Movie Reviews: Enola Holmes (2020)


Title: Enola Holmes
Release Date: September 23, 2020
Director: Harry Bradbeer
Production Company: Legendary Pictures | PCMA Productions
Summary/Review:

The latest addition to Holmesiana is this movie about Sherlock Holmes’ (Henry Cavill) much younger sister and their mysterious mother (Helena Bonham Carter) who goes missing. It is adapted from the novel The Case of the Missing Marquess by Nancy Springer. Millie Bobbie Brown stars as Enola Holmes bringing the perfect balance of intelligence and with the naivete and vulnerability of youth. Brown frequently breaks the fourth wall to address the camera directly and also improvised a lot of dialogue, both very risky techniques, but they pay off perfectly in this film. The plot deviates considerably from Springer’s novel although it may incorporate plot details from later books in the series that I haven’t read yet. One main criticism of the film is that it goes on a bit long with several seemingly extraneous scenes after the natural denouement. But overall it’s a fun and clever film that can be enjoyed by the whole family.


Rating: ****

TV Review: BoJack Horseman (2020)


Title: BoJack Horseman
Release Dates: 2020
Season: 6b
Number of Episodes: 8
Summary/Review:

BoJack Horseman reaches it’s series finale in a melancholy place.  This is on brand for BoJack Horseman, but it could’ve gone to a much darker place.  After all, BoJack could have killed himself and we came close to seeing that story.  A happy ending would’ve felt artificial, so the middle ground between the extremes that is depicted here is the right decision.

In the first half of season 6, BoJack went to rehab and begins to show steady progress.  In the second half opener, BoJack has settled in to teaching acting at Wesleyan University and is actually doing a good job of it.  But as much as we are pulling for BoJack, he has done some horrible things in his life that he has yet to grapple with.  In fact, his friends spend an episode making a list of the bad things he’s done on a white board.  His culpability in the death of Sarah Lynn ultimately comes out in public and leads him to rock bottom.

The penultimate episode “The View From Halfway Down” is the season’s experimental episode in the form of a near-death experiment where BoJack attends a dinner party with several characters who have already died including his mother, Sarah Lynn, and Herb Kazzaz.  It serves as both a reckoning for BoJack and a culmination of everything that has come before in the the tv series.

BoJack survives, of course, and the final episode ties off some loose ends.  BoJack’s story is clearly not over and he will likely face ups and downs in his future.  But BoJack Horseman, the series, is over because there are no longer any reason for the five main characters to be together.  Each of BoJack’s friends from the past six seasons have moved on, and more or less, are in a better place.  Mr. Peanutbutter continues to have tv success and seems to have overcome some of the neediness that has lead him to serial matrimony.  Todd has created a childcare center and moved into a house of his own with Maude.  Princess Carolyn’s hard work has paid off with success in career and life.  And Diane, while still struggling with depression, becomes a successful young adult book author and finds happiness with Guy.

The payoff of this series rewards having watched all six series and growing to care for the characters.  And now it would seem worthwhile to go back and rewatch the whole thing to catch the throughlines that brought us to this finale, as well as all the background gags.

Related Posts:

Movie Review: See You Yesterday (2019)


Title: See You Yesterday
Release Date: May 17, 2019
Director: Stefon Bristol
Production Company: 40 Acres & A Mule Filmworks
Summary/Review:

C.J. (Eden Duncan-Smith) and Sebastian (Danté Crichlow) are a pair of nerdy teens who develop a device that allows them to jump into wormholes and travel back in time.  Their rather modest goal is to win a prize at a citywide science competition but when the device actually works it opens new possibilities and deadly consequences. The movie draws on classic time travel movies like Back to the Future which it acknowledges with a cameo by Michael J. Fox as C.J. and Sebastian’s teacher (and in a double reference, he’s first seen reading the time travel novel Kindred).

The movie also draws influence from producer Spike Lee’s Do the Right Thing, as well as current events. C.J. lives in an African-American and Afro-Caribbean neighborhood at a time of heightened tension following a police shooting of a community member. The tension is exemplified in a scene where C.J. and her brother Calvin (Brian “Stro” Bradley) can’t even have an argument on a sidewalk without drawing harassment from the police. Another police shooting is a key event as C.J. and Sebastian use their time travel technology to attempt to prevent the killing but each time they go back they inadvertently change events leading to someone else dying.

