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Better Call Saul: Breaking Bad (2022)
Jumped the shark
BCS has been almost note-perfect for six years. The first half of Season 6 was brilliant and felt like it was building to a stunning conclusion.
But something has gone horribly wrong. The second half of Season 6 has completely jumped the shark.
Let me think... Lalo dies because he monologues for too long, Kim suddenly leaves Jimmy in the most unsatisfying way, who then jarringly transforms into Saul Goodman as we know him today.
In the Gene timeline, we're introduced to a horribly re-cast 'Jeffie' in some of the most contrived, gratuitous and downright silly sequences in the show to date.
Lazy (and unnecessary) fan service is provided in the shape of a poorly-aged Aaron Paul and Bryan Cranston, who bicker immediately.
What a terrible let down these final episodes have been. It's painful to say but this doesn't feel like the same show anymore.
Fans won't want to admit it now - and I anticipate a lot of downvotes - but soon enough people will accept the truth: this show has finally jumped the shark at the worst possible time.
Jimmy Savile: A British Horror Story (2022)
Superficial and unsatisfying
This is a pretty pointless documentary. It's a superficial overview of Savile's career, focusing so much on his charity work you'd be forgiven for thinking this was a eulogy.
It pays mere lip service to his victims, glosses over far more interesting angles (BBC coverup? Police corruption?) and never delves deep enough to be truly satisfying as a documentary. Even Louis Theroux's self-flagellating retrospective did a better job.
As others have pointed out, the pacing is poor, but you keep watching in the hopes that it'll 'get going' soon. I'm afraid it never does.
The most interesting information is provided in title cards at the very end.
Technically well-made, but that's the minimum expectation for a Netflix doc. This is all style and no substance.
After Life (2019)
Self-indulgent vanity project
Before I start, yes I'm a fan of The Office, Extras blah blah blah. So bring on the downvotes - I do not care.
After one mediocre season, and two completely unnecessary ones, I can conclude After Life is Ricky Gervais at his laziest and most self-indulgent. He basically plays himself, but somehow even more narcissistic.
There is no story here. Literally none. It's just boring, pseudo-intellectual platitudes and one-dimensional characters, with lots and lots of filler, presumably from the reject pile of his standup work.
But thanks to you fawning sycophants online who give Ricky free publicity, then claim that his retweet "made your year", three seasons of this self-indulgent vanity project have been produced.
It's cringeworthily unfunny, resorting to vulgarity and the C word in a desperate attempt to induce laughter. But it just comes across as so mean spirited.
In S3E1, Ricky's character throws a brick in the back of someone's car because they didn't stop at a zebra crossing. And said driver is so weak that he simply gets out of the car, scratches his head, gets back in and drives off.
The whole thing just feels like Ricky indulging in one massive fantasy, where he's always full of wisdom, always the centre of attention, and nobody ever stands up to him.
The universal theme of grief is presumably the main draw here, and it's blindsiding well-meaning viewers about the poor quality of this programme.
But at this point it just feels like rank exploitation to me. Mawkish sentimentality does not mean the show has 'heart'.
If you want a good quality comedy-drama centred on grief, this pointless and hollow mess will not do the job.
Family Guy: Into Harmony's Way (2013)
A diamond in the rough
In a very rough season for Family Guy, this was a gem.
When the show embraces its musical strengths, it can produce gold.
Because genuinely, why the hell DO you brush your teeth at work?
Fighting with My Family (2019)
Such a disappointment
As a Brit, I've always liked Stephen Merchant's distinctive style of humour.
In this film, he seems to have completely moved away from it.
He spoke about developing this film on an Oxford Union talk, expressing a desire to make more drama-based stuff.
This is billed as a comedy but unfortunately it's just not very funny. The tone is flat and depressing, but not in a humorous way like The Office (UK). It somehow lacks energy despite the contrived attempts to conjure it up through rather inconsequential action sequences.
I found the lead actress, Florence Pugh, insufferably wooden and emotionless. Perhaps that's the point, but her performance was grating. Vince Vaughan was decent as Hutch, the only redeemable character, though even he strayed into cliche territory as the failed coach archetype. I agree with another reviewer re 'phoned in' performances.
Yes it seems to have some heart, but that doesn't make up for the fact FWMF is a plodding, dour and largely forgettable affair, and a huge disappointment considering Merchant's strong body of work.
