Change Your Image
Sarah423
Reviews
A Passage to India (1984)
Beautiful but Frustrating
This award winning film by David Lean has the grace and sweep of a larger story (India's history) while focusing on a smaller one (the racism of colonials in a particular town and how it leads to a court case.)
Given Lean's catalogue of successes, this certainly should have worked but for me it did not.
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The first character I thought I might care for is Mrs. Moore, who starts off condemning silly rules and divisions of people living side by side. Even here, though, she doesn't really make any sweeping changes but rather just sees how some basic rules of society's expectations can be circumvented to make her feel more emotionally comfortable.
She is very full of commentary, so I was disappointed in her very circumscribed acts and then, of course, her later abandonment of the entire situation.
The fact that her heart failed her in the end is both literal and metaphorical.
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Moore (Peggy Ashcroft) travelled to India with Adela (Judy Davis), whom she hopes to have as a future daughter in law, marrying her son.
Adela is the typical sweet young lady, yearning for more.
She also assumes they will meet some of the local people, and so she and her MIL arrange with the head of the local university (Richard Fielding, played by James Fox) to gather a small group.
This leads to an expedition with Dr. Aziz (Victor Banerjee) where a mistaken event turns into an assault case.
The thing is, we've seen this set up done better.
Adela feels forced by expectation into making an accusation, but from our vantage she just comes across as spineless. She never did feel much like a romantic figure, never seemed particularly anything, so the fact that she's so easily manipulated is, frankly, annoying.
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Aziz is betrayed, and both his position as a marginalized member of that society and a falsely accusesd man should gain viewer empathy.
And it does, in part, but the character has been a clownish sycophant off and on during the movie, so he already half betrayed himself.
When I say it's been done "better," what I mean is that the characters, even Aziz, are never deeply enough developed in spite of the film's length.
Yet in the end, he is the best and most relatable of the group.
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The film itself is beautiful in scenery and costume.
But in the end it does a disservice, because it doesn't make viewers care enough and fails to send a clear message of how horrible that era in history was.
Finally, and perhaps I should have led with this, at the point this film was made, the one character was definitely in "brown face" (Alec Guinness as Professor Godbole)
That alone makes this film one I do not recommend as a watch.
Dead Boy Detectives (2024)
Quirky History and Supernatural Smash
Dead Boy Detectives is a fun science fiction-fantasy mash up with retro overtones.
The detectives are ghosts hiding from Death ("on the lam" according to another character) while handling their work.
The pace is fast, sometimes almost frenetic, which means this is not second screen fare.
A lot depends on the leads being likable, which they are, but even more depends on the framing and writing by Steve Yockey.
Yockey excels.
Cast and writing are at the front, of course, but this particular series is also dependant on the quirky set dec, locations, and overall tone of filming. And fortunately the entire smash up works.
I haven't watched any of the other shows in this comic "Universe," and probably won't. Fortunately this show can stand on its own.
Walker: Insane B.S. and Bloodshed (2024)
Home Run
This is what Walker does best: action and intrigue with strong underpinnings of platonic character relationships.
The Walker cast and writers have dropped the old stereotype of "CW Pretty" (though they still are very much so) and got down to the brass tacks of story telling for adults.
I'm a fan.
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Fast paced, the writers moved the Jackal plot line forward. (And it's both grisly and yet not so graphic to keep it off network.) I am already totally involved trying to weigh various possible villains.
And why a jackal? There has to be a deep psychological scar somewhere.
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At the same time, they introduced a new character (the glorious Luna, played by a familiar face from the Independence universe)
Took the friendship of Larry and Cordell three steps forward, then a huge step back. Getting the two together will be a joy, but you don't ditch such a close friend even if they do something that breaches your trust (especially in cases like this and done for selfless reasons.)
We see Stella unfortunately conflicted about saving a man she didn't know, yet we also see Stella with her brother in one of those tight sibling moments that viewers love.
Family, man.
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Special kudos to scenes with Coby Bell and Jared Padalecki, because what an incredible range of emotions to play in such a short space of time.
However, there is praise enough to go around. Everyone played their roles brilliantly, including the crew (lighting--wow, videography, music, props)
I have so many theories now that I can barely wait until next week, which given the landscape of the entertainment industry getting viewers to watch live/weekly is saying a lot.
Places in the Heart (1984)
Excellent in spite of Minor Flaws
I thoroughly enjoyed this look back at the depression era south, with protagonists that are all in different ways marginalized from society.
