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Entrapped (2022)
Continuing a great drama
Whilst Trapped was one of the best drama series I've ever seen, it left one question unanswered: who killed Lina?
Untrapped, whilst some may feel is slightly rushed - being squeezed into 6 episodes, and the writing isn't up to the supreme example of the original - offers those who loved the characters and premise of its previous incarnation the pleasure of seeing it continue, and I'm hoping it does exactly that.
Without giving away any further spoilers re Lina, those desiring some form of conclusion to this question will no doubt be happy.
Ólafur Darri Ólafsson, Ilmur Kristjánsdóttir and. Björn Hlynur Haraldsson give grand performances, albeit with a slightly less warming script, but considering the rest of Netflix's recent productions, those intent on joining them for another story will not be disappointed.
The English dub was okay, but those remembering the previous two seasons may wish to switch back to subtitles.
I'm looking forward to another season so, please Netflix, don't let me/us down - but perhaps remember the sublime scripting from before?
The Offer (2022)
True brilliance!
With a soundtrack to make anyone air guitar, dance or simply regale in the knowledge that music used to be so much more than just something to listen to, combined with a subject matter which, for anyone over the age of... well... there are no age limits to the appreciation of 'The Godfather,' this series captures everything a drama should.
The acting, writing, editing, production, direction is just superb. This is what everyone in the aforementioned list should aspire to.
Bravo to Paramount. In a time of political correctness, adherence to 'the current thing,' and other streaming services desperate need to comply with what the crazy idiots now in charge of our world deem acceptable, they take the bull by the horns and create a series worthy - if not demanding, due to its pure brilliance - a show everyone needs to see.
10/10, and please continue to break from the norm!
Roswell: The Final Verdict (2021)
When third person evidence is deemed as truthful by AI...
...welcome to Roswell: The Final Verdict.
This is an entertaining series, which gave me so many laughs it deserves at least 1 star for its humour value alone, but the logic involved in an AI (still a disturbing thought amongst anyone with an IQ above 100, yet chased after by billionaires like it's the next evolution of humankind,) defining a 1st person story as truth provides numerous instances of smiles, but then they introduce 3rd person accounts from people who heard someone talking about their experiences at Roswell, which the AI confirms as truth.
I hate using this word, but I can't help myself from typing it: seriously?!
The producers of this show were obviously hoping that the average viewer is borderline idiotic, or worse. The people giving this a score of 10 need to reexamine how they look at the world, simply for the sake of those who surround them.
If you want a laugh, interspersed with disdain at the time you've wasted watching it, give it a go. Otherwise avoid like you would the person handing out cult like literature at your local superstore entrance.
Wisting (2019)
Worthy of watching
This is a good crime thriller/mystery with some really good acting. That said, if you're watching on Sundance Now the appalling English subtitles need to be addressed. Whoever they employed to write them clearly needs a reminder that grammar is just as important as translation. Not knowing Norwegian it is also possible that the translation is as poor as the subtitle composition.
As an example: the use of 'there' when it should have been 'their.'
Sundance Now, please do better considering the money required to watch.
Thank you.
Twin Peaks (2017)
Surreal, sublime and devastating, and a brilliance rare amongst Hollywood's supposed finest
I could write much about this series but, wishing to only inspire people to watch it and create their own thoughts, I will simply say that if Stanley Kubrick was still alive, and David Lynch/Mark Frost were still able to produce/direct a film or series with him, it would be yet another masterpiece.
Kubrick was responsible for many superb films, but he also inspired generations of future directors/producers with his ability to set milestones in science-fiction.
Lynch - and Frost - broke the mold with the original Twin Peaks, inspiring many directors/producers to create the films and television we now get to witness.
To concentrate on Lynch for a moment, he was able to create the impression that the actors weren't up to the job, whilst at the same time, setting the surreal scene for which Twin Peaks is renowned. People who view the original 1989-1991 series as being poorly acted/directed are missing the entire point of the series: that being a vision of something so surreal, it grabs your mind and insists that you keep watching just to satisfy your curiosity, which by the end of this installment, and a venture into 'Fire Walk With Me,' should have been sated.
A visionary achievement, which Kubrick would no doubt appreciate as much as any true fan, or people willing to see things from a different angle.
Twin Peaks: Part 16 (2017)
Pure brilliance!
First and foremost, to all those talking about 'filler episodes,' David Lynch is telling a story. Everything contained in that story has meaning, which is relevant to the final chapter or chapters.