This is a movie that deserves a happy ending.  Instead we get an ambiguous ending as we see C.J. returning the past once again and running as the screen goes black.  Perhaps her running represents the endless cycle of death she cannot break, perhaps this time she is planning to sacrifice herself to save the lives of others.  Marty McFly was able to change events in the past to save the live of Doc Brown and inadvertently make his family happier and more prosperous.  But there are no happy endings in Black and brown communities where children continue to be shot dead by the police with no consequences.

The movie is very short, which is a strength in tight plotting and scripting, although I felt a longing for more. Sometimes the messaging has an after school special feel to it.  But the acting by Duncan-Smith, Crichlow, and Bradley is strong, and I hope to see more from them in the future.

Rating: ***1/2

TV Review: BoJack Horseman (2019)


Title: BoJack Horseman
Release Dates: 2019
Season: 6a
Number of Episodes: 8
Summary/Review:

BoJack Horseman returns for its final season, this time a split season of 16 episodes.  The first 8 episodes are up on Netflix NOW! with the rest due in January.  Unlike Unbreakable Kimmy Schmidt which did a split final season that made me almost glad to see the series go, BoJack Horseman continues to be some of the most clever and thoughtful television I’ve ever seen.

BoJack continues to reside at an expensive rehab facility, generally progressing well, but anxious about returning to the outside world where he may fall into his old habits.  Mr. Peanutbutter, who inadvertently proposed to Pickles when he was supposed to tell her that he was cheating on her with Diane, finally comes clean. To restore his public persona, Princess Caroline creates a “Sad Dog” meme that makes Mr. Peanutbutter the face of clinical depression (even though he is not actually depressed).  Diane, meanwhile, moves to Chicago where she settles in with a new partner, and attempts to right a book of essays, but suffers severe writer’s block and depression. Princess Caroline struggles with balancing work with raising her prickly baby.  And Todd eventually falls into a job to which he seems a natural, as a nanny for Princess Caroline’s baby.

Some highlights of the season include an episode where guests at a surprise party attempt to hide while Mr. Peanutbutter and Pickles argue.  It’s a silly sitcom staple but it’s done so well over the course of an entire episode.   We also unexpectedly get some of Todd’s backstory when his stepfather arrives.  Then there’s the great moment when Mr. Peanutbutter finally gets his crossover episode with BoJack.

The season is moving toward something that if not a happy ending, then at least something more positive for our characters than we’ve seen before.  Then the devastating last episode hits. Brilliantly, none of the five main characters appear, but the episode is entirely carried by ancillary characters introduced over the years in overlapping stories.  They begin to uncover some of BoJack’s darkest moments we’ve seen over the course of  6 seasons that may completely unravel the unsteady progress he’s made.

Related Posts:

TV Review: Derry Girls (2019)


Title: Derry Girls
Release Date: 2019
Creator and Writer: Lisa McGee
Director:  Michael Lennox
Production Company: Hat Trick Productions
Summary/Review:

The second series of Derry Girls shows no sign of a sophomore slump.  In fact, the show is funnier and more confident than it was in the first series.  Set against the backdrop of the last days of The Troubles in Northern Ireland, Erin, Clare, Michelle, Orla, and James are, well, not ordinary teenagers, but motivated by their daily teenage dilemmas rather than their geopolitical situation.  The adults, primarily Erin and Orla’s parents and grandfather, have a bigger part this season, and get some adventures of their own, which are just as wacky as the kids.  And Sister Michael (Siobhan McSweeney) steals every scene she is in with instantly GIF-able quotes.

The series begins with the Girls enduring excruciating 1990s-style team building exercises with a group of boys from a Protestant school.  In the next episode they take inspiration from a new English teacher,  Ms De Brún, in a parody of Dead Poets Society, complete with the kick the ball/poetry sequence replaced with hitting a ball with a hurley and shouting something that makes you mad (James does not like that people in Derry refer to things as “wee” even when they’re not small).  Then they take a bus trip to Belfast to see a Take That concert even though their parents forbade them over fears of an escaped polar bear.

The fourth episode shows an Irish wedding (complete with a choreographed group dance to “Rock the Boat”) and an Irish wake (with hash scones).  An episode about a 50’s style prom at the school has one of the sweeter moments when James shows up to take Erin after her date stands her up.  And the finale contrasts the excitement of President Bill Clinton and family visiting Derry (complete with actual archival audio) and James preparing to return to England with his mother (and another touching finale).