First is Sally Fields as Edna Spaulding, who loses her husband in the first few minutes. Respected as the wife of the sheriff, it is obvious that she's now just left to "poor relation" status as bankers and cotton sellers seek to cheat her out of what little she has.
Next, Danny Glover plays a powerful character in Moze--a man who is constantly in danger because of his race, yet manages to reach out and be a hero.
He's definitely the brains when it comes to cotton farming, in fact it's his plan at first.
Final of the triumvirate is John Malkovich as Mr. Will. How nice to see a blind man as a main character. And how wonderful as that character opens up and cares.
Malkovich plays him with his usual attention to complexity (fascinating to watch)
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The minor flaw I see is being distracted by a B-plot of an affair by Edna's brother in law.
There was enough in the story of Edna and her found family joining up, taking on the challenge, proving themselves.
No disrespect to the quartet of actors in the B-plot, their characters added to the overall feel of the small town. But I'd rather they'd been treated as even more as background players. (Like the lady in the car, for example.)
Sometimes the interruptions were abrupt, and I kept waiting for their importance to somehow make sense to the A-plot story.
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Costuming, locations, audio were all top notch.
The feel of the movie is of both desperation, yet beauty.
What a inspiring "place" the creator has shared.
Killing Eve (2018)
An excellent two-season watch
I wondered why a show with Sandra Oh wasn't an automatic renewal for more seasons. Thanks to it being streamed on Netflix, I now know.
The first two seasons are every bit as good as rumored by fans.
Acting brilliant, characters quirky, nicely filmed. To me, Oh is the best of the troupe, though I can see why fans quickly rallied round Jodie Comer.
Oh is Eve, a MI5 officer who's smart, independent, and a bit bored with her life. Comer is Villanelle, the assassin she's assigned to hunt down.
The chase (or perhaps dance is a better term) is kept interesting by the writers at first. Then something slides in season three and, honestly, I do not recommend you bother with season four.
As a Sandra Oh die hard, I had to, but it really wasn't good (though certainly not the cast's fault.)
My rating, therefore, is for the first two seasons--well worth a binge.
Walker: Lessons from the Gift Shop (2024)
Hoping for Renewal
Since we are in renewal season, let's just go over the positives and hope the network bosses agree:
Walker once again delivers a very well-crafted episode on a CW budget. The fact that it manages to do so week after week is a tribute to the skill of the people there.
I may want to debate certain choices the writers have made on Walker's relationship (yet doesn't discourse equal engaged viewers?) Still, I also want to mention how great it is to watch a show where dialogue is so finely tuned that you can most times tell who's talking by the lines said. In other words, kudos to the Walker writers room.
Editing is spectacular. There is a lot going on, especially this season perhaps because of the shorter run.
However, editing and clever directing choices keep viewing smooth and transitions clear.
The tone of the show is consistent. It has by now developed a Walker style that I'm enjoying. It's so hard for a tv series to "hit its stride" in this economic climate of mass cancellation, so what a joy to see a show that has managed to accomplish just that.
I'm personally here for the case work, but need complex characters, too. This show delivers.
It has diversity on all fronts, while not pandering or preaching. This is effective in that it "shows" rather than "tells"
Born on the Fourth of July (1989)
Amazing Depth of Emotion
A young Tom Cruise shows impeccable talent and range in managing a complicated character--veteran Ron Kovic-- and carries viewers along on his complex journey of grief and redemption.
Kovic starts the movie as a boy so caught up in patriotism that he willingly volunteers for Vietnam.
Himself born on the 4th of July, Kovic is a small town athlete who without the war's interruption would have gone on to college and successfully built a business.
Rotary on Wednesdays. Golf games at the club.
Instead, he finds his life suddenly ground up and spit out by a war machine that first ignores his mental anguish over a wrong decision (accidental friendly fire) and repeatedly sends him back out on the line.
He later notes that he could have stayed down when first shot, but didn't. This brings up the idea that perhaps he was self-punishing that incident, even after it was well past.
Kovic goes on to protest the war, as some veterans did.
It isn't that he's less patriotic (though some vets would resent such activities) He's simply "differently patriotic"--believing that the US should stick to the principals small town life had taught him the country has.
There are two sides to patriotism, and Kovic has his.
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Besides impressive acting from Cruise, the entire cast levels up.
Add in tight editing and audio, authentic feeling costumes, excellent locations and videography
The entire film is a home run.
Sex and the City (1998)
Didn't Age Well
I watched the first couple of seasons and then gave up.