If you've watched Twin Peaks from the start, you should already know this, so please do prospective viewers a favour and quit complaining about integral parts which you may find pointless when, in fact, without them the story would not be complete.
So now that I've said that, I'll offer my adoration to David Lynch and Mark Frost for the excellence portrayed in this episode. This is one of the finest 58 minutes of television ever created.
To fans and lovers of Twin Peaks, prepare to be blown away. To the nay-sayers, or the 'I hate Marmite' people, (you know who I'm referring to,) stop watching; change channel; and bless the internet by abstaining from a review.
10/10. Lynch/Frost gold.
Jaws (1975)
A masterpiece
One could write a review about how much this film made Steven Spielberg a star. One could also write a review as to how it shaped a generation, and future generations into distrusting the water, or ruined the holiday trade. However, this review is about the chemistry Robert Shaw, Roy Scheider and Richard Dreyfuss provided to make this film one of the greatest of all time.
The scene where they're inside the cabin at night, drinking and comparing battle scars, is one of the true examples of cinematic gold. Especially Robert Shaw's monologue concerning his experience on the USS Indianapolis. That being said, Richard Dreyfuss, at that time still a relative newcomer also, in my opinion, helps to create an atmosphere one finds hard to disbelieve isn't real-life. It is one of those scenes which you can watch time and again and never get bored. Absolute perfection.
I truly hope that a production company never tries to remake this classic, as they'd fail miserably. No one could replace Robert Shaw or Roy Scheider, and Richard Dreyfuss would logically refuse taking any part in it.
Jaws is a masterpiece of suspense, character acting, script writing and direction. For those who've never seen it, make sure it's on your bucket list. And even if you've seen it, make sure you watch a 1080p or higher resolution version to make it just the more magical.
Vikings: Valhalla (2022)
This isn't Vikings, but it's still worth watching
I've seen people review this as being historically inaccurate, but so were elements of Vikings. It's difficult to create a truly historically accurate without also creating a drama, of which this is. Nowhere, either on Netflix or IMDb, does it claim to be based on history. People should take this into account when reviewing or rating.
As a drama, the acting is as good as its predecessor; the characters grow on you, and whilst there isn't a 'Travis Fimmel' inspired Ragnar, I'm sure that in time Leif Eriksson will become a worthy comparison. Let's face it, Ivar the boneless was hardly a character to inspire the same adoration, either.
I would have given it an 8/10, but as it stands it deserves a 7/10. I'm hoping that it develops well and earns a better rating.
To the haters (the people who rate it as 1/10,) you clearly don't view this as drama and are only rating it on its historical accuracy. As I've already said, this hasn't been touted as such, so stop with the nonsensical bad ratings.
Battle: Los Angeles (2011)
Entertaining, yet filled with flaws
When 'All clear!' means 'We couldn't be bothered searching as it's only a movie designed for the average don't care recipient!'...
Other than the above negative comment, it's an entertaining 2 hours. Just ignore the obvious flaws, and realise it's made by Hollywierd, so shouldn't be viewed as representing anything near actuality. And yes, it's a sci-fi movie, but actuality still matters.
If they'd kept to standard operating procedures, it would have been a 7/10.
Inventing Anna: Dangerously Close (2022)
Hey Netflix, fire the subtitle creator/proof reader, please.
I would have given this episode 9/10 if it weren't for your shoddy subtitle skills.
At around 38 minutes, when Anna and Todd are debating/arguing about defense tactics, the subtitle reads: 'I would rather go to jail forever then come off like some wannabe.'
Surely the no doubt highly paid subtitle creator knows the difference between then and than? It's very simple English grammar. Whilst this may seem like a petty grievance, I'd expect the creator and proof reader to know the difference.
Is it any wonder that so many English speakers (or should I say writers?) also have no idea that 'then' is an adverb, adjective or noun; whilst 'than' is either a preposition or conjunction, and both have completely different meanings.
Considering the size of Netflix's audience, and the possible influence to learning minds of its subtitles, please make more effort to use correct grammar.
The Walking Dead: Acheron: Part I (2021)
Ah... to the Splinter haters:
Here is your explanation to your so hated episode.
Great episode, great start to the final season, and such a great rebuttal of unthought rebukes.
To the simple-minded haters of 'filler' episodes, take the criticism, swallow the tablet and learn to welcome a story having multiple parts which, without you realising it, contain the contents required for the full story to emerge.
IMDb needs to filter some reviews so that the more story-minded viewers aren't dissuaded from watching the entire series, without skipping episodes.
