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The Queen's Gambit (2020)
This series has been a long time coming...
Beautifully written, directed, shot and performed, The Queen's Gambit takes you on a breathtaking tour of what it would have been like to be a rising chess prodigy in the 60's and not just any prodigy, a female one.
Set in the midst of Cold War and the Civil Rights Movement, The Queen's Gambit doesn't misuse its platform to perpetuate stereotypes. Instead it showcases the Russians as the highly acclaimed and feared chess players and goes to show their general public as ordinary people with simple joys of life, like playing chess in a park. It doesn't portray the black character as the low-class caretaker of the house that is just pleased to be of service to a white family but portrays her as a woman who's got her life together and who actually enters to save the day for the protagonist and end her misery which she is too blind to see.
With the flawless production design, costume design, make-up and soundtrack, this series takes you back to the beauty of the 1960's. Anya Taylor Joy goes deep into character and delivers a magnificent, star-making performance (I'd be surprised if she doesn't take home a Golden Globe or Emmy for this). Marielle Heller also takes you by surprise by her fit performance of the drunk, abandoned wife and single mother.
The series doesn't try too hard to please every race, every gender, every social class like many other shows and movies. It doesn't tend to be boastful or poetic in its message and we accept its effortless presentation. We like what we see. We see a better world where men don't feel put down by a woman rising up and actually want her to succeed, where whites don't feel offended being told what to do by blacks, where two countries can put their politics aside and come together in celebration of what they both excel at: a game of chess.
The Plot Against America (2020)
The alternate history drama we didn't know we needed
I am not usually intrigued by the idea of alternate history but this series really showed me. This period drama shows the worries of a middle-class Jewish family trying to survive under the govern of a recently turned anti-Semite government. And it does it beautifully.
I was impressed by the performances of Anthony Boyle and Morgan Spector and really spellbound by Zoe Kazan's. Zoe Kazan delivers a delicate, warm performance of a homemaker mother who doesn't hold back in protecting her kids and keeping the family together. She is the perfect portrayal of what was advertised at the time as the ultimate woman. Thanks to her performance and of the others, the Levins truly feel like a family and the portrayal of their relationships is tender and heartfelt and you can't help but feel worried as they do.
The series is a reminder of what can it be like when ethics go loose, when your religion could be turned against you, when your most core beliefs are brought into question and when the only thing withstanding the oppressive government is the tightness of your family.
Catch-22 (2019)
Satirical, absurd and funny
Catch-22 is everything you can expect from this great cast put together. Although a little slow in narration at first, it picks up right about the mid-point and keeps you on your toes with multiple twists and unexpected deliveries.
The production design is on-point and along with soundtrack and costume design is successful as a period drama (or more like comedy). Kyle Chandler and George Clooney surprisingly well deliver satirical performances and having much experience in comedy himself, Hugh Laurie doesn't disappoint. And the most perhaps underrated performance is that of Daniel David Stewart as the flamboyant, schmoozy salesman Milo Minderbinder who finds a new career call in the midst of a war.
I hadn't heard of the book or even the phrase catch-22 before , but this was a great introduction to make me curious to read the book which I will. Catch-22 is not only absurdly funny, but is a sad tale of the value of a human life or lack thereof in the eyes of bureaucracy and the distances it is willing to go in an attempt to undermine it.
The Loudest Voice (2019)
Started off strong but fell down flat...
Following the release of Bombshell and the #MeToo movement and similar uprisings around sexual assault, it was only timely that this series was made.
Held together by the performances of Russell Crowe, Sienna Miller and Naomi Watts, the series starts off strong showcasing a man who enjoys his work and the influence he has but gets caught up in the power he has been given and only knows how to misuse it. However, the series derails in writing from the mid-point on where it starts to present Roger Ailes as a villain (even though he was) and it does an intentional effort in showcasing his tyrannical side overshadowing every thing else he is in his life, a loving husband and a successful executive. And this change of tone unfortunately presents itself in Crowe's performance where the audience feels they are being mouth-fed by the narration towards what they SHOULD think of Roger Ailes and not what they COULD.
Otherwise, the series stays true to the facts of the event and how things progressed, although maybe dramatizing some details a little too much (like the guy that gets hired to run the local paper and the things that happen to him). Had it not been for the stellar cast mentioned above, it wouldn't have been worth watching after a couple episodes but the cast pulls through.
