give an amazing performance, and compliments to the remaining cast and crew for making an awful piece of literature come alive in a most surprisingly delightful way.

I suppose this one can be termed "based on the works of Jane Austin" since it is not, in fact, an accurate representation of the original book (which is fairly short and REALLY a funny little read-through).

Credit goes more to overall casting and costume/set design, which is also a little off for the timeframe of Jane Austin's work, but very nice in many ways.

The film only aired in a small smattering of theaters and leaves actual Austin fans with a good deal of disappointment.

What an amazing film. I miss Gene Kelly and the old style musicals by Minnelli and his contemporaries. The costumes, soundtracks and scenes are always so breathtaking and leave you wanting to know more about the characters and their tribulations, to root for them despite the trite plot line. A true classic in that sense.

The story is about a fellow who gains SO much wealth that he decides to put the pirate's life behind him and start fresh. (No spoilers, but very obviously one of the inspirations behind films like "Princess Bride.)

A definite must-see if you can convince Netflix to add it OR find a clear copy of it on Amazon.

Paul, Mary, Sue and Mel are the perfect team to carry off this show, and we've actually gained a few pointers (and stones) watching the show. Admittedly we've started "in medias res" based on the episodes available on Netflix, but we truly love watching the ideas of the different bakers come to life -- a the risk of the occasional "Soggy Bottom" and sharp comments from Paul!

Our favorite thing about the show is that the entire cast gives of a feeling of camaraderie and family that is not present in other competitive shows. It's quite a lovely show to watch and highly recommended to anyone who has colorful or creative ideas in the kitchen.

HIGHLY RECOMMENDING this film. The only person who could do justice to Robin Williams as Alladin (RIP) is definitely Will Smith. What a lovely tribute. Cast, sets and costuming - not to mention the remarkable musical scores -- are absolutely amazing. No spoilers, but obviously the plot follows that of the original animation (with a few cute twists).

The cast is awkward at best, and does not perform well in this film. Even if we grant them the excuse of "purposely acting awkward in that funny rom com way" the film is simply not well executed. With the exception of Jen. Saunders -- the one really pleasant surprise in the entire film -- this movie tanks. This is a commentary on the entire cast and not just on one cast member. The film was a waste of reel.

Next, I honestly don't care for Rebel Wilson films in general. While I strongly promote female empowerment, I reject bombasts of any size or walk of life. She is always type-cast as the awkward-but-outspoken female character and I have to say it's exhausting to watch. There's no reason for it. Try taking on a role that moves beyond the pathetic "nobody loves me but I don't care" persona.

The film is classic L.N., combining his awkwardly wry humor to break the ice of his overall P.I.-meets-bounty-hunter persona. (Pun intended.) Honestly, I would have never placed the locale in Denver if it wasn't specifically mentioned in prior reviews. Most of the scenes look like they were filmed on the set prepared for a live action version of Frozen. In general it was not a departure of any kind of drama L.N. has made in the past and the cast was well selected, but the question is whether we really needed a film that is basically "Taken" on ice.

Having seen pre-production previews, I was a little disappointed in the direction the producers chose. Costuming was subpar and many of the special effects have a low quality "meme" feel to them. I'm not sure if that's what the producers were going for or if they just fell under budget. It doesn't feel as though it was purposely done. I have another critique about the multiple carnival scenes, but don't want to add a spoiler to this review. All-in-all it could have been much more cohesive and costuming could have been much better. Good job casting, though, which is where you get your five stars.

An amazingly well executed continuation of the storyline, without the awkward gaps and random fillers that one tends to see in sequels. A classic tale of leaders coming into their own. (No spoilers!!!) Bravo to the cast and team!

I really believe that if a film is going to be simply average it shouldn't be produced. That ship has sailed with this production. A below average performance by a tenuously average cast.

More specifically, there's no reason to pay money to see Anna Kendrick's pinched little face and listen to her millennial psychobabble when we see and hear that all around us on a daily basis. Perhaps it's meant to be some sort of parody? John Hughes 2.0 since Miles Teller bears a mild resemblance to John Kusak in terms of his look and style? Who can say. I don't think that even the producers know the intended vibe. The directors certainly don't.

I have to say that after seeing this and the smattering of Anna Kendrick's work I'm really just not impressed with her as an actor. Whatever character she's given she presents the same flat performance with the pinched face. Perhaps they should have made this one into a quasi musical too? Hmm. No, I don't think that would have saved it. Perhaps a cartoon. She's better with voiceovers.

