Reviews

I have to admit that I'm a comedy snob. It takes a lot for me to laugh out loud, but I found myself doing so when watching this, yes, I'm going to say it... delightful comedy. The older man marrying a younger partner scenario isn't new, obviously, but a letter perfect ensemble cast, witty and smart dialogue and endearing characters give this show a real boost. The children and, really all of the characters in this show are portrayed as three dimensional for a change, especially Albert Tsai as Bert. I would have loved to have seen more of these people, but this one exceptional season will have to suffice.

The members of the Cornley dramatic society stage a play of the week for an unsuspecting public, and everything that can go wrong, does. That's the premise of this utterly hilarious comedy that features some truly inspired sight gags and spot on performances from the ensemble cast. In order for this concept to work, the actors must convince you that they are the bumbling rubes they portray on the programme. This do this handily, with split second comedic timing that delights me every time I watch them in action. Almost all of the jokes land, and how often can that be said of a comedy show? Bright and funny.

This humourless, off-putting show has absolutely nothing going for it. It's not funny, clever or witty. The characters are unlikeable , have no endearing qualities, and don't seem likely to acquire any, now or in the future. It's fair to say that this is a problem. If you can't identify with a character for whatever reason, or find the characters damnably annoying (as I do), then you aren't likely to keep watching. I've given this some thought; have I missed something? Has there been a shift in the comedy paradigm that I don't know about? I say this because I've watched almost all of the episodes and Krapopolis remains a leaden, draining, viewing experience. I'd say it belongs on the animation scrap heap along with other duds such as Allan Gregory and The Cleveland Show..

In The Day After, the residents of Lawrence Kansas go about their lives, unaware that a monstrous evil is about to descend upon them "Does anyone know what's going on?" asks one of the characters. They don't, but the audience has an idea, and as the film progresses, the sense of dread increases exponentially. The very banality of the convergent story lines in the film only serves to emphasize the real horror of a nuclear strike. I saw The Day After when it first aired. Watching it again not long ago, I was struck by the unrelenting fear and sadness so effectively captured in the performances of the actors, especially that of Jason Robards. I don't know that I would call The Day After an entertainment, but it remains a relevant and compelling viewing experience.

Not counting What Price Hollywood, this will be the fourth iteration of this creaky story. Like the 1954 and 1976 versions of A Star is Born, this latest film is music based and like the previous two films, this version of the story features a radio friendly hit, in this case, the mawkish "Shallow". Take the music, whatever you think of it, out the mix, so to speak , and you're left with a badly acted movie with eye rolling dialogue and long stretches of inanity. i watched this film at home, luckily, because I ended up fast forwarding through much of it. Shortening it by a half an hour would certainly have helped with the pacing, but in the end, the film is done in by the fact that I just didn't believe the relationship between the two main characters, or that the actors playing them had any chemistry between them.

Madeline L'Engle, author of A Wrinkle in time was asked about the first filmic iteration of her novel, a 2003 made for tv movie. She said she knew it was going to be bad- and that it was. If Madeline were with us today, I'd be willing to bet she'd really dislike this terrible new version of her fantasy. There are a number of reasons for the truly awful viewing experience this film turns out to be, prime among them the fatal miscasting of almost every character in the book. This is especially true of Charles Wallace and Meg, the main protagonists of the story. Important scenes from the book have been omitted and the film's leaden pacing all but obliterates the suspense that made the novel so memorable. What really sinks A Wrinkle in Time is the fact that the book's sense of wonder, it's raison d'etre, if you will, is missing. Instead, we're subjected to overblown special effects sequences, stunt casting and bad acting. The irony is that the 2003 film that Madeline disliked comes closer to the heart of her story than this stinker.

Robert Clarke wrote, directed and stars in this low budget thriller about a scientist who is hideously transformed after exposure to cosmic radiation. The film plays much better than it really ought to for several reasons. There's an atmospheric music score, some very effective photography and subdued performances from the cast. The main impediment is the leaden pacing that persists through much of the film. Still, this has a fairly compelling story to tell, albeit in a very low budget manner.