Maniac (2018)
Poor Visual Effects/Rich Story
Maniac is full of wishful fantasies, powerful dialogue and subtly-hidden Easter eggs. The show doesn't shy away from embracing its poor special effects but considering the considerable limited budget it was made with, it is an acceptable, admirable effort. Also, the good writing and smart choice of casting Emma Stone and Jonah Hill make up for it.
Adapted from a Norwegian comedy limited series of the same name, this series takes a very original idea of humans submitting themselves to extraneous testing and analysis of so-called "scientists" in the name of receiving compensation (which seems very probable in today's monopoly of pharmaceutical companies) and carries it through a roller coaster of multiple eras, settings, costume designs and music.
We feel the inner void of the main characters, Owen and Annie and travel with them through the fantastical multiverses, trying to define our being while making sense of the world we couldn't help but escape from by taking a couple pills.
Also watching the series, you can't help but feel fearful of the sense of alienation between humans that is inevitable with further development of artificial intelligence and robots, a message that this series implicitly expresses.
Overall, Maniac is an original idea, courageously executed and is a joy to watch. It has some very heartfelt moments, some tender dialogues and the inner void its main characters so beautifully portray, is a little too relatable to forget.
Sharp Objects (2018)
Unbelievable!
This series truly takes you by wonder. It's beautifully written, cast, directed and shot. Gillian Flynn surely knows how to write and Jean-Marc Vallée surely knows how to direct and find the voice of the writer. Amy Adams and Patricia Clarkson deliver as always and meanwhile, Eliza Scanlan exceeds expectations as a rising star.
Amy Adams takes on a role very different from her previous ones and acts as a girl who's made a living by moving out of the comfort and limitations of the small town she grew up in, the town that still finds ways to draw her back in. As far as that description goes, most of us can relate to that character. Her performance is gradual, doesn't give out much about the character and slowly reels you in. Patricia Clarkson delivers as the somewhat depressed, resentful and regretful of the past mother who can't stand the sight of her age and sees her reflection and everything she doesn't like about herself in Camille (Amy Adams).
The plot development is gradual, along with the development of the characters as we get to know them more and more. The series doesn't try to hook you on and its effortless presentation by itself and the mysteries presented from the start, somehow are enough to keep us watching all throughout. Just like Camille, we feel angsty going back to Wind Gap and we feel an uncomfortable, ominous presence standing close by. We can't put a finger on what it is but yet we feel curious enough to follow through with the discomfort, just as Camille does. And we face the horror that our curiosity brings us to right at the finish line of the series. The development is so gradual and well-done that we don't have all the facts, and neither does Camille, not until the final shot and that's how this show keeps us on our toes.
The Little Drummer Girl (2018)
Incredible!
The Little Drummer Girl is a beautifully written story and from the looks of this series a really good adaptation. Actors are well-cast in their roles and amazingly directed by Chan-wook Park. It's the first piece of work I'm seeing from this director and it won't be the last. The cinematography and the music are also well-done.
I saw Florence Pugh here for the first time and was amazed by her acting prowess. She gets to act as an actress who is presented with her first real acting gig and doesn't want to turn it down no matter the danger it involves. And this role coincides with her actually entering the industry in one of her first significant gigs and she doesn't let down and nor does her character. She was a very wise choice to be casted.
Alexander Skarsgård also does an impressive job pulling off the cold, quiet and work-focused ex-agent who doesn't want to let his guards down fearing he might jeopardize another mission by getting too close to Charlie and yet gets exactly what he fears. And the chemistry that develops between the two is so gradual and beautiful to watch.
They also made the smart and proper move of picking Arab actors to play the Palestinians and didn't cast some famous white actors in Arab roles and make them pull off the accent and mannerism and have them fail miserably. I commend that choice and their courage in going through with it.
The plot is full of tensions and unexpected outcomes and really keeps you on your toes. Through the eyes of Charlie, we get to enter the Palestinian household, see the world from their eyes and in a way sympathize with them to the point that when their leader gets shot, we can't help but feel betrayed. Before we know it, within the span of a couple episodes, we've changed sides, empathized with the perceived "antagonist" and now see them as the victim. This is great writing.