If you haven't seen the film, no need to. Just go to the nearest hipster dive cafe and you'll see little Kendrick lookalikes everywhere. Watch your step or you'll land on a hipster.

Why in the world would anyone mess with this classic story, told and retold a million times over till the details are chiseled into great books and across the heart of every literature buff? Why subject everything to the newly-established YOLO mentality? This film is a disgrace to the classical literature it's meant to represent. The only quasi-authentic thing in the film is King Priam's mustache. The rest of it can all go.

Once upon a time has quite a few good actors fighting the war between good and evil while merging tales from almost every piece of fiction created (no spoilers). The one really annoying character is that of young Snow White (Bailee Madison), who is so annoying within just the first few seconds of appearing on screen you find yourself sympathizing (and possibly rooting for) her adversaries. Madison is one of the worst choices they could have made in casting for a variety of reasons (her age for one thing; her acting for another). After her first two appearances we fast forward parts with her in them just to avoid the whining and fake facial expressions.

The Snow White character in general is a little too goody-two-shoes to appeal to the audience in a real way. The character is basically always classified as a victim but the situations are self-inflicted. Frankly, casting Ginnifer Goodwin in the lead (as Snow White) only served to exacerbate the issue since she generally plays the role of a gullible millennial caught in a self-inflicted loop of victimization.

Also, please tell me why the characters all have cellphones AND 1970s rotary dial phones in every city and home on their sets? No spoilers, but really? LOL.

No offense to Natalie Portman (Anne Boleyn) or Scarlett Johansson (Mary Boleyn), but having them cast in this film makes a grand mockery of the story in question. Is it possible that the director and producers were unable to find viable candidates from the vast selection of British actresses to play the leads for this film? Quite unbelievable.

The Costuming was on point, as were the sets, but the casting was off, especially given the vast number of really well-developed films about Liz I.

An Icon of her time, Elizabeth I is an inspiring muse for many dramatists then and now; she's also a socio-political anomaly of sorts, having baffled countless advisors as her father once did. The film does a great job depicting the internal and external conflicts the young queen faced. The Tudor line may have ended with her, but her life and reign marks one of the greatest points in British (and feminist) history.

Amazing sets and costuming and an astounding cast. The film's perspective is simple in some ways, but cuts through to the heart of the solitary queen who captured the hearts of her people. Bravo!

For those who aren't familiar with the inspiring real-life story of Stephen Hawking (RIP 2018), take a look at his biographical site. This is a person who defied all manner of calculations in work and in life, doing things that no one thought was possible based on the known restrictions of his diagnosed disease, ALS.

The movie is very touching and true to the real life story, very worthy of the many awards and nominations. We need more films like this one. Bravo!

The one thing that always kept me from enjoying the Batman films and series for as far back as I can remember are the villains, who all come out of sheer left field with little-to-no rhyme or reason and then the "dark side" of Batman, which honestly doesn't seem too "dark" aside from the drippy cave and all-black costume+accessories.

This Junior-League style prequel to the Batman story does such a nice job of setting up the Bruce-Alfred storyline and the Bruce-Cat storyline. If the producers could have just left it at that, with the simple underground councils/corrupt board in the background and the relevant training of a young Bruce Wayne (no spoilers) the series would have done well enough.

Alas, the story goes way overboard, making overly complex back stories for ALL the villains that end up making them annoying rather than frightful. Does EVERYONE have to die and be resurrected? Does EVERYONE have to own a bar and vie for what seems to be evaporating into a little dung heap called Gotham? What's the motivation? By the end of Season 4 the series has become exhausting to watch.

Sorely disappointed with everything except Sean Pertwee, Ben McKenzie, David Mazouz Camren Bicondova and, of course, the really remarkable sets.

If you survived the Arrow, Flash and Supergirl series (let alone the unending SMALLVILLE), Iron Fist is suddenly unbearable past the first few episodes. Stop obsessing with the character's back story past the first two or three episodes. No one wants to keep seeing the same five minutes shot over and over again like a Flash replay.

Plus, no one is buying Finn Jones as Danny Rand (aka Iron Fist). He's too much the wide-eyed innocent to be Zen. The whiny Ward Meachum is also grating on the nerves, let alone the endless swarm of unknown factors that are supposed to be reminiscent of a ninja-style film, but fall flat. No spoilers possible. The series is simply a poor choice in general.