Family Guy: Stewie's First Word (2020)
Unwatchable
This is the worst episode of Family Guy I've ever seen. I didn't laugh ONCE. Absolutely nonsensical, lazy writing. Outdated and recycled gags. Loads and loads of filler. Just diabolically unfunny.
The Last Tree (2019)
Overrated and over-indulgent
Caught this film at Sundance London 2019, as a preview. Since it's getting lauded, and will be on Netflix imminently, I thought I'd share my thoughts.
The film had some nice moments, and was on occasion quite moving. It was shot interestingly and artistically, and acted competently.
However this semi-autobiographical story from Shola Amoo sometimes dips into over-sentimental territory, feels a bit emotionally manipulative, and unfortunately comes across a bit pretentious.
You have this miserable main character who literally never smiles, and you get this moment with the teacher basically saying 'it's not your fault' - ripped straight out of Good Will Hunting. Maybe it was an intentional homage. To me it felt like stealing.
It is not the most memorable piece of cinema, and by the extended ending sequence in Nigeria, it feels over indulgent.
No Country for Old Men (2007)
Emperor's new clothes
The "harsh" reviews have it right. Any other director (duo) would have been slaughtered for this interminable, confusing and ultimately futile "story".
Once again, it proves critics cannot be trusted. This script is somehow both over-indulgent AND lazy. How nice it must be to have such undeserved & endless sycophancy, eh Joel & Ethan?
It's not deep, it's just bad storytelling.
But it gets a 2 for Deakins' ever-reliable eye for visuals.
The Strangers (2008)
Is this a joke?
No seriously. Is this a joke?
The Strangers is not only one of the worst "horror" films of all time, it's one of the worst films full stop.
Few films leave me as angry as I was when the credits rolled. "IS THAT IT??!!!" I thought to myself lividly.
It is not in the LEAST bit thrilling, and serves only to frustrate the audience at every turn because the characters are SO STUPID.
That's the hallmark of terrible writing.
The scenes also drag on for soooo long - letting scenes breathe for tension is fine, but this director doesn't have a clue about good pacing. As a result, it's a complete bore fest.
As for Glenn Howerton - what a waste! He had 5 seconds screen time before being offed!
We are given NO explanation as to the killers' motives - they just kind of stalk and tease these two dumb characters (who 100% deserved to die for their stupidity alone) - and not even a single moment of catharsis.
And don't get me started on the cinematography. Shaky camera, so dark you can't see anything - just abysmal.
Absolutely terrible film, deserves NO stars, and should be avoided at all costs. Total waste of time.
L.A. Confidential (1997)
I can't believe the acclaim
Just got round to watching this film, and my god it is BAD.
There is almost NOTHING to like about LA Confidential.
There are too many characters, and they're all completely unlikeable and underdeveloped archetypes. Guy Pearce's character is laughably bad.
The dialogue is atrocious - It's completely unnatural with too much exposition, uses every crime drama cliché in the book, it feels like a robot watched every noir film and churned out its best attempt at putting them all together - and the result is horrendous.
The so-called story is just plain boring, yet somehow extremely overcomplicated. For me, it was impossible to follow - and no I'm not a Transformers fan who can't watch anything "cerebral" - I just appreciate a coherent narrative, that's told economically and efficiently. A murder happens I guess? Then there's some violence? A weird sequence with a prostitute? I don't know.
As for the apparent 'style' - this is one of the least stylish films I've ever seen. The colour palette is horrible and murky - everything looks... beige... - and the lighting is bland.
To say this film can't hold a candle to American noir classics like Double Indemnity would be an understatement. LA Confidential is an insult, and I am genuinely irritated by how criminally overrated this film is.
The Office: Christmas Special: Part 2 (2003)
Perfection
The perfect end to a near-perfect television series.
Even 17 years later, this episode encapsulates what made this series so good.
The blend of comedy and drama is just right.
Satisfying pay-offs all round.
Emotional in many different ways - including the inevitable melancholy of a top television show ending after just two wonderful seasons.
Gervais and Merchant knocked it out of the park here, and in my humble opinion, nothing they have made - jointly or otherwise - has come close in terms of sheer quality... though the Extras Christmas special gives it a good run for its money.