Whether you're interested in politics or find it deterrent, you will enjoy this political spy thriller and whether you support Israel taking over of "the promised land" or commend Palestinians in resisting invasion of their territories, you can't help but feel more uncertain about this dichotomy. The series will keep you pondering for some time after it's done and that's what a good series does.
Bad Education (2019)
Good!
It's a very acceptable feature for the TV medium and is not too tough to think it was based on a true story!
Hugh Jackman and Allison Janney really prove powerful with their catchy performances and present quite the chemistry in between. Also, cinematography is well framed and shot.
Other than that, there is not much else to the film that makes it stand out and be remembered for any time to come. Worth a watch if you're looking for a late night movie to pop some popcorn to.
Louie (2010)
Louie C.K.'s comedy in its essence
A stand up comic's daily struggles or encounters with the mundane routines as they find their way in the comedy scene and in life is a theme that's not that uncommon in recent TV history. Jerry Seinfeld, Larry David, Ricky Gervais and Pete Holmes have all done it among many others. But Louis C.K. here does it a bit different and perhaps sets a precedent, one-upping everyone else.
You see Louie's standup bits through the eyes of the comedian itself, as he sees them, as he would have liked you to envision them if he was saying them as a bit on stage. But Louie doesn't just do that. He goes beyond that and confronts such topics of homosexuality, religion and suicide among many others. The guys sitting at a table poking at their gay friend while discussing homosexuality in S1E2 "Poker/Divorce", old friend of Louie's coming back to let him know he is killing himself and them discussing suicide in S2E9 "Eddie", Louie departing for Afghanistan to entertain the troops in S2E11 "Duckling", a fat lady showing interest in Louie, a fat guy himself but him constantly dismissing it in S4E3 "So Did the Fat Lady" and Louie's encounter with a needy friend who has no social circle and puts Louie down to pick himself up in S5E3 "Cop Story" are all some of the most heart-warming and tender episodes (and some a little too relatable) you simply wouldn't expect from a comedy show. Louie has written beautifully interweaving comedy and life, the inseparable two. The series feels real, unforced, mundane and human. Also, some of the shots in the series are so beautifully photographed and framed like that of Parker Posey acting as Liz, the girl Louie asks out at the local bookstore, shown as the jazz soundtrack is playing in the background, a soundtrack that goes well with the ever-so-present jazz scene of New York, the center of comedy.
I was amazed and speechless by Louie's effortless and realistic acting in this series. Since he wrote the material, he would be the best to deliver it. Robert Kelly as Louie's brother, Pamela Adlon as Louie's friend and Ricky Gervais as Louie's doctor all are perfect side kicks only adding to the humor. Pamela is inherently funny and her relationship with Louie is just so amusing to watch. David Lynch even shows up in an episode as the talk show producer and shows impeccable comedic timing and delivery.
Overall, this series is not a burden to watch like many other TV shows. Its effortless look and feel makes you enjoy it more. The void of this series is felt to this day. When life becomes too much or moves too quick, this series is there to slow you down and let you enjoy life as it is: boring, awkward, routine, and funny.
La casa de papel (2017)
Should have stayed as La Casa de Papel!
Starting off as a novel idea, unpretentious in its presentation and writing, La Casa de Papel was a well-thought-out script put to screen with a stellar cast. Seasons 1 and 2 gripped us by the neck, shocked us with twists after twists, made us smile out of joy, cry out of grief, yell out of anger and sigh out of shock. We cheered on an entire crew of thieves as they progressed, we felt for an entire group of hostages as they were kept in captivity, we struggled to pick sides in between and all throughout we ignored the many plot holes and questionable scenes that happened because the characters were just too hard not to love and their struggles too relatable.
But the show should have stayed La Casa de Papel. The moment the show became Money Heist, they lost their firm grip on the audience. They went out of their way to appease the major non-Hispanic audience of Netflix and on their way to accomplish this mission, edited the show with frequent unnecessary montage sequences like those of Hollywood heist genre, put English classic hit songs as the soundtrack and the more it tried to please everyone, the more plot holes popped out. It looks good but it's not loyal to its core and it's trying too hard and you sense it. The only thing keeping together the show and the audience after Season 2 was again the cast's heart-warming performance and the major plot twists and character write-offs to keep your attention focused. But even those soulful performances and constant struggles and attempts at betrayal lose their power in a series that has lost a sense of its original direction.