You can see what the show might have been and why it had impact when it was first on air. (And perhaps for back then the sexuality was enough to keep it going after the first season's discussion points were gone.)
However, I never related to the main character who seemed to bring a lot of problems on herself. Apparently viewers are supposed to only support and never criticize these empowered women, but after a while you realize writers needed to do some lifting themselves.
It's no longer enough to be just about the fashions.
Further, when first aired, it might have been edgy to have a "gay friend," but some stereotypes were just ridiculous. Same with racism, sexism, and what constitutes consent on both sides.
I watched the movies, which sometimes fell prey to the same issues. But in the series, I found myself beginning to regularly fast forward past the cringe. Thus, I stoppped.
O.J.: Made in America (2016)
Comprehensive
I can remember the bronco chase and the trial, know a great deal about the time period and "history."
However, this documentary was still a good watch.
It moves slow and sometimes feels overpacked, but really that attention to detail is its major strength. By the end, you understand how the OJ myth was created in both the public's mind and in Simpson's own.
And you see how the history of police corruption in the area also had an impact. (No one I remember doubted that the detective must have played fast and loose with the evidence, even if it was not all planted.)
That led to some people thinking him innocent and cheering at the verdict, while also many others cheering because the prosecutors and cops had failed in making a case.
Simpson's death made me want to revisit all of this, review, weigh and balance. This comprehensive documentary allows that and then some.
Scoop (2024)
Watchable
The acting far exceeded the content in this documentary-lite about Prince Andrew's interview with Emily Maitlis (here, played by Gillian Anderson in what was the real scoop of the night)
The process is outlined--how was Newsnight in the right place at the right time to score an hour? Completely obvious answer: journalists and segment bookers weave a network of contacts on the daily, hoping some will pan out.
It was vaguely interesting to see the booker be the hero after being treated with less respect by the more "serious" staff, but her story was also sketched in and lacking enough complexity.
There was no new information to be gleaned here, just a general review of what happened and that it was put to good use by the press, when the Palace had hoped it would help them instead.
I guess what I would have hoped is that the writing would have more weight, given the quality of the cast and crew.
So while this is still a decent second screen movie, I'm glad I didn't pay for a ticket and caught it streaming instead.
Walker: Maybe It's Maybelline (2024)
Great Follow up on a Busy Night
It's DIFFICULT to watch Walker on live TV, but I managed.
Wednesdays are a busy night and my CW station went dark with the new owners so it was a real hunt.
But this episode was well worth the effort.
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We see the writers fully using their cast not just to hit romantic plot points or case details or even season arcs--but, rather, all three at once with a balance and restraint that was a joy to behold.
I actually liked Geri briefly, mainly because she was paired with Cassie and struck the tone I remember from season one.
The two were both single and living their lives, Bechdel Test passed, which was fun.
Cassie was also fully part of the Ranger team. Writers have managed that transition and given us a tiny powerhouse who hits hard.
Loving the respect from Trey and Cordell.
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Trey's dating life was alluded to, almost humorously (gorgeous date!) and then we find it is still rocky after guest character Maybelline shuts him down.
Ben and Liam's relationship also "shown, not told" in a wonderfully casual way that a solid relationship allows. Same for Abeline and Bonham--my favorite couple, honestly, and these two pairs are really the only ones I need any updates on, "coupled up."
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The episode was jam packed with good themes and messaging and yet wasn't preachy.
So many excellent points about mental health and that it helps to talk. So many good points about parenting--the days are long and the years, short.
Cordell is once again shown as thoroughly competent in spite of having flaws, in spite of having to work on things. And he's competent in both his work and emotional lives.
Thank heavens.
No one needs to push the character; he's pushing himself almost too hard already and getting it done.
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We even get small notes showing us the Walker Ranch is successful (wedding venue booked, Bonham no longer nervous about taking more time off)
And a very brief case with an thoroughly wise and strong woman (shout out to Debra Mooney and the writers for giving us complex older characters, even as one offs)
10/10 No Notes
Great job all around.
Irish Wish (2024)
Formula with Basic Likability
I'll be honest and say I didn't feel the chemistry of this ensemble, which is a major part of the success of these formula movies.
However, I'm here for Lohan's efforts in bringing us comfortable stories with likable actors, so I'm still not going to drag it down.
Love her, love Ed Speleers. Love the Irish locations and beautiful shots.
