Reviews

Unfortunately, I think that audience attracted to this film, those looking for a "good" true crime story, want something that this film is decidedly and deliberately not. The film bucks the trend of assumptions behind similar content. It doesn't wrap things up into a morality tale about the good and bad guys in our society, with bad being punished and good prevailing. It also doesn't automatically assume that a person deserves death for a crime, even a very bad one, and it also doesn't assume that a society seeking satisfying vengeance against individuals is a healthy one. In fact, the film goes out of its way to not satisfy what many watchers want satisfied by a crime story - namely, a parallel form of blood lust to the killer's own violence, fulfilled by seeing the murderer brought to justice and punished.

Yet, to criticize the film for withholding judgement, not sufficiently chastising the killer or (as another review put it) being a "bleeding heart," fundamentally misrepresents what the film is about. This movie is not even really about a crime. It's about a crime's impact on a community. It provides a thoughtful look at the meaning and consequences of the death penalty in a local region, through the voices of the prosecutors, defenders, politicians, media, and families involved. It's not the film you wanted, but it may be the film that you need, providing the space to rethink your own bedrock assumptions, whatever they may be, about our world and how we deal with wrong.

This is a movie you have to "get" to appreciate, and if you miss the foundation of it (or simply don't find it funny), you are going to suffer watching it. It is jam packed with dead on, often subtle (although usually not) clichés of the ham fisted acting, trite screenplay lines, and tired plot points that are so commonplace in American films that you may mistake the film itself for being clichéd, ham fisted, trite, and tired.

But make no mistake - this is not a "stupid" movie. Instead, it is asking a lot from its audience, maybe more than they can give. I'm not sure if anyone who is under thirty, or has not experienced the hours upon hours of sitcoms, television and film dramas, and of course, romantic comedies that this film draws from, can be in on the joke.

Personally, I howled with laughter throughout.

I came into Fresh Off the Boat with low expectations, as there are seemingly endless ways to make a bad network show, especially by making it dull and mediocre by dumbing down the characters and their experiences. Add in the topic of race and immigration, where I'm certain network producers are terrified of offending anyone, and you're almost certain to brew up a giant batch of watered-down, "family friendly" weak tea.

But, amazingly, the show is good. And funny. Maybe most importantly, all of the characters are human, and they are full people while simultaneously showing different sides of the immigrant experience. I have a feeling you're not going to know who are the "good guys" and who are the "bad guys," and this really won't be a show about Eddie but about a family. As the first few episodes show, each family member has different, and even contradictory, skills for managing their lives together, and they complement each other. I also bet people outside of the family will soon be part of this equation.

Speaking of which, it's ironic that some reviewers are saying the show is anti-white, as a big critique of white people is how they tend to dominate any experience (like, for instance, a show about an Asian American immigrant family) and make it all about them.

This film, like all those of Guy Maddin, has married the weirdness of David Lynch with the love of film and quirkiness of Wes Anderson, all wrapped up in a unique visual style like no other. It's absolutely gorgeous, a true adventure in filmmaking and film watching filled with dreams- within-dreams and stories-within-stories. It is like a love letter to the history of movies that blends silent films, noir, action, myth, comedy, musicals, and even instructional films into an absurd, self-referential ball.

But before you go running out to see it, you should know that it has zero interest in entertaining you. Seriously. It's dense, confusing and difficult to follow, and a tedious slog. There's no plot, if by plot you mean something that will emotionally resonate with you and keep you engaged with following the story or characters. Viewers should be the kind of masochist film geeks who enjoy subjecting themselves to such pain and then feel enlightened for doing so.