There are still many good things to be told about this series and for that and for a great roller coaster ride of emotions this series presents its audience with, I relatively rate this show high. It's original, unique and touching but it should stop repeating itself.
Kidding (2018)
Won't you be my neighbor?
Tender, sweet, heart-warming, original and unexpectedly awfully deviant, sexual, distressing and funny at times but all throughout touching and lovable.
Although hugely inspired by Fred Rogers, Kidding is an original idea coming into fruition at the hands of the master story teller and crafter, Michel Gondry. This matchup is further enhanced by casting an actor who is infamous for expressing a wide array of emotions and feelings back to back. Cast at a time when Jim Carrey himself was dealing with a sense of loss, alienation and identity crisis feeling like stepping away from the spotlight for a bit, this role only seemed fitting and timely for him to step back in.
Kidding starts with showing Jeff Pickles, a proponent of love and empathy and lessons in humanity to children but also in a way to adults. But as the series goes on, we realize the man who is inspiring so many how to love family, make friends and live in peace, at times acts violent, feels the loneliest, has continuing feelings of resentment towards his family and is trying to piece back his marriage; hits a little close to home, right? Yeah, we've all felt like that at times. From this point on, the series hooks you on. We then see him struggle to define meaning of life for himself while he has to define it for a whole nation of kids and finally thinks he has defined it through giving life to a terminal cancer patient only to be let down and left alone once again.
While season 1 ends on that note pretty good, season 2 comes back even stronger and takes everyone by surprise. It's the season no one asked for but was delivered, and delivered rightly and properly. In season 2, Jeff starts to take responsibility for his misery and for his faulty actions. He starts to confess to his wife the mistakes he made and he tries to make up for them. S2E2 "Up, Down and Everything in Between" where Peter encounters Jeff in the Pickle Barrel Falls is the musical piece we didn't think we needed but which we were taken out of this world by. In one of the best episodes of the series, S2E5 "Episode 3101", Jeff invites Jill over to the show to discuss marriage and separation and how you might have to let go of your loved ones just to protect them and your relationship. Here, Jeff really is sending a message to all the adults out there, just within the context of a kids show. Judy Greer's and Jim Carrey's performance in this episode is soulful and full of life. In the last few episodes, we see Jeff and Deirdre coming together at last not as co-workers but as brother and sister, only to be there for the suffering of their dad. There, they reconcile with their dad, forgiving him for his past behavior, for making their mother abandon them among other resentments they had held in for years. And in the last episode, "The Puppet Dalai Lama", we see a new, responsible Jeff pulling together the courage to admit to Jill that he blames her for the death of their son and therefore freeing her of that denial, something the Jeff Pickles of S1E1 was not able to do. This is followed by them going to visit an organ receiver of their late son, in a way accepting their past and moving on to the current reality and we see this through one of the most beautifully touching montage sequences ever leaving us with a sense of awe, tearful eyes and a heart full of love.
Jim Carrey here shows off his dramatic performance prowess and proves he is not only a talented comedian. Judy Greer's performance is stellar and touching. Catherine Keener and Frank Langella are well cast as Jeff Pickles' sister and dad respectively. Something to take note of, is the astonishing set decoration and production design of the series as well as great editing, piecing together the flashbacks and montage sequences perfectly.
Kidding is a show for adults, not kids. It's a reminder of our childhood and it's a hopeful attempt at awakening the inner kid within us with the utmost curiosity, compassion, honesty and love. And it is a successful attempt.
Lovecraft Country (2020)
A black splash of revenge on a so-called white canvas...
A series like this has been a long time coming. Perfectly written and casted with an almost all-black cast, Lovecraft Country does the black AND visible minority community of America due justice. It gives them what they deserve and what they have deserved all throughout history although often not acknowledged and while doing so, slaps the embedded white supremacy ideology that is ever so present right in the face, and rightfully so.
The series starts off strong and mysterious, falls flat multiple times throughout and picks itself right back up near the end. Unfortunately, the so called "magic" presenting itself from the get-go loses its mysteriousness within the first couple of episodes once characters start to refer to it so often and so nonchalantly. Christina Braithwhite becomes less and less of a villain the more the series goes on and the more the main characters encounter her without much harm and really makes you wonder what the protagonist is fighting against at times. The writer could have avoided this by making those encounters much fewer or making each encounter come at an irreversible cost.