It's a fantasy romcom, so that viewers need a suspension of disbelief is clear from the start. (Not sure why anyone would complain about that, given it "is what it is" from the intro)
Not going to give it higher than a seven, granted, but it was a decent movie for a Saturday afternoon. In this climate, that's a LOT.
Walker: The Quiet (2024)
Nice Start
The writers came out swinging with a solid opener introducing the season's theme and villain while also keeping track of multiple characters we love.
Like all intros, that made the episode move along quickly so you can't glance away or you'll miss out.
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I was frankly amused by the highly choreographed makeout scene of the first couple minutes, which made me flinch at first (disliking his newest girlfriend) but then made me laugh.
The comedy timing of a man interrupted and frustrated was incredibly well done by Jared Padalecki. He does have over two decades of practice, after all, and this was just plain cute. And he was just plain hot
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Next up, the show's patented use of Texas Things--this time a love of big steaks--to have them plan one of Walker's items on his bucket list for his birthday party. (We get to infer Cordell's birthday from the titlecard as being in mid-November)
Later, of course, even in giving him just One Thing, plans go-awry-then-get-saved with his parents pulling together a homegrown party instead.
Kudos to the subtle diversity in including both Liam and Ben over the family table time in the morning. Ben is now a fully integrated part of the family.
This show doesn't do "knock you over the head and force feed you diversity." This show sets the bar higher by accepting the challenge of serving nuanced, consistent, persistent moments along the way.
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Cut next to Cordell on the job, with broad humor reflecting back to Trey jumping into a rustler's truck but this time more realistic and bumpy. Very, very bumpy.
There's the self-deprecating humor of Cordell trying to figure the next bit out. But he comes out on top, of course, our hero making a great stunt slide and take down of the bad guy.
Loved the shot.
There is a thin line between making the lead look less than intelligent versus heroic and this walked it.
(Later the writers make fun of themselves, even, mentioning television reboots and Hawk Shadow--now exploring feelings and family more, like this show versus Norris's one)
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A major story line is Cassie returning from a case with the FBI, some tension as she starts to explore going elsewhere and the sad line of "everyone leaves." (Cordell's face here--chef's kiss)
I'm hoping the show doesn't lose Ashley Reyes to other roles, because she is perfect in this one. I'm glad, however, that they pivoted and didn't make her character romantically involved with Trey (Jeff Pierre can have chemistry with air, but can't we have a show without all the romantic complications sometime?)
We catch a little braggadocio and swagger as Cass tells other Rangers about the take down, complete with helicopter wash. We see her considering which life path might make more impact.
Great scene where the Captain (Coby Bell) tells her she can have an impact with the Rangers, as well.
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Indeed, Coby Bell had more than one major scene in this opener.
It was absolute gut-wrenching pathos at the end as we find out what the Jackal case did to Larry last time and we see Cordell start down that awful "Quiet" path.
Both Bell and Padalecki rocked the ending tone, which sets us up for the new plot.
That these cast members have amazing range--humor, action, drama--just underscores how lucky CW was to ever get this show and how I wish they did more to promote it.
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Finally, special shout out to the music department.
The needle drops are excellent and always add to the series, but this episode was especially "wow."
The Resident (2018)
Just Starting this was a Rush
I see some reviews saying it doesn't stay up to standards as seasons wear on, so I may need to edit.
But I'm I season and a half in and am loving this.
The cast is interesting, diverse, with the skill to carry off nuanced and flawed characters.
Remembering that no one is a villain to themselves, I find all of this very compelling.
Scary how realistic it is to the current, actual for-profit health care situation. Billing, coding, overwork, compassion versus arrogance, saving lives versus misdiagnosis.
The editing is spot on. Musical cues, too.
Again, I might find it falls off, but for the beginning alone I highly recommend. (And at least we know it won't be cancelled after a season, so if you want to watch it all, it's there.)
Edited: OK, I see why viewers were complaining, though I'm still saying it was a good show for the first four seasons, average for another half season more.
Once they lost Mina and then Nic, then shoe horned in a couple new women just for love interests it was rough.
(As a note also: Hate the trope of a woman going after her best friend's widower. If not perfectly handled, it leaves a predatory vibe.)
Losing Mina and Nic, lessening/sidekicking Bell--I was really left watching Raptor by the end of the run.
That I still finished is to the shows credit. That it fell off by the end, was disappointing given the absolutely brilliant start.
Queenpins (2021)
Your Reaction to the Premise Determines Your Enjoyment
This is a comedy about pink collar crime.
A comedy. As in likable ladies, funny situations, cops are pure schmucks.
