
SnoopyStyle
Joined Dec 2003
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Lorna Brady (Ruth Wilson) wakes up in the middle of the road. She's a sleepwalker. She lives in her small Irish hometown where she still suffers trauma from being in a Magdalene laundry. She finds a dead lady in her house. Meanwhile, Detective Colman Akande (Daryl McCormack) investigates a murdered priest.
This probably depends on the viewer's religious opinion. Let's just say that the church is not coming off well in this series. This works as a mystery for the first half. Ruth Wilson is doing great work. McCormack and the rest of the cast are all delivering. There are good characters and great revelations.
This probably depends on the viewer's religious opinion. Let's just say that the church is not coming off well in this series. This works as a mystery for the first half. Ruth Wilson is doing great work. McCormack and the rest of the cast are all delivering. There are good characters and great revelations.
While on a train to Paris, Gilda Farrell (Miriam Hopkins) encounters best friends, writer Tom Chambers (Fredric March) and painter George Curtis (Gary Cooper). They fall for her. The trio makes a Gentlemen's Agreement. She moves in with the boys... No Sex. She is their muse and biggest supporter.
This is adapted from a Noël Coward play from the previous year. As I have no experience with the play or any other versions. I can only review this version. The three leads are definitely appealing actors. The premise is intriguing and slightly different. All that adds up to some good interest. For most of this, I'm not sure who to ship in this one. I do like this ending although a modern remake could take it to another level. I would do a Double-Mint finale, but that would be less daring than this century-old play. It's a fine comedy although I want more comedic density. It just needs to throw in more jokes.
This is adapted from a Noël Coward play from the previous year. As I have no experience with the play or any other versions. I can only review this version. The three leads are definitely appealing actors. The premise is intriguing and slightly different. All that adds up to some good interest. For most of this, I'm not sure who to ship in this one. I do like this ending although a modern remake could take it to another level. I would do a Double-Mint finale, but that would be less daring than this century-old play. It's a fine comedy although I want more comedic density. It just needs to throw in more jokes.
Arthur Goldman (Maximilian Schell) is a wealthy Jewish businessman living in a magnificent Manhattan apartment. He is haunted by his Jewish trauma from the war. Mossad agents kidnap him to be held for trial in Israel. He is accused of being a Nazi criminal.
Maximilian Schell with his makeup gets a couple of nominations. He is Schell doing some big acting. Maybe it's too big, but it fits the character. This is based on a Robert Shaw play. At times, it does feel like a play with the characters sitting around talking. The transition is not completely seamless. The first half can be a bit slow and the second half can be a bit too much. I like it.
Maximilian Schell with his makeup gets a couple of nominations. He is Schell doing some big acting. Maybe it's too big, but it fits the character. This is based on a Robert Shaw play. At times, it does feel like a play with the characters sitting around talking. The transition is not completely seamless. The first half can be a bit slow and the second half can be a bit too much. I like it.