The series makes a considerable effort of developing some of the side characters separately by dedicating a full episode to them while underlining major historical themes and issues of black people in America (black vs white self-perception, black identity and history of blackface and minstrel shows) but falls flat by steering off too much away from the main topic and main characters and loses its audience. This happens in Ep.5 "Strange Case", Ep.7 "I Am" and Ep.8 "Jig-a-Bobo" where it focuses on developing characters of Ruby, Hippolyta and Diana respectively. The only time it is successful in pulling off these side plots is in Ep.6 "Meet Me in Daegu" where it introduces a wholly new character named Ji-ah within the sub-theme of Korean War and ancient legends of Korea (by introducing the creature Kumiho) while incorporating the main protagonist, Tic. This episode actually ends up being one of the best episodes of the series. The series then soars high to its then unfulfilled potential in the penultimate episode, "Rewind 1921" and creates one of the most beautiful yet tragic time travels in TV show history. The final montage of Leti literally walking through fire in slo-mo in the midst of 1921 Tulsa massacre and coming out on top as the operatic piece is playing is one of the best montages to see. It's not a sight to enjoy; but rather is a sight to not forget. It's a reminder that these events only happened 100 years ago and could happen again, if we forget this was our history. Misha Green beautifully recreates history in this episode but this time through the eyes and ears of the black community, showing what they saw, heard, felt, endured. She does the entire black community justice by bringing this issue forward in the times where Black Lives Matter voices are stronger than ever and yet are silenced with force, like nothing has changed. After that, the series takes a slight dip at the beginning of Ep.10 "Full Circle" by presenting too much uncovered information and rushing the plot to the closure losing some of the audience for a bit, but then slows down near the end in a scene which is the ultimate finale, ending with a black female character, Diana holding a monster in control while standing on top of the cliff with the monster grunting towards the moon. This comes just after Leti's legendary line to Christina while she is gasping for breath, saying "We reclaimed magic". Leti's line along with Tic's mom saying at the beginning of episode "I realized my fear was keeping me away from claiming the power we had all along" as well as Diana's final scene, is such a beautiful tribute to the entire black community of America. It's a reminder that they have had the power all along to end systematic racism and white supremacy and they can unleash that power once they put away their fears of retaliation or being silenced. It's such a timely message in these times of further segregation.
The cast all around is stellar. Jurnee Smollett and Jonathan Majors are cast as the two leads that fall in love and present an undeniable chemistry that's carried on all throughout. This was the first performance I saw from both and I was speechless especially by the vulnerability that Jonathan shows in so many scenes and by the female power and strength that Jurnee presents driving every major (Ha, see what I did here) decision forward. Jurnee still has that essence of femininity and motherhood and Jonathan still has that masculine arrogance and physicality and that's what makes the two so easy and comforting to relate to, neither is too feminine nor too masculine. Their delicate and tender performances is only enhanced by the so powerful performance of Michael Kenneth Williams, presenting as a vulnerable man who questions his fatherhood, manhood and sexuality. The "villain", played by Abbey Lee also stands in relative caliber to the rest of the cast considering she has only a few acting credits. Also, Jamie Chung's performance in Ep.6 "Meet Me in Daegu" is tender, lovable, vulnerable and just wholly beautiful.
Overall, although the series steers off its main objective and loses its grip on the audience at multiple points, it stays true to its original idea at last and presents us with many beautiful and powerful moments that will stay with us for quite some time. Lovecraft Country is a history lesson, is a human touch and is a love letter to black Americans and is surely not a series to miss.
Boy Erased (2018)
Riveting!
Prior to this film, I had no knowledge of the existence of such practices called conversion therapy but this movie was the best introduction, perhaps a little startling.
The cast is a perfect congregation of some of the best Hollywood top shots. Nicole Kidman and Russell Crowe's pair-up is delightful to watch and the performance of Lucas Hedges as the gay teenage boy is just the right amount. He doesn't overdo it like so many other actors but still gives that impression.