The Walking Dead: Here's Negan (2021)
When emotion or memory creates feeling
A great episode. It is good to see how Negan became himself. Jeffery Dean Morgan does a superb job of revealing past hurt, which creates the Negan we know today - and to some viewers - the Negan we love.
One thing to note however, is that this episode delivers a greater emotional experience than previous 'story-telling' episodes. And by that I mean the old catch phrase of: everyone loves a person to hate, and the emotions involved in assembling that character are therefore more appreciated.
Negan is someone who creates, for most of us, a love/hate relationship. We hate his previous violence towards beloved characters, but we love the creation of 'I did this, because...'
Great story-telling, great acting, and the end delivers what should be accepted as a possible foregone conclusion to the series.
I just reflect that in previous 'story-telling' episodes the fans have been less appreciative. But surely, as I have pointed out in the aforementioned explanation, people may start to realise the reasons they gave the earlier S10 episodes a bad rating.
You've got to love the bad characters, being a possible, if perhaps unsuitably simple, explanation.
Bravo to TWD team for such a great season finale, and one can only hope for a series ending season being as impressive.
The Walking Dead: Diverged (2021)
One has to question the average age/intelligence of most reviewers...
...either they are all in their early 20's and below - mostly below - or they clearly have no interest in a story, which doesn't revolve around mindless violence.
Kudos to TWD team to produce an episode surrounding two of the major characters, again. Melissa McBride - as childishly described as past her prime by one (or more, I didn't care to read all of them) reviewer is by far one of the most attractive women, in her age group, in the entertainment industry. To describe her as a granny clearly denotes the age of the reviewer, as well as their intelligence. Daryl's character gets further attention, as it should, in order to add to the earlier episode 'Find Me,' to which can also be said about Carol.
Some reviewers seem to need violence and anger to make an episode worth watching. No wonder Hollyweird produces such mind numbing pseudo-entertainment.
A good episode. Granted not the best, by any margin, but a story worthwhile of attention, all the same.
Jigeum uri hakgyoneun (2022)
Another example of brainwashing humanity
I won't write too much about this drama. The acting is decent. The script is OK - if you're watching with English dub, and the direction and editing are worthy of note but, at the end of the day, this is just another example of a production attempting to instill the idea that humans are violent.
Episode 4 spells it out, without trying to hide it.
Humans are inherently bad, so life without a governing body is wrought with danger.
Whatever happened to the idea - possibly born in the 60's, or earlier - that humanity is inherently good?
There are only a very small minority who find satisfaction in causing harm to the rest. Most humans would rather love their neighbour, not hate.
Good idea for a show, if you're not bored with zombies, but we should all long for the day when writers realise that the public are not idiots, who fall for the idea that every human has evil at heart. Or is this just an attempt to make every human evil, whether they intend to be or not?
It isn't just Hollyweird trying this approach, apparently.
Try harder, Korea. You may find social realism - i.e. Actual social realism - more rewarding for the audience.
The Sinner (2017)
True innocence fades through everyone's lives
Having just finished watching the last episode of season 4 - and series finale - I felt it appropriate to comment on the magnificent portrayals of how innocence is something we start out with in life, but rarely get to keep as we grow older.
If this show has done nothing else it has encapsulated the meaning of life, in all of its many shades, through its many characters. Of course, it has done so much more than this, but one is left with the overriding sense that true innocence is something experienced at birth, but which fades into memories as life meanders its way from start to finish.
Bill Pullman deserves a special nod for his ability to say so much, without using his voice. Something only the best of actors are able to do, without over-acting.
The rest of the ensemble do a superb job of creating the aforementioned sense of innocence lost, and all bar season 3 deserve nods, themselves. That being said, even season 3 had its moments of excellence, just far too few amongst the rest.
I'm very glad season 4 brought the calibre back to its otherwise excellent standard, and feel dismayed that the network decided to drop original scripted programming. Which group of boardroom members thought this was a good idea?
Great show, great acting, great scripting and great production values. It will be missed.
Fahrenheit 11/9 (2018)
Welcome to a broken political system...
...combined with a broken, supposedly 'free' media empire, desperate to tell you that left is best or right is righteous, whilst ignoring that left actually = right, and the entire system is solely there to deny the voter the rights for which they supposedly - and I use the word supposedly in a derogatory manner - spend their entire lives and investment believing the very political system is decided on which party they vote for.