A timeless classic.
Hot Fuzz (2007)
Probably the greatest film ever made. No joke.
This is not just one of the greatest comedies of all time, I genuinely believe this is one of the greatest films of all time.
There is so much to praise, but not enough space to do it justice.
It puts most "comedies" to shame. It even gives the crime thrillers & horrors we see today a run for their money. Wright and Pegg's ultra-tight script displays the most remarkable attention to detail.
It is jam packed with gags, including some truly iconic visuals, and EVERYTHING the script sets up has a fantastic and satisfying pay-off.
Hot Fuzz achieves via parody what films of its target genre can't even achieve!
And crucially, it proves that unapologetically entertaining films like Hot Fuzz can be "artistic". With this film, Pegg and Wright are in masterful control of their craft.
Hot Fuzz is everything a film should be.
This is their magnum opus. A true masterpiece.
Community: Basic Story (2014)
One of the most underrated episodes
I don't quite know why, but I loved this episode.
Perhaps because it stuck to 'basics' and didn't rely on gimmicks, and just let the characters be themselves. And it was absurd in a believable way.
Some fine jokes in this episode, and as an Englishman I loved the epilogue with Hickey & Duncan bonding over Scunthorpe.
Abed was a bit uncharacteristically manic, but I could get on board with it.
Underrated for sure.
The Haunting of Hill House (2018)
Dull. So very dull.
The first episode gave me high hopes. Its ending was genuinely chilling. But dear oh dear, the wheels well and truly fall off from Episode 2.
It becomes an exercise in mediocrity, a cluster of horror clichés and a lame attempt to mimic Ari Aster's 'smart horror' style. It opts for 'grief porn' a la Hereditary, but at least that film was only 2 hours. Hill House doesn't know whether it wants to be a hard-hitting family drama, or a full-blown horror series, and it fails miserably on both counts.
This is because the characters are totally one dimensional (I don't care about them at all), the writing is poor, and the overuse of flashbacks is just so lazy. Flashbacks take the viewer out of the story at the best of times, and Flanagan's insistence on using them every 5 seconds makes the whole thing tedious... sometimes even difficult to follow.
It is also extremely frustrating to watch, because none of the characters believe each other! They have experienced all this supernatural mayhem, and seem to conveniently forget about it when the narrative calls for it. I just didn't get that at all.
By Episode 4 whatever scare factor existed has disappeared. I couldn't bring myself to finish the series. It commits the cardinal sin of being an utter bore fest - at least make me engage emotionally on some level... otherwise it's not worth watching!
I'm surprised at how highly this series, and Flanagan's work in general, is rated. His film Gerald's Game (2017) was another I couldn't finish.
This is an interminable mess and any true horror fan should avoid wasting their time watching it.
The First Team (2020)
Squanders huge potential
Much like a young English prodigy, the First Team had a lot of potential...
- On paper it'a a great premise
- A few laugh out loud moments, best one for me was episode 1 with Cesare exclaiming "I not pr*ck, THEY pr*ck!"
- It is very watchable despite its flaws
- The central three are somewhat likeable
But also, much like a young English prodigy, it proved a damp, forgettable squib...
- poor choice to have an American protagonist in my opinion. Jake Short doesn't quite have the comedic chops despite giving it his all, and the yanks don't really 'get' British football
- another reviewer praises the female character who tries to whip them into shape; I thoroughly disagree - she's painfully unfunny, her delivery is forced, and she's utterly unlikeable.
- the show wastes a good premise with gags that miss the mark 8 times out of ten, and I spotted a number of recycled inbetweeners jokes in there.
- when in doubt, it opts for gross out / shock humour
It's a shame they couldn't give Will Arnett more screen time (presumably he'd cost too much).
Overall, a bit of a disappointment, but I'd be interested to see what direction a second series would take (though I am doubtful it will be renewed).
Inside No. 9: Thinking Out Loud (2020)
Shameless rip-off of Identity and Shutter Island!
The concept and execution of this film is almost identical to the James Mangold thriller 'Identity' from 2003. The difference is that Identity, despite its longer runtime, pulls it off far better.
Everything from the seemingly unrelated characters, to the diagrams of the different 'personalities', the anagram of the names is directly stolen from Shutter Island (Andrew Laeddis = Edward Daniels)
Would have been quite enjoyable but can't help feeling a sense of shock at the level of plagiarism happening here!