The movie has quite a slow pace and barely shocks with its climax. We see the beginning of Jared's character arc with him succumbing to his parents' request to submit to a conversion "therapy" but the plot misses the perfect chance to show the peak of his character arc when he chooses to stay gay and has to iterate that to his parents and face the consequences, a sequence and a confrontation that could have been the most powerful scene of the film. With the film skipping over it through a flash forward, the audience feels robbed. Still, some of the writing, like the flashbacks to Jared's encounters with two of the boys he liked, Henry and Xavier are well done and I must say the rape scene is perhaps the scariest scene I've had to sit through which only means that they did a good job of crafting that scene igniting the sense of disgust in the audience.
Although a slow-paced movie with unfulfilled potential in writing, the film is a faithful depiction of "conversation therapy" subtly dehumanizing it and is a good introduction to all people like myself who this topic is unbeknownst to. I've always loved Joel Edgerton as an actor but seeing this, I think he has a long road ahead of him as a director as well!
Jojo Rabbit (2019)
Just keep going... No feeling is final...
Taika Waititi's satirical, unfiltered humor undermines the tyranny of a two hour long exposure to perhaps the most notorious figure in recent history and he does it well, but perhaps a little slow. The plot doesn't have much weight until just about the point where Jojo is guided by a shiny butterfly to a spot from which he looks up just to see the shoes he recognizes so well, his mother's shoes which he is so used to see jumping up and down but this time they're not dancing. I must say this scene and further tight grip of his mother's legs as Jojo sobs childishly was undeniably touching, and tearful.
From this point on, we see a classic hero's journey that we've been waiting for for the first full hour and what a delicate, warm journey it will be, mixed with classically humoristic montages with somber soundtrack in contrastbeautifully composed by Michael Giacchino. Further, we get to relate to the adolescent platonic love that we have all experienced and held a dear spot for in our hearts.
Starting with Scarlett Johansson who has now transformed more into the single mother roles rather than the sexy leather-tight costume action heroin along with Sam Rockwell showing versatility for playing a comic role, casting is stellar. Stephen Merchant as the creepy looking and smiling Gestapo agent is the perfect pick for this role and the "Heil Hitler" sequence is just the epitome of Taika Waititi's writing. Roman Griffin and Thomasin McKenzie playing Jojo and Elsa do a fantastic job of portraying the horror of being in the midst of a war with no one to take shelter in. Also, so well-fit for the role, Archie Yates playing Yorki shows perfect comic timing and delivery.
Overall, although the film starts slow, it picks up well at the midpoint and especially the last 30 minutes of it are tenderly put together. The movie is a call upon us to look within ourselves, to look for the inner curious, adventurous, daring child we all lost as we faced wars and tragedies, tragedies imposed on us by the grim reality we live in and the internal wars we expose our mind to. Taika subtly reminds us of the kid we all aspire to be, the kid within us that we lost sense of as we grew up, as we grew apart, from ourselves.
Gisaengchung (2019)
Best movie experience in a while!
Simply exhilarating! As a long time lover of classical music and a sucker for delicate frame composition and well-thought-out cinematography, I couldn't have asked for a better representation of all three.
The film is well-orchestrated and at times you are not sure if you are at a classical concert or in a movie theater. The plot is tangible whether you align yourself more with the Kim or Park family. Frame composition is painstakingly crafted to deliberately imply the status of one family above the other or separate from them. Acting is stylistically directed in alignment with the tempo of the film. By the end, you are not sure where you stand within the plot and who you relate to more and maybe that's a good sign, a sign that the film was well-written.
I simply can't think of anything I did not like about this film and that's why I highly recommend it to any movie lover, or even more to aspiring filmmakers like myself. There is a lot to be learnt and even more to be enjoyed.
Big Little Lies (2017)
Impeccable!
Writing, acting, casting, direction... all flawless. The cast is a stellar formation of some of the best that industry currently has in store. The impressive acting comes in part because of the innate talent each actor possesses but also equally from Jean-Marc Vallée who is well-known for getting the best performance from his actors. We see that direction falls a little flat in Season 2 but still, characters are so internalized at that point that we barely sense it.