If you're not able to let that go for almost all of the movie, you're not going to like it.
If you are and just want to watch the women have a good suburban time riffing, then come on down.
Kristen Bell, Kirby Howell-Baptiste, and Bebe Rexha lead the cast, but a ton of character actors more than pull their weight as the plot goes on.
Transitions are a bit rough, but overall the plot works. Surprisingly the Vince Vaughn bits were my least favorite, because they felt "plopped" in, editing wise.
Even so, Queen Pins was enjoyable as a Friday night movie. Would recommend.
The Great Debaters (2007)
Excellent
An interesting bit of history, well told.
There's a reason Denzel Washington receives so many plaudits. The man is a force.
His acting in The Great Debaters centered the story, but did not detract from the work of his younger cast mates.
As director, Washington made sure that all of the characters shone.
Nate Parker (Henry Lowe) and Jurnee Smolett (Samantha Booke) were amazing as the potential young lovers who ended up being much more. A young Denzel Whitaker shows up and carries his weight playing James Farmer, jr.
There's a lot of responsibility in a film about real people who became part of the civil rights era.
This cast pulled it off.
Kudos also to videography and editing, as well as sound.
The film was well crafted start to finish.
(And, yes, there were some changes to the actual history, but those are easily sorted out and make sense given the needs of the script.)
Noah (2014)
So Bad It's Funny
I had two choices here: rate the movie one (perhaps a negative number, even) or bump it to three, because it's so horrifically awful it began to make me amused.
Noah seemed like a normal enough choice for a topic, and there's a line up of names on the cast, so I decided to watch.
Oh.
Oh, goodness.
First, even if there's not a thoroughly detailed story of this, there is a build up of (for lack of a better term) mythology.
Yet the script seems to take an odd choice at every turn.
I started to try to look things up in confusion, then let it all go.
Second, the cast. It's not even a "poor dears, couldn't save it" moment. This line up of solid actors were wooden and struggling in spite of all their other stelllar work.
Russell Crowe as the lead turned in the least outrageously bad performance, but even he went from scene to scene looking like it was a series of audition tapes rather than one character in a fully developed show.
Third, cgi and post.
I cannot begin to tell you how odd the interpretations of the Watchers and the setting were.
It began to amuse me as they just kept going.
All of this got a greenlight by some exec, because it sounded so simple on paper. And then they got this back in return.
The only thing I can compare it to is a cult movie like Killer Tomatoes, where things went so wrong you begin to laugh and keep watching to see how far they'll continue the "bit."
To the end.
The continued with straight faces, carrying this mash up to the end.
The Gentlemen (2024)
Stylized, Classic
I thoroughly enjoyed this series, although I acknowledge that I easily cleared two hurdles that viewers with lower ratings might not:
I loved Guy Ritchie's style and didn't find it getting old on me;
I didn't know about any movie, so I'm seeing these as "fresh" takes from the start.
Every character in this series was fun to get to know and to try to understand. What complexity. What eccentricity along with believable nuance.
Every actor succeeded in pulling off finely crafted individuals that fit perfectly into the sometimes off-the-wall plot.
They lure viewers in, which is a great reason to keep going.
Another great reason, of course, is that plot.
What a ride!
Yesterday (2019)
Fun Re-imagining
First, do you love Beatles music?
Because part of what makes this movie so charming is the use of the Beatles' legendary catalogue.
The concept is simple: due to an outside force during a power cut, memories of certain iconic things are just...erased. The movie doesn't bog down on particulars, it just states that and runs with it.
A poor musician makes use of this to improve his career by plagarizing Beatles songs--songs only a handful of people worldwide now remember.
Himesh Patel is lovable and believable as Jack--a guy who obviously feels guilty, but is still wanting to take his shot.
Jack becomes successful enough to try to platform his own music, but his shark of a manager (Kate McKinnon) isn't having it. Her blunt assessment of Jack's actual art is so painful you want to hug the guy.
The romance part of the plot is just as great a mix of angst and comedy. Lily James plays Ellie, the girl Jack is obviously supposed to end up with in any universe, alternate or not.
Manager turned girlfriend trope? Why not if it's Lily James. She's cute and funny and just adorable.
Loved the entire movie and honestly wish I'd found it in the theater. It would have been even more fun on the big screen.
The Vow (2012)
Not a RomCom, Not a Drama, but a third thing
I expected this to follow a somewhat formula plot, where my like or dislike was based on production quality and the name stars.