Irresponsible grandparents move in with their son and his wife and mayhem ensues. A show like this depends on the chemistry of the cast and it becomes very clear early on that there's none to be had. I've always liked Adam Pally, especially in the excellent "Happy Endings". He tries hard here, but makes no headway against the flat performances of the rest of the cast. Couple that with indifferent writing and you have a worthless 30 minutes of TV.

Mike and Rita are the parents of very intelligent children. The children constantly engage in a battle of wits with each other and with their harried mother and father. On the surface, it doesn't sound like a fun filled 30 minute sitcom and, guess what - it's not. The children in this alleged comedy aren't just precocious- they're obnoxious. The parents aren't much better, either. In a recent episode, the mum opines that she can't understand why her son is a bully, until it's pointed out to her that she was a bully as a child. She doesn't seem particularly bothered by this revelation and that, I suspect is why this show is such a miserable viewing experience. No one seems to have any concept of self awareness and bad behaviour is the norm. I gave up on it .

Tom Hydale is a twenty something, live at home fellow who falls for unlucky at love Ellen in a genuinely sweet tempered comedy that makes us root for these underdogs, even as their budding romance is menaced by Ellen's needy roommate Hermione and Tom's eccentric parents Ashley and Lesley. Johnny Sweet, who plays Tom, gives his character a vulnerability that is most appealing. He's constantly being hectored by his less than supportive parents. The parents are played very broadly, to the point that their scenes are almost painful to watch. It's one weak element in an otherwise charming comedy

This ensemble comedy about life in the 1970s has many things going for it; An endearing cast of characters, smart writing and a genuinely funny take on big family dynamics. I suppose the real success of any t v programme lies in its ability to reflect the viewers own experiences. If that's the case, then The Kids are Alright succeeds in spades. I can identify with William's love of books, just as I can appreciate sad sack Eddie and his doe eyed approach to life. The show's very dry wit never belies the obvious love the characters have for each other. It's obvious, also, that the actors are invested in their characters, which undoubtedly is why Mike, Peggy and their brood have found a home on my t v. I look forward to seeing this show each week.

A glorious send up of movie musicals; a witty and insightful dramedy about human relationships; whatever you choose to call it, Crazy Ex-Girlfriend had me from the first episode. I laughed out loud at the funny dialogue and relished the elaborate and often hilarious musical numbers. I got to know and like the characters and invest in their lives. I looked forward to seeing the show eah week and there are precious few programmes that fall into that category. In the end, I'm going to miss Rebecca and all the denizens of West Covina.i hope to see tham again.

The Spy Who Dumped Me is overlong. That's the first thing I must tell you about this slovenly comedy about a woman who discovers that her ex boyfriend is a deep cover spy. The second thing of note is that the always funny Kate McKinnon... isn't . She tries hard, but the the role of the kooky gal pal is beyond redemption, even for her..Others in the cast do their best, and I have to admit that the action sequences are good, but this film is much too long. I also have to take issue with some of the violence. In one sequence, a taxi driver is shot to death while taking the two women someplace. This sequence bothers me because it trivializes death. Bear in mind, this is supposed to be a comedy. We expect scenes like this in an authentic spy caper, but here, the sequence is gratuitous and creepy. That pretty much sums up this film: gratuitous and creepy.

A colege student, haunted by a ufo sighting as a child, believes that a recent event is actually an attempt by aliens to communicate with us. He spends the 80 or so minutes of the films' running time arguing with his friends and professor that he can prove his theory. This, I'm sorry to say, does not make for compelling entertainment. The thin filament of a story is based loosely on a purported UFO sighting at O'Hare Airport in 2006. Reading a summary of that event would be far more stimulating than watching this listless, rambling film that offers nothing of value for viewers. There's simply no drama. UFO is competently made, but that's all.