 

TV Review: Stranger Things (2019)


TitleStranger Things
Release Dates: 2019
Season: 3
Number of Episodes: 8
Summary/Review:

The phrase “trying to catch lightning in a bottle” comes to mind as I ponder the third season of Stranger Things. The first season of the show came out of nowhere with a perfect recipe of writing, acting, setting, mood, and nostalgia. It’s a tricky thing to repeat, and just as the show was diminished some in season 2, it falls a bit further in season 3. By no means am I saying Stranger Things 3 is bad, I care about these characters and enjoy the stories, but feel it fails to live up to the high standards set by season 1.

At the core of Stranger Things is a pastiche to 1980s American culture.  In this season, the story draws upon the renewed Cold War hysteria of Reagan’s America and the trope of the “evil Russian” that found its way into propagandist movies such as Red Dawn, Amerika, Rambo, Top Gun, and The Day After.  There’s no deconstruction of the trope as the show plays it straight depicting the Soviets having the ability to secretly build a massive laboratory under the Starcourt Mall in the heartland of America at a time when the real Soviet Union was crumbling.  In a show with monsters that invade from a decrepit mirror universe, I found this premise to still be too unbelievable.

Much as the 1980s Cold War hysteria was a gritty callback to the Cold War panic of the 1950 and 1960s, the 1980s was a time when classic horror movies were remade with graphic violence and gratuitous gore.  Stranger Things 3 draws a lot of influence from horror movie remakes such as The Thing, The Blob, and Invasion of the Bodysnatchers (which was made in 1978, but I’m including in this list because it is clearly referenced). As a result, this is the goriest and most violent season yet, the sequel that decides to be a full-on action film.  In a great moment of metafiction, Lucas (Caleb McLaughlin) explains his love for New Coke as it being a remake, like The Thing, that he thinks improves upon the original.

The heart of Stranger Things is its characters, and this season’s biggest struggles are with characters being too broadly characterized.  This is true for Billy Hargrove (Dacre Montgomery) who was the creepy, abusive metalhead teen with a traumatic past in season 2, and becomes the creepy, possessed by the Mind Flayer teen with a traumatic past in season 3.  Billy deserved better characterization, especially to make his ultimate heroic moment pay off. Priah Ferguson returns as Lucas’ little sister Erica, bumped up from a bit character to one of the main storylines, and although she’s very funny she’s written entirely as a sassy, precocious kid, a la Arnold from Diff’rent Strokes. The final episode seems to indicate a new role for Erica in season 4, and one hope that they flesh out her character.  And really, there was no reason to bring back the obnoxious Murray (Brett Gelman), who appeared in a couple of episodes in season 2, much less make him a character who seems to get more screen time than the core children.

My biggest disappointment with this series is with the character of Jim Hopper (David Harbour).  He’s always been depicted as a cop who will punch first and ask questions later, but previous seasons revealed that under his gruff exterior is a gentle heart.  It’s really distressing to see Hopper’s anger over El (Millie Bobby Brown) and Mike (Finn Wolfhard) spending too much time together, and worse, threatening Mike.  Later in the season he completely brutalizes the mayor of Hawkins (Cary Elwes cosplaying the mayor from Jaws, right on down to be named “Larry”).  One of the most moving parts of the season is Hopper narrating a letter to El about his feelings, but I’m distraught that this side of Hopper’s character was ignored for the previous 7 episodes.

Like in previous seasons,  large cast is split up into different storylines that come together at the end.  The kids are becoming teenagers, and Hopper is right about Mike and El spending too much time together. El breaks up with Mike and Max (Sadie Sink) breaks up with Lucas, and in some wonderful scenes El and Max become closer friends.  Meanwhile, Will (Noah Schnapp), who lost part of his childhood to the Upside Down, wants to cling to being a kid a bit longer and play D&D.  The teenagers from the earlier series are becoming adults.  Nancy (Natalia Dyer) and Jonathan (Charlie Heaton) attempt to prepare for a career by interning with the local newspaper.  Steve (Joe Keery) works for a paycheck, and maybe to meet girls, at the ice cream shop in the mall alongside an “alternative” girl who he never paid attention to in high school, Robin (Maya Hawke). Robin is the breakout character of the season and seamlessly fits in with existing characters, but I can’t help feeling that she looks like a time traveler from the 1990s (perhaps because Hawke is the daughter of iconic 90s stars Uma Thurman and Ethan Hawke).  And the grown-ups, Hopper and Joyce (Winona Ryder), are concerned for the kids, challenged to move on from previous traumas, and resisting their attraction for one another.

