Reviews

As someone who recalls this happening, at the time, I've watched most of the documentaries about this event.

This was easily the most infuriating account I've watched, about this tragedy.

I personally think all forms of religion traffic in snake oil, but whenever you get into the minds of the more cultish sects, I genuinely can't imagine how any reasonable person would go along with such notions.

I'm writing this halfway through episode two. Watching Kathy perform gymnastic level spins to sell Koresh's snake oil was particularly infuriating. Perhaps she confronts her delusions in the final episode, but I'm not hopeful.

On the government side, the choices made to launch a completely bungled raid, was equally infuriating. The lack of cohesion with the negotiator's and the tactical side of law enforcement was, in hindsight, truly maddening.

I also thought there was a missed opportunity to interview the reporter who accidentally tipped off the raid. Would have been interesting to hear how that random mistake affected him in later years.

Overall, this was a very comprehensive account of what happened, back in early '93.

Writing this in 2021, let's address the Elephant in the Room. That same room that Gilbert has surprise non-consensual sex, in.

I'm 45 years old as I write this review. I write this from the perspective of a voyeuristic 8 year old who remembers the trailer, after seeing it at a drive in (I was actually 10 when I first watched this). It was one of many T&A movies that many a pubescent boy spoke of, with glee.

When I was ten, and didn't know anything, I chalked that scene up to pure fantasy. As in, the guy who admires someone from afar, has an opportunity to make their attraction known, by way of disguise.

And while this movie is so much more than that scene, the fact is, it didn't take long before that scene became 'creepy',

So, this isn't an attempt at being 'woke', it's common sense. In hindsight, that scene didn't age well.

But where I do think it succeeds, and is deserving of its lasting legacy, is it truly sparked the fire which brings Nerd Culture into the social vernacular.

I've watched this evolution. This movie (but not the ridiculous sequels) really starts a seismic shift in celebrity and social culture. It picks up in the 90's, and cements itself in the present, but simply put, modern-day "nerd culture" starts with this movie

And that's why it shouldn't be judged, in hindsight, over one absolutely cringe scene.

For people of a certain age (I'm 45 writing this in 2021) this mini-series is a memorable one. Especially if you were raised Roman Catholic, Anglican, or Protestant.

This was an Easter ritual for my family, during the 80's. Having lost both my parents at 15, those childhood memories hold extra weight. And for sure, watching this on prime time TV during the Palm Sunday - Easter Sunday period, represented some fairly wholesome times.

As for the series itself? Like many things in the 70s, some of the best aspects are equally the worst, all these years later. There's a lot of bloat. It definitely relies on the dramatic, compared to any historical accuracy. The musical score is wonderfully over the top. It's definitely geared towards a Western audience.

BUT THAT CAST!?! Even as a kid, I knew there were a ton of heavy hitters in this, alongside some future classics. Case in point, me discovering it was the lovely Ian McShane playing Judas, as I was searching his background on IMDB, because of his role as Al Swearengen.

In hindsight, it's hilarious how many films which featured British actors, were set in places and periods that were decidedly not British.

Also, as a Gen X'r, I remember this golden-era of expansive ensemble casts starring in productions, specifically tailored for prime-time TV. That seemed to end, in the late 80's.

Also, I'm going to take a moment to recognize my childhood crush. Someone who, when I saw her in her only scene, got me hot and bothered for the first time...except I was 8, and didn't know what 'exactly' was happening...and went to bed thinking I had sinned. Thank you Irish Catholicism

But I'm going to shout out Claudia Cardinale. I would gladly say all the prayers, to counteract the impure thoughts she inspired, within me. What a woman.

Even though I've given up 'organized religion', this is still my favourite rendition of the King James Version. As a kid I was transfixed by Powell's portrayal as Jesus. Those stunning blues.

Now, I found out it was an Eyeliner trick. Damn you Hollywood magic!!!

8.5/10.

Three strong episodes into the new season, and I'm still invested. I've enjoyed the way they dealt with last years emotional finale, and I'm enjoying the new army vet character. Also pleasantly surprising, are the quality of actors filling the secondary roles. Although that tends to happen as a show gets renewed and generates some buzz.

As someone who started watching this in 2021, it's been interesting to go back and read reviews and industry buzz/marketing, from 2019-20.

And because I know there's a third season currently airing, I'm curious to see if they can build up a more Law and Order (medical) drama, as opposed to being a cheesier Grey's, which occasionally would become part of the storylines mid-season one

Part of me hopes they don't go the romantic route with Max and Helen. On the other hand, Bloom and her rehab doctor have me and the gf laughing-this time, for the right reasons.

This could've been another great episode. The aging doctor subplot? Bloom vs Adderall? Fantastic stuff. The blind mother? Sweet Mother of God...

What a ridiculous storyline.

Not helping was the choice of actor to portray the mother. Maybe it was her first big role, but her performance was completely and unintentionally comical.

The scene where her bandages get removed?!? My partner and I had to pause it, repeatedly, due to fits of laughter. It was sooooo bad. I'm legit giggling thinking about it, as I type these words, haha.

Bloom locking the door to an emergency room, was a bit much. I'm coming to the show late, but I'm noticing the writing is beginning to choose drama over substance, in some of these storylines.

Don't get me wrong, I know what the show is, and what it's aiming for...still, I'm hoping they don't continue in that direction.

Still trying to process my feelings about this movie. On the one hand, it's been awhile since I've seen an independent movie, like this. In today's era of blockbusters dominating the majority of movies to get made, I was excited to check this out.

Similarly, this really seems like an independent movie from the early 90's-and in a strange way, it dates the movie, in a negative way (for me).

As someone who came of age during that era of independent film, I probably would have loved this, in my Gen X twenties. There are many familiar Gen X messages, that are peppered throughout the plot.

Things like class equality, the evils of capitalism, selling out versus personal success, existential angst, racial stereotypes, etc. I know these issues aren't exclusively the domain of Gen-X, but again, as someone who fondly recalls that era, the presentation of them in this film, is very familiar.

Not to mention the writer/director Boots Riley is a few years older, then me. As I say, this is familiar territory.

But now, in my mid-forties, I noticed many aspects to this story, that felt forced, or trying to be clever in ways that seem a little too on the nose.

I specifically think to the scene where Cassius is made to rap in front of a soulless crowd of minions, despite his insistence that he, in fact, cannot rap. The only reason he's asked to perform, is because he's black, so 'of course' he must know how to rap. After stumbling through some awkward verses, he switches to shouting a series of emphatic n-words, over and over again, and the crowd roars in approval.

Obviously, this is a comment on the minstrel ish many people of colour, especially Black people, have to endure to be accepted/successful by a largely Caucasian power-structure, but the entire scene was full of eye rolls because it was performed in such a lazy manner.

This movie finds itself entering into several of these predictable traps.

The kind of trap a high-school play often falls into. Where it feels like you're speaking truth to power, on stage-but out in the audience, you're slow-clapping at the effort.

Which begs the question, am I out of touch with those youthful ideals, or is this movie-with the benefit of age-just pretentious in its arc? Maybe it's both.

5.5/10