The Snow Devils is set in the same universe as War of the planets and Wild Wild Planet, but unlike those films, the action takes place largely on Earth. It seems that someone or something is affecting Earth's weather and not in a good way. The intrepid members of the gamma space station set out to find out what's going on. Even for the mid 60s, the special effects in this film are, well, let's say watery. The story is knuckleheaded, but rather fun and there's that killer music score, which probably deserved a better home in another movie. Still, for kids in the 60s, this kind of film was catnip. If you can get in touch with your ten year old self, or are a fan of b movies, you will enjoy 80 or so minutes of silly fun.

I don't like police procedurals. I mean, I like the procedural part of the show, but most times, I dislike the characters who populate these dramas. They tend to be unsympathetic, dispassionate martinets who see the world in black and white and either punch or shoot their way through an episode. I make this admission in order to give weight to my admiration for the Blacklist, which most certainly is a police procedural, but is so much more than that. I'm kept alertly amused by the byzantine twists and turns of the plots. I genuinely like the characters in this programme, even Donald Ressler who comes closest to the stereotypical punch and shoot fellows I mentioned earlier. Of all the characters in the show, he's the one that has evolved the most over the last five years . The real beauty of the show lies in its careful examination of the nature of morality, exemplified, of course in Raymond Reddington. Reddington is a criminal and a killer, but is capable of great kindness. That dichotomy is the meat of the blacklist. How can we empathize with such a man? How, indeed. In this case, his love for Elizabeth Keen and his willingness to give the FBI team information that puts bad people away puts a human face to his frequently monstrous behaviour. In the end, bad guys are caught and we learn a little more about the enduring mystery of Ramond Reddington. This is a gripping, well written, well acted drama that I look forward to seeing each week.

The indefatigable Tom Keen from The Blacklist sets off on new adventures as part of a shadowy organization contracted by the US government that may or may not be the good guys. As with The Blacklist, it's hard to tell who's naughty and nice in this exciting TV show that, while derivative at times, benefits immeasurably from breathless pacing and meticulously plotted stories. At its core, this is a story of love and betrayal, with liberal doses of paranoia thrown in. I wouldn't want to live in Tom Keen's world, but I have to admit that it makes for an entertaining hour of television.

It's chock full of clichés and is a bit stagy at times, but Devil girl from Mars still manages to entertain. The story concerns a group of guests at a remote Scottish inn who witness the landing of a strange unearthly craft and are subsequently held captive by its occupant, the comely Nyah, who is here to take back eligible men to repopulate Mars. Yikes! Needless to say the eligible men want nothing to do with this and plot to prevent her from carrying out her mission. Devil girl from Mars suffers from a number of problems, prime among them the absolutely inept acting of Hugh Mcdermott, who plays the newspaper reporter. He has a key role in the film, which really weakens it dramatically. The other actors can't quite make up for this, although Patricia Laffin is really quite menacing as Nyah. The film has a stagy feel to it, not surprising since it was based, believe it or not on a play. I can just imagine a local theater group trying to mount this! The movie's special effects are the real stars. The spacecraft is really pretty cool, and the robot Chani is a typical 50s conception of an automaton, even if he does resemble a refrigerator. This film belies its bargain basement budget much of the time and can be quite atmospheric with the sound of the wind and the shots of the studio bound Scottish moors. The scene of Nyah entering the drawing room of the inn for the first time still makes me jump.

It's hard to believe that anyone could be as compassionate and tender as the midwives in Call the Midwife, compassion and tenderness being rare qualities in the increasingly disconnected world of the 21st century. I suspect those qualities are a real incentive for even the casual viewer of this series, which depicts the lives of midwives toiling in the east London of the late 50s- early 1960s. The world of almost 60 years ago was a very different one from today, both from a social and technological standpoint. I'm impressed by the attention to detail in the series, which allows viewers to immerse themselves in the stories, which touch upon issues such as abortion and incest, as well as the then real threats of polio and tuberculosis. More recent stories have even addressed the thalidomide tragedy. The acting is, without exception, top notch, especially that of Judy Parfitt as Sister Monica Joan. I tend to be especially critical of shows that rely on lachrymose sentimentality to further the story. Call the Midwife is at times tender, sweet tempered and, well, nice, but never false as it displays the panorama of the human condition.