Both of those were excellent, by the way.
The entire cast and crew did their part and put out a highly polished film.
It didn't hit all ten stars for me, however, because of the story itself.
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The Vow feels like it should be super romantic, even if not a romcom. (the lovers, the vows)
Instead it comes out more a drama about what moments make up an individual's life. (the amnesia, the rebuilding)
It felt dry.
A little pedantic.
And that wasn't what I assumed it would be from the packaging and trailer.
Am I angry or incredibly disappointed? No
Would I recommend it to friends for a Friday night binge? Also no.
Apollo 13 (1995)
Humanizing History
The Apollo missions were an incredible era in US history. NASA workers did amazing science, the pilots were fantastically heroic, and we benefited from all that.
This movie portrays a portion of those early days of NASA and humanizes those early heroes. Not the very start, where parades were held in NYC, but the middling part where the US citizens (attention spans of rabbits) began to take space flight as de rigueur.
That changed, of course, when a mission went off schedule and the scientists at mission control had to think on their feet to make a government-funded (piece meal) project work in ways that were far beyond its specs.
Great acting.
Great videography.
It had the feels of creating an accurate "reality" without getting bogged down.
The Circle (2017)
Many Thoughts, No Solutions
I expected "The Circle" to be a call to action about excessive invasion of privacy in today's social media world.
Instead, it shows all the significant downside, even has a compelling character lurking in the shadows as a savior, then leaves it with the main character seeming to embrace it as inevitable.
And maybe it is inevitable, but how dark my thoughts were after watching. I already know to distrust the motivations of corporations, which of course are doing things for profit, whether or not they benefit mankind. (Sometimes they do, but others they don't)
I know that some people who appear to embrace transparency have the most to hide and may be deeply flawed people.
I know that others may start on one path, take in information, switch sides.
What I don't know--and the movie gave me no additional insight--is what to do about all that. And my basic thought is that while it was a well-made movie, shouldn't it have done more with that?
Good Grief (2023)
Well Crafted
Good Grief is unexpected in that it takes so much time to let the characters really breathe, grow, and develop.
It's undoubtedly a lacking on my part as a viewer, that I'm no longer entirely used to this pacing as compared to my usual shows.
The acting is restrained, thoughtful, at times brilliant.
Cinematography makes you want to crawl right through the screen and visit.
And in an unusual shout out for me, the costuming has the characters in perfect colors, textures, quality of outfits for who they are.
This is one of those "little" movies that Hollywood used to make regularly. And if they'd turn to doing it more, I think audiences would respond.
What could have turned into a cliche plot did not.
It was just a really well crafted movie about (and for) adults.
Erin Brockovich (2000)
Loved It
Julia Roberts plays a fierce female lead who doesn't fit into the establishment's mold of what strong women look like.
Erin Brockovich had neither a degree or a steady work history, but her good sense and determination broke a multi-million corporate cover up of polluting. In doing so, she impacted many lives and got some comfort for those afflicted by the poisoning of ground waters.
Roberts handles the character with verve. The entire movie is fun, but it doesn't talk down. The topic is serious, but it never strays into the maudlin.
A really good reminder of why Julia Roberts reigned the box office for a long while.
One Tree Hill (2003)
What in the CMM was I Thinking?
I remember everyone loving this when it came out, but I never got around to catching it myself.
Adored Chad Michael Murray, however, so I finally decided to give it a shot.
Holy cheesy dramatics, Batman.
This show did not hold up well.
CMM was fine, as was co-lead James Lafferty. They play brothers and do a respectable job in a muscley CW teen drama way.* (*Lafferty was only a shade too old to be a high schooler, CMM more; neither of them really fit what boys in my high school looked like at that age.)
But what overblown drama and poor dialogue was inflicted on them.
I got as far as the "time jump" to post-college age before giving up.
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In the end, it was the actresses that proved my undoing. The actresses who sometimes had shrill and overly dramatized scenes. And, face it, sometimes got stuck with weak plot lines.
It hurts me to say that as a woman viewer myself, and I know an entire generation of my friends patterned every aspect of their "style" after these "ladies," but after making my best stab at watching, I really never want them on my screen again.
Ever.
At all.
I might have held on through the end due to a sense of needing "completion" and loyalty to the two leads, but I simply could not.
If you watched it back then, maybe some heavy sense of sentiment and nostalgia could keep you going. But for me, it didn't.
The whole thing simply didn't hold up.
I'd recommend new viewers give it a wide berth.