Expected better from Pemberton and Shearsmith.
Feedback (2019)
Severely lacking
Feedback is an impotent film that never gets going. Eddie Marsan lacks the charisma or gravitas to play the film's protagonist. His voice is also not suited to radio, and he proves to be miscast. Even Anthony Head would've been a better shout.
There is a painfully long and meandering introduction to this film, which ultimately proves ridiculous - had to switch it off halfway through Act 2.
On a technical note, the cinematography and production design looks almost too clean, too pristine, which directly contradicts the clear 'gritty' intention. The choice of wide lenses makes the place look ridiculously big when a more enclosed feel would have been better suited to the claustrophobic atmosphere.
Agree with others' criticisms re the political agenda - the dialogue is poor, with moralising diatribes and virtue signalling galore. A 'message' that is intended to be impactful comes across as laughable.
Knives Out (2019)
Thinks it's cleverer than it actually is
There are a few moments in Rian Johnson's Knives Out that feel well written. Most of this clunky script, however, is not.
From the lazy 'lying makes me gag' plot device, the completely flawless protagonist, the unnecessary Leftist political undertones... Knives Out is a bit of a mess.
It takes too long to get going, and reveals far too much, too early on. There's a reason crime thriller conventions exist, and that's because they work. Rian Johnson seems to believe he is above such conventions, so it is no surprise when after 45 minutes or so, the film starts to fall apart after Marta is revealed as the "killer".
Some have said this is a parody of the whodunnit genre, but there is only so far that excuse can wash. With plot holes galore (Harlan thought of that intricate plan for Marta in the space of 10 minutes?), and an abundance of 'far too convenient' explanations, as a viewer I stopped caring about who did what.
It doesn't help that Marta is a one-dimensional character (basically a personification of Johnson's politics) who I couldn't root for. Actually, I was actively hoping she'd be killed. I'm sorry, she was annoying.
Overrated and complete with a completely obvious finale/"reveal" (I feel a bit cheated with that ending, Ransom was so obviously culpable from his introduction), you can't help but feel this film thinks it's way cleverer than it actually is.
Last Christmas (2019)
Annoying preachy rubbish
Renowned luvvies Emma Thompson and her lap dog Greg Wise have penned this ingenious screenplay inspired by the George Michael song.
I'm afraid it turns out to be a complete insult to the great man's legacy; a moralising, preachy load of rubbish.
It is a script full of cheesy platitudes, Brexit-bashing, happy homeless people dancing, a squeaky clean London, an overt attempt to ram home "diversity"... this is the definition of politically-charged schmaltz.
The story is weak and terribly boring, not to mention completely predictable. I was rolling my eyes every 5 minutes.
It is also supposed to be funny. I didn't laugh once. Thompson and Wise try to have their insufferable lead Emilia Clarke utter what they believe to be the wittiest lines you've ever heard. Newsflash, talking at 100mph and using stupid similes/metaphors isn't funny.
This is probably the most annoying film you'll see this year.
Little Monsters (2019)
Mediocre
I'll keep it short and sweet. Little Monsters offered nothing we haven't all seen before.
I chuckled just once or twice in the entire film, while most of the audience (who were quite drunk) laughed hysterically at nothing.
Using an F-Bomb in every other line gets tiresome really quickly, and the joke that they're swearing in front of kids the whole time also got stale. The writing was generally poor.
I could go on for a lot longer, but it's just not really worth it.
Shaun of the Dead it ain't. Derivative it is.
Game Night (2018)
Extremely boring and unfunny
A solid but clichéd premise (don't know how anyone can think this is 'original') utterly wasted thanks to a pedestrian script, unfunny gags that are painfully drawn out (eg the bribe scene), awful acting...
These kinds of Hollywood comedies are typically bland - at least Horrible Bosses had SOME funny gags - but this one is just rubbish.
Jason Bateman plays the same character as always.
Some terrible, cheap jokes, usually ones that rely on 'woke' humour.
Hollywood will continue to churn out bland trash like this because it probably pleases the masses.
Ironically, these days 'comedy' films make me laugh the least.
Top Boy: Big Flame (2019)
Watchable but flawed
Three episodes into the series, you start to notice some nagging flaws.