If I was given this cast and had to assign each of them one of the roles, I would do it exactly just like this. Reese Witherspoon as the bubbly, flamboyant Madeline that has her mood swings, Laura Dern as the stuck-up pretentious bossy Renata that is perhaps a little too focused on her career than her marriage, Shailene Woodley as the plain jane (no way her naming was accidental) that doesn't have a purpose in life and just goes where life takes her, Zoë Kravitz as the transcendental free-spirited, calm, reserved Bonnie and finally Nicole Kidman as the sophisticated, intelligent, agreeable wife that has sacrificed her career for the sake of her family (well, maybe not quite). It just goes to show how well actors have been casted. It's evident that there has been good chemistry between all the actors on set. Praising Nicole Kidman's and Alexander Skarsgård's performance alone is a dishonor to the remaining cast who have done an equally amazing job. Kathryn Newton and Iain Armitage's acting as well as the twins didn't fall any short of the A-list line-up of stars.
Writing is also without fault. The script is committed to give multi dimensions to each character and you really get to see different sides of each character's personality. Hence, all characters feel so real and tangible that you don't even know who to relate to by the end. The series spends enough time to show every character arc, from Celeste's journey as the put-down, abused, mistreated wife and ex-lawyer to Celeste slowly finding her way back into Law, family, society and in a way back to herself, from Ed's journey as the ordinary, loving, working husband who has forgotten to show his sexual wife a good time for a long time and as a result feels the lack of intimacy which behind his back is being filled by the passionate, good-looking guy that is always around to Ed that feels cheated on and begins to find his masculinity but just when he has the chance to abuse it, he doesn't, instead he disregards his instincts (or does he?), chooses the moral path and returns home. In hindsight, you see how well the writers left different cues here and there in the plot leaving no puzzle pieces alone leading up to completing the puzzle finally in episode finale of Season 1, hitting you all at once, leaving you in shock, speechless, wondering how you could have been so oblivious to this many signs, but it all makes sense to you now. You feel played by the plot, but you enjoy it because that means you've just witnessed something great!
I highly recommend this series to anyone. It's a masterclass in acting, writing and directing (if not a masterclass in everything) and a masterclass in what a good series looks like among the vast ocean of series and mini-series that come out nowadays. Trust me, this is a totally unbiased opinion. I'm a guy and at first I was warned against this show and its supposedly "all-female audience" and I went into the series thinking it will be a very feminist all-women-cast series that puts men down in the name of "gender equality". But no, it's just a really good series. I guess its "all-female audience" have good taste.
I'm a little afraid for them to come back for Season 3. I like it where it was left off and I'm scared the writing won't be as good as the first two seasons. But knowing this cast and the crew, I think they will do just fine!
Run (2020)
Could have been better!
I started watching the series because the plot idea seemed original and to be honest, I wasn't let down. It's a novel script which loses its grip after a couple episodes and after that just becomes another runaway story, well, with a bit of a twist.
The series starts the audience off with a series of unanswered questions that stay unanswered until multiple episodes later when I would say is a little too late. Until then, the audience has to sit bored through the same back and forth routine of Merritt Wever and Domnhall Gleeson on a train. Luckily, those are two really fine actors that know how to add a little spice to every ordinary scene.
Before this series, I hadn't heard of Merritt Wever at all but was so impressed by her performance here. She really pulls off the impression of the mid-30's married woman with kids who is tired of the routine of the daily family life and wants to act crazy for a bit, just like her college days. And Domnhall Gleeson complements that performance by being the loser-like guy who still is oblivious to the women who express their affection for him and doesn't know how to express his love, just like his college days.
Still, I would be interested in seeing if Season 2 can bring back the series to the potential it showed at first.
Venom (2018)
It's just sad seeing so many good actors in this!
The movie was as disappointing as I had heard it would be. And it's just sad seeing so many great actors being under-utilized. Riz Ahmed and Michelle Williams, two of the finest actors of the industry, are shrunk down to playing one-dimensional undeveloped characters mumbling cheesy comic-like lines such as "Have a nice life". Not even that cheesy line works in a movie like this because the movie is so inferior in structure to all the good comics we have seen lately such as those of Marvel who has defined the formula to success for making a comic film.
Tom Hardy brings his all to the role and puts his natural temper into good use in a couple of scenes but even then, his sudden fall into decay and losing everything just after doing a controversial interview seems pretty unbelievable for even the least film savvy audience. Also the fact that Venom and Riot have plain monstrous-like voices that every child would mimic when doing a monster impression really makes those characters as plain as ever.
For the most part though, Tom Hardy and his versatility as an actor carry the film. That plus good visual effects which make for some entertaining scenes to watch like the street chase scene, are the reasons why I am giving this film even those 3 stars.