Michael Moore has devoted his career to the left. I live in England, and so 'enjoy' the benefits of an apparent socialist ideal that healthcare should be free and politics, in its many forms, should be devoted to the individual, rather than the state. This, in itself, is an incomplete and therefore wrong conclusion about the way England - and by proxy Europe - uses its, on the surface, 'it's better here' mantra to convince - or at least try to - idea that we have the best option for a form of government.
Politics, by its very existence and nature, is not this simple. Left most definitely does not equal equality for all. By the same measure, right does not either. Granted the reasons involved are, on the surface, different, but at the core of both ideologies they are the same: Power to the lucky few and servitude to the rest.
Mr. Moore deftly avoids this subject, but just because he does it doesn't mean the viewer should do the same.
Watch this movie, please, but do yourself the justice of thinking about the reasons he made this movie, other than the obvious agreement with what he says, and so do both yourself, and the rest of the voting public the favour of realising that it doesn't matter who you vote for... the result will be the same, ad infinitum.
Yellowstone: Resurrection Day (2019)
9.4 rating...
...simply proves most raters desire for violence and debauchery before they rate an episode with a decent score.
Like anyone who sees through the desire to shock us with seemingly unlimited - and unpunished - violence, whilst this episode delves further into the overall make-up of the series, does it really deserve 9.4? Perhaps 8, simply for the acting potential, would serve to give other review readers a better indication of how good this episode is.
Unfortunately, and gratingly, in modern times if a show doesn't provide gratuitous violence, or let's face it, pointless sex scenes, it doesn't seem to warrant raters enthusiasms.
The days of rating episodes - or series - with their just deservers for writing, acting, cinematography, production values and direction seem long since departed. Much to the denigration of entertainment as a whole.
If only Hollywood - amongst the rest - would start treating its audience (most of it at least) as intelligent, reasoning people with a desire for meaningful productions, the situation would be resolved, and leave the unnecessary, mindless click-bait to those who gain enjoyment from witnessing the corruption of the human soul in its most undesirable form.
Ojing-eo geim (2021)
Oh the moral dilemmas!
With nods to 2001: A Space Odyssey (Blue Danube score and depth of meaning regarding some of the eliminations) and Battle Royale (an all out fight for survival), whilst some of the acting leaves much to be desired, the concept and plot raises this to be an addictive, binge worthy series.
Granted I watched this with the English dubbing, which may lose some of the intended dialogue, but the main characters give a boost to the otherwise mediocre acting of some of the other members of the cast.
The story - albeit an old one of man versus man in a primordial sense - is engaging and keeps you interested. The side story of the masked individuals is perhaps an unnecessary addition, and I found it disengaging from the main plot. That being said, if you ignore it and focus on the primary plot, it can be forgiven.
Overall 8/10. Watch it and enjoy!
The Thing (1982)
When the critics' get it wrong...
Everything about this movie marks it as one of the greatest sci-fi/horror films of all time. The score (Ennio Morricone - as perfect as ever), the cinematography, the story, the acting, all virtually perfect. It's a marvel of 1980's cinema, to say the least. Has anything created since been as captivating and, to the true fans, as exciting to watch again, and again?
Just when Alien (1979) made you think that nothing could possibly compare, along comes John Carpenter to add another classic film to the repertoire of absolute must-see, again and again, movies.
Pure electric cinema, which will enthrall its viewers each time they watch it.
And without wishing to repeat myself, the score! Oh my gawd! Just pure brilliance. Every note, every sound just adds to the overwhelming foreboding feeling that something nasty is going to happen, and it's going to be one of the most memorable pieces of cinema you will ever see.
I originally rated this as 9/10, but now watching it many years later, it's got to be a 10/10.
Unforgotten (2015)
Why has this series been overlooked?!
Having just watched the final episode of season 4, I find myself asking why this series has not received more praise from the critics and award providers - most notably BAFTA - for its breathtaking acting, writing, direction and production values. Does it not advance the small screen's appeal? Does it not produce the audiences emotional involvement required to signify it as being a work of art?
The effort and devotion to its viewers appetite is without doubt tireless and driven by a love and need to provide exceptional entertainment, through intricate plots, sublime acting and a production talent rarely seen on British television.
This is a drama which both pulls you in and doesn't ruin itself by offering titillating possibilities. It is something you just have to watch till the very end to garner the plots ending, and satisfy the craving need you undoubtedly feel to discover the answer.
BAFTA be shamed. You clearly don't have the capacity - or need/want - to recognise true artistic beauty.