These mainly pertain to the writing and some odd casting choices.
The dialogue is a bit on-the-nose at times, a bit too transparent in terms of what they're trying to convey - the short hospital visit scene serving as a good example of this (dealing drugs is bad etc.). Also Dushane's mother's carer seems a bit brazen & presumptuous having only met him twice?
There are also some contrivances and implausible plotting, e.g. Sully having never been on a beach at the age of 35, the wealthy couple still keen to do business with Jamie et al in spite of the madness at the hospital in the beginning.... (the hospital was also conveniently situated right next to the site of the stabbing.)
Series 3 is watchable, and relatively enjoyable if you suspend your disbelief enough, but something just feels 'off' about the whole thing- it's trying to be gritty, but feels too sensationalised to pull it off, leaving the show caught in an awkward grey area. The first two series
Family Guy: Switch the Flip (2018)
Funniest episode in years
This is the funniest Family Guy episode in years. The concept of them all switching bodies could have been banal and unoriginal, but the jokes and gags landed left, right and centre.
Joe with Conseula's voice was hilarious, as was Quagmire's matter-of-fact realisation that they've switched bodies (thanks to Stewie's hilariously bad impression of Peter)... even though nobody else including Lois seems to have noticed.
Though the ending was a little predictable, I was very glad they chose to finish with Brian in Peter's body, having fulfilled his long-awaited quest to bed Lois.
Lois: You didn't listen to a word in the (how to help your wife orgasm) seminar, did you?
Peter (AKA Brian): No I did not. I mean... the movie Roadhouse.
Above all, as others have mentioned, it was a creative episode. But of course, unlike a lot of other episodes, the concept was strong. When a concept or situation is strong, the comedy flows naturally, and that's what really worked in Switch The Flip. None of it felt forced, and there were actually zero cutaways.
Stewie/Brian are the strongest pairing in the show, and this episode exemplifies this in hilarious style.
BoJack Horseman: Fish Out of Water (2016)
Audaciously perfect
I consider myself a viewer who isn't always keen on so-called "artsy fartsy" TV shows and films, as they can sometimes feel pretentious. But in an episode creator Raphael Bob- Waksberg claimed Netflix were 'nervous' about, they needn't have worried.
Fish Out of Water is a masterpiece in TV animation; there is only brief dialogue in the beginning and the rest of it is silent but for the warbles of underwater speech and a distinctly different soundtrack than usual - ambient synths and smooth electronic timbres complement the beautiful, vibrant visuals of the underwater city.
The plot revolves around Bojack going to an underwater film festival in the Pacific Ocean representing Secretariat, but I won't say anymore- this episode needs to be watched and appreciated for its artistic value.
It may be the case that this episode, much like Breaking Bad's 'Fly', will divide fans of the show, but in my opinion at least, 'Fish out of Water' is a ingenious, unique amalgamation of Lost in Translation and the SpongeBob episode 'Rock Bottom' that coalesces to form an absolute masterpiece.
Better Call Saul (2015)
Better watch Better Call Saul!
I'll admit that when I first heard that a Breaking Bad spin-off was on its way, I was feeling decidedly pessimistic. I mean - sure - Saul Goodman was an outstanding character, one of the best on the show in fact. But the main question was: could he hold his own TV programme? I am delighted to say the answer is definitely yes.
After pondering over what to watch on Netflix, 'Better Call Saul' caught my eye and I impulsively turned it on. I approached the show's first episode with low expectations; if it was bad I wouldn't be disappointed, but if it was good, I'd be pleasantly surprised.
It was fantastic. From the moment Saul put the videotape into his VHS player, I was hooked. The whole thing was intriguing, Bob Odenkirk was magnificent as usual and a surprise guest appeared at the end. By the time I got round to watching Better Call Saul, a second episode had broadcast and, as if I was 'high' on the show, was powerless to Netflix's countdown to the next one.
The second episode was equally as brilliant as the first. I can truly see that Better Call Saul is growing into itself. Regrettably, I can't feel I can give it 10/10 just yet as with any show, it needs to mature and settle, but it's well on its way.
Is it another Gilligan masterpiece? It may well be. I can safely say that having had low expectations before I'd even started Better Call Saul was foolish of me, but one positive did arise - I was taken aback...positively.