In a town with both a Mind Flayer and evil Russians at work, bad things are going to happen.  El, Max, Mike, Lucas, and Will discover that Billy is possesed and recruiting more people for the Mind Flayer, and attempt to stop him. Nancy and Jonathan’s investigative reporting uncovers strange behavior in rats that leads to even stranger behavior in humans.  The Scoop Troop – Steve and Robin joined by Dustin (Gaten Matarazzo) and Erica – investigate Russian ham radio messages and strange goings-on around the Starcourt Mall.  While the “Evil Russian” plot is ludicrous, these four definitely get the best storyline, dialogue, and character development.  Joyce investigates why magnets are suddenly falling of her refrigerator and convinces a reluctant Hopper to join in. I really like how Ryder plays Joyce as someone who has seen weird shit before, was right about it, and defeated it so now she has a greater confidence and seems more relaxed as she jumps into doing it again.  Along the way they capture a Soviet scientist named Alexei (Alec Utgof as the other breakout character of the season despite speaking no English) and get Murray for translation.

While I’ve expressed my reservations about Stranger Things 3 not living up to its potential, the show clearly attempts and succeeds at trying new things, drawing on new influences, and building on the existing story.  It’s a great bit of mind candy – with both brains and heart – for summer viewing.  I look forward to a fourth season and becoming further acquainted with these characters.

Previous posts:

TV Review: Tales of the City (2019)


Title Tales of the City
Release Dates: 2019
Season: 4
Number of Episodes: 10
Summary/Review:

25 years ago, my sister introduced me to the PBS miniseries Tales of the City, which proved to be an eye-opening experiencing of seeing the intertwined lives of a group of people in San Francisco in the period of Gay Liberation and Sexual Revolution of the 1970s.  A couple more miniseries were made for a cable channel that I never saw, but I did end up reading the Tales of the City books by Armistead Maupin multiple times.  Maupin began Tales of the City as a newspaper column in 1974 and then compiled the stories into five novels through the 1970s and 1980s.  Maupin tied up the series with an original novel in 1989, but a couple of decades later he returned to the characters with three new novels published between 2007 and 2014.

And now Tales of the City returns to tv with a Netflix miniseries that draws on both the recent novels and the  1993 miniseries, with additional new characters and plots.  The story is set in the present day which creates a big cognitive roadblock for me as a Tales of the City fan.  The characters should have aged 40+ years since 1976, but the actors playing them have only aged 25 years and thus much of their backstories don’t add up.  With a large part of the story focusing on generational differences, we have the original Boomer characters and the new Millenial characters, but Generation X is completely erased (except, of course, that Gen X actors are playing the Boomers).

Leaving that aside, this version of Tales of the City viewed on its own is an excellent work of television.  In additon to the generational conflicts, the show focuses on truth, family, forgiveness, and how gentrification disrupts community and history.  LGBTQ actors are cast to play LGBTQ characters and the new cast brings a greater racial diversity.

Olympia Dukakis returns as Anna Madrigal, one of the great characters of literature and film.  Under threat of blackmail, Anna decides to sell her Barbary Lane apartment building.  A flashback episode to 1966 depicts Anna’s arrival in San Francisco and a shocking secret.  Young Anna is portrayed magnificently by Jen Richards, who is actually a transgender woman unlike Dukakis.

Laura Linney returns as Mary Ann Singleton.  Her character returns to San Francisco after 20 years to attend Anna’s 90th birthday party, and decides to stay when she realizes how much she misses it as her home.  Mary Ann dives into solving the mystery of why Anna is selling Barbary Lane. Initially, her character is off-putting, a pushy and privileged white woman from Connecticut, but over the course of the series she softens back into the Mary Ann we loved.

Murray Bartlett joins the cast as Michael “Mouse” Tolliver, and despite being way too young to play Michael, he does a great job inhabiting the character and has great chemistry with the other actors as if he’d been there all along.  Michael is dealing with a much younger boyfriend Ben (inspired by, but different from a character in the books and played by Charlie Barnett), and the return of an old lover who’d abandoned him, Harrison (Matthew Risch playing a character who as nothing in common with Michael’s former book boyfriends, Jon and Thack).

Paul Gross returns as Brian Hawkins, Mary Ann’s ex-husband, who raised his adoptive daughter as a single father and runs a garden nursery with Michael.  He is looking to get back in the dating game but keeps meeting up with women who remind him of Mary Ann.  He also attempts a relationship with his best friend Wren (played by Michelle Buteau, a really great character inspired by a book character of the same name, who should have had a bigger part).

