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Even a pandemic can't excuse such complete rubbish
2 July 2021
In what might be the lamest sci fi action flic of the millennium so far, Chris Pratt works moderately hard to justify his production credit.

From the unbelievably amateurish sound to the top 100 cliches of all time script to the tropes of characterisation and hackneyed female sex parts monster we have all seen it all before.

We do - after a year of lockdown- deserve a lot better than this.
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1917 (2019)
9/10
Immersive and Emotional
18 January 2020
For the first five minutes the intimate camera was slightly discombobulating and I felt uncomfortable.

And then I felt like I was walking by their sides and slightly after that I started crying and didn't really stop until the end of the credits

The fact that my stone hearted partner was also sobbing is a testament to the overwhelming emotional punch of 1917.

A minimalist script and storyline combine with completely immersive cinematography and soundtrack to create a film you will not easily forget.

The detail and love in this film is apparent - It minimises the use of CGI, uses actors who have faces out of old old photos and you can almost hear Grandpa Mendez telling his stories.

Thank you Sam Mendes
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Get Shorty (2017–2019)
9/10
Properly Good TV for Grown Ups
18 January 2020
This show has a cast of interesting characters who drive and energise an amusing if completely unrealistic storyline who are so engaging you can't help but be drawn into their lives.

Acting, script, plot and direction are sophisticated, intelligent and with a good humoured lightness of touch that I for one find irresistible.
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The Gloaming (2020– )
Derivative, Wooden, Amateurish
11 January 2020
Another embarrassing Aussie production trying to copy what everyone else does and ending up with a complete mess.

A clunky script, dull characters and completely derivative story combine to make this show not the Nordic Noir it wants to be but Tassie Try-hard!

It is over filtered and over styled, seemingly focused far more on how it looks (leading to some really bad calls on make up and costume..would Molly McGee really put heavy eyeliner on each day when she can barely get out of bed?)

Even the shots of the the ravishing scenery are somewhat ruined through the endless repetition of a snow capped Mount Wellington.

Yet another missed opportunity.

Stan have done some good Tv (Wolf Creek series one) but recent productions whilst well funded are totally missing the mark.
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The Commons (2019–2020)
1/10
Embarrassingly Inept
28 December 2019
Warning: Spoilers
This had the pedigree to be good - creator, budget, casting...but what happened?

An almost total lack of credibility of character, setting and story line as exemplified by the following highlights..

A completely contrived main plot with different sub plots each episode, each designed to not so subtly message the audience.

A narcissistic self important sentimentalism with - for example - unlikely heroism and selflessness from all the main characters.

Magical scientific breakthroughs and miracle like cures.

An apparently over stressed medical system where one doctor can spend days helping one patient.

A category 6 super storm that never happens and the consequences of which appear to be one fallen tree.

Padding out its lack of any real substance with extended soundtrack sequences, completely unrealistic, gratuitous and repetitious scenes of injections, it doesn't seem to have any courage of its convictions and ends up being an insipid mess.
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The OA (2016–2019)
9/10
This Show is Haunting and Original
22 December 2016
Warning: Spoilers
This series is dividing its audience, perhaps because it is straddling so many genres, or rather refusing to pigeon hole itself into any one.

It only bears resemblance to Stranger Things because of its use of outlier characters if you like, beyond that, there are few similarities - Stranger Things has clearly got a sci-fi bent, The OA is about the boundaries of science and the human mind/experience.

It recalled to my mind, in certain scenes where contracts are made, of the deals made in the fairy tales of my childhood by various princesses. So it could be described an adult fairy tale...but it is much more than that.

Having seen The East, I was aware that Brit Marling and Zal Batmanglij have a lot of courage as film makers to challenge their audience and conventional thinking. Which The OA does, in spades.

It is slow and it is artful and full of beautiful imagery (and colour; look at that purple everywhere). I am only up to E5, but I love the choice of the 5 helpers, the unease between Prairie and her parents, the movements/dance, and even the slightly tacky NDE scenes.

Thoughtful and daring, it packs an emotional, spiritual and artistic punch, in some ways mindful of its audience and the requirement to be commercially successful and in other ways daring that same audience to take an imaginative leap.
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