10/10.
Peterloo (2018)
Politics, politics, politics...
Mike Leigh does it again. This time on an historical scale, rather than a social one. I am a Mike Leigh fan, in both his writing and direction, so enjoyed this film - having now watched it twice.
That being said, having browsed the other reviews of this title, I felt it poignant to add that the cinema world has been repleat with political statements since its beginning. Sometimes it is used as propaganda; sometimes as anti-propaganda. But it is always used to influence the person watching it, as artists' have done for as long as art has existed.
Not being a socialist, communist, capitalist or any other form of political control assigned a name to give it meaning, I care not for previous reviewers political persuasion arguments as to whether this movie is worthy of your viewing. It is a movie, it is also an attempt at portraying an historical event. Treat it as such and you will either like it or not.
Is Mike Leigh a socialist? Frankly I don't care. If he is, does it influence my decision as to whether I like his films or not? No. Anyone who does clearly cares more for their own political point-of-view being the most popular and accepted one, rather than a film - or director's - ability to make pieces of art worthy of being watched.
Watch it and make up your own mind as to whether you appreciate it. Stop relying on other people's views in order to give something a watch.
Spotlight (2015)
Religion is control, in many forms
This is a superb movie.
The acting, screenplay, cinematography, direction are all examples of how a movie should be. The subject matter is, for some people, disturbing, yet even for the most devote Catholic, willing to live with and almost accept the religions dirtier side, this movie successfully portrays the RC's innate ability to sweep the sins of its own priests under the carpet; that is until the carpet gets removed and the delicate nature of its hidden secrets become revealed.
If you're still a devout Catholic after watching this movie, one can only bow to your ability to surrender all logical thought to those who portray themselves as being your only route for acceptance - into whichever after-life you wish to believe in.
And for anyone wondering why this movie did not receive greater praise (no pun intended) from the esteemed members of the Academy Awards, considering the Catholic religions ties with Hollywood - albeit mainly owned by members of a different faith - one can only surmise that the most occurrent faith in the country of its origin is Catholic.
9/10.
Gifted (2017)
It poses one of the difficult philosophical conundrums of modern times
Believing that the institutions and Government of your country are corrupt and/or not designed for the best interests of its people is one of the most poignant arguments of our time.
This film, without clinging to this premise or delving, too far, into the reasons involved, asks that very question of its audience, in the case of a gifted child, currently being parented by her Mother's Brother. The philosophical questions this film provides its viewers are something any sane and intelligent parent should contemplate.
How do you react to a gifted child when all you want for them is a normal life? What is a normal life? Do you as a parent - or guardian - have the right to deny a life, in whatever form it takes?
There are many more philosophical questions surrounding this film. But the weight of such questions are difficult to process, so I truly have sympathy for people who find themselves in this situation.
A great film, with realistic acting, in a situation many of us have no concept of understanding.
8/10. It would have been 9/10 if they had really explored the reasons why Frank feels the way he does.
Mr. Nobody (2009)
Fed up with Hollyweird telling you how to be you?
This is a beautiful example of a film which strives to tell Hollyweird what to go do with itself.
Anyone who thinks this film is either pretentious or pointless clearly likes to have Hollyweird telling them how to think, what clothes to wear, which friends to have, what to eat, drink, and how to raise a family.
Culturally we need this type of film to provide perspective, influence future film-makers and break the mold. It has some great companions: 2001 A Space Odyssey, Interstellar and, without wishing to use a cliché, The Matrix.
To the nay-sayers: you obviously enjoy being told how to be you. I suggest you stop telling the critical-thinking public how to conform and contemplate why you think the way you do, with the hopeful result being that you break-free of the mindless acquiescence you seem to be content with.
Bodyguard (2018)
More propaganda...
So, spoilers aside...
It's a great drama. Acting, writing, direction and production all deserve a nod, but depicting that a conspiracy at the highest level ends in the DCI - or DCSI - being the lead accomplice for the various horrific actions of violence & deception, is a farce.
This drama observes reality as much as eating a burger equals a heart attack.
Typical BBC propaganda. Described as 'it must have been the terrorist (or Oligarch type evil) who did it' without any connection to the Govt. Or its many agencies of misdeed or misinformation being responsible, is just playing to the sleeping or misguided audience it's aimed at.
Great drama. But do the producers' live in a world where their audience is so infatuated with the deceptions they're given that they're incapable of deducing truth?
8/10 (would have been higher without the propaganda.)