There is a wonderfully absurd sensibility in Ponpidou, which stars Matt Lucas as the title character, a boorish aristocrat who's seen better days and finds himself living with his man servant and faithful dog in a run down trailer. The programme is virtually dialogue free, and therefore relies on the actors to communicate the story. For that reason, it may not be for everyone, but those willing to give it a try will be delighted by this charming, imaginative comedy. Pompidou, for example, has a pet fly that he keeps in his mother's false teeth container. His dog, actually a full sized puppet, wears a night cap to bed and reads books like Who's afraid of Virginia Woof. Pompidou, despite behaving like a petulant child much of the time, still manages to be endearing; one can't help feel sorry for the poor fellow. This is laugh out loud giddy fun that never talks down to the audience. A family comedy in the truest sense of the word.

Premiering as a summer replacement show on the CBC in 1961, Singalong Jubilee originated at CBHT Halifax and featured a talented ensemble of singers and musicians, among them Catherine McKinnon and, later on, Anne Murray. Bill Langstroth was the genial host and the bill of fare consisted mainly of traditional folk songs.Near the end of the show's life, the repertoire shifted toward modern day pop. Production values were typical of a regional CBC production of the period, which is to say not bad at all. The show may have lacked the slickness of similar American productions of the time, but more than made up for this with impeccable musicianship; evident, also, in the the records the singers made during Jubilee's heyday. Like many Canadian shows of the 1960s, Singalong jubilee reflected the "wide open spaces" mindset that defined a generation of TV viewers.

David Niven and Mitzi Gaynor, two talented actors, are miscast in this stagy comedy about a married couple whose past catches up to them just before they celebrate their wedding anniversary. The addition of a new to the household television set is the catalyst for a series of not terribly funny mishaps and lots of arguing. The dialogue is trite and stilted, especially coming from the mouths of the child actors, although all concerned sound as though they're reading their lines directly from cue cards. Had the film been shot in colour, it might have livened things up, but as it stands,the black and white photography just adds to the dreary proceedings.Happy Anniversary bubbles like flat champagne.

Your enjoyment of this film does not depend largely on your acceptance of the story of a crashed alien spacecraft and a government cover up that just does not seem to want to go away. If you believe the narrative, which is based upon Kevin Randle's book UFO crash at Roswell, you will be amply rewarded by a tale that adheres closely to the story, and which treats the subject matter with respect. Even if you think the whole story is stuff and nonsense, you can still enjoy a well made, well cast film that has plenty of atmosphere and crisp direction. Although made for television, Roswell has above average production values which add greatly to the overall tone of the film. Kyle Mclachlan's performance as the perplexed Marcel is fine and some of the set pieces, especially the discovery of the spacecraft wreckage are truly unnerving.

It would be unfair to compare this latest incarnation of Hawaii 5 O to the original as this is, apparently, a "re imagining " of the sixties classic. Presumably that means that, locations and characters notwithstanding, this show is trying to be something the original was not. I agree with that, because, while the Jack Lord classic was never less than entertaining, this show is anything but. For example, the plots are repetitive and the dialogue is laughably bad. To be fair, that could be said of any number of crime dramas on television today, but what makes Hawaii 5 O an especially gruelling viewing experience is the acting, which ranges from indifferent to just plain bad. The writers and, by extension the actors, have made the characters unlikeable. To me, that's the kiss of death for any series.If you can't invest in the characters, what's the point of watching? What's really surprising is that this show comes from the normally reliable producers of "Lost" and "Fringe", two shows that tower above this junk. White silver sands and palm trees swaying in the breeze can't save this very poor show.