The new, younger characters are also great.  Ellen Page plays Brian’s adoptive daughter Shawna, who is unaware that she was adopted and resents Mary Ann for leaving her behind (this was definitely NOT a plot in the books).  She’s pansexual and works for a radical cooperative burlesque bar that is central to many scenes of the series. And since Page is playing a character who is the biological child of a character played by Parker Posey, I now need to see Page and Posey together in a movie.

Other Barbary Lane residents include transgender man Jake Rodriguez (Garcia) and his partner Margot Park (May Hong).  Jake is realizing he is now attracted to men, while Margot regrets losing her lesbian identity from before Jake’s transition, leading to tension and eventual breakup.  Jake is a character from the newer books but characterized somewhat differently here, including having him be of Latinx heritage, while Margot is a characer new to the miniseries.

The other residents of Barbary Lane are a twin siblings Jennifer (Ashley Park) and Jonathan (Christopher Larkin) who dedicate their lives to performance art in hopes of becoming successful Instagram influencers.  Unfortunately, most of their plot is cliched Millenial sterotypes, although they are good comic relief.  They also are tied in with another returning character, DeDe Halcyon Day (Barbara Garrick), a wealthy socialite delighted to have young people make use of her mansion for their performance parties.

One frustrating element is that when Anna’s blackmailer is revealed, they are portrayed as a cartoon villain, ruining what I thought had been an intersting, nuanced character up that point.  Barring that, Tales of the City is a touching, funny, and thoughtful story and a  worthy addition to the ouevre.

TV Review: Jessica Jones (2019)


Title: Jessica Jones
Release Dates: 2010
Season: 3
Number of Episodes: 13
Summary/Review:

I kind of felt compelled to watch the third and final season of Jessica Jones on Netflix, despite my disappointment in the previous season.  This season starts of strong with some well-paced, character-focused episodes but about a third of the way through the season, the carpet is pulled out, and once again we’re stuck with ludicrous plot twists and lazy characterization.

The season starts with the newly-powered Trish (Rachael Taylor) working on becoming a hero by solving her own cases.  Naturally, Jessica  and Trish begin following the same guy and sooner than you’d expect they begin to work together and sort-of reconcile.  Jessica also has a new “hook-up” (it seems too much to say “romantic interest”) in Erik (Benjamin Walker), a man with the very mild power of getting severe headaches around evil people, a power he uses for blackmailing, but becomes key in helping Jessica and Trish solve cases.

After a few false starts, a big bad is revealed in the form of serial killer Gregory Salinger (Jeremy Bobb).  Salinger is played like every stereotypical psycho killer you’ve ever seen on a detective procedural show, and is fine when his machinations are backdrop to the main characters’ actions, but BORING AS FUCK when he’s on the screen for more than 15 seconds.  So of course, he’s allowed to eat up tons of screen time over the season.  I also don’t understand why Jeri Hogarth (Carrie-Anne Moss) is still in this series because her story of trying to win back an old lover, while well acted, feels like an entirely different tv show has been spliced in.  When she takes on Salinger as a client and decides to take on powered people through the law, it feels like a desperate attempt to shoehorn her character into the story.

But the worst element of this season is that (SPOILER) they decide to make Trish an eviiiiiiiil powered person who just ups and start killing people for no good reason (/SPOILER).  I think what bugs me most about this show is that it comes so close to being a great use of superhero tropes and detective stories as an outlet for exploring deeper human relations and behavior, but they never seem to have the confidence to follow-up on that. Instead the show relies too heavily on ridiculous plot twists and undermining character work for shock value.  Oh well, at least there won’t be any more Jessica Jones to underwhelm me in the future.

Related Posts:

TV Review: Tuca & Bertie (2019)


Title: Tuca & Bertie
Release Dates: 2019
Season: 1
Number of Episodes: 10
Summary/Review:

This new animated comedy from Netflix has a lot in common with one of my favorite shows, BoJack Horseman.  For one thing, Tuca & Bertie‘s creator, Lisa Hanawalt, served as production designer and producer for BoJack Horseman.  For another, Tuca & Bertie are anthropomorphized birds living in a city of anthropomorphized animals and even anthropomorphized plants (they’re so cool!).

Nevertheless, Tuca & Bertie isn’t a spinoff of Bojack, nor is it even the same universe.  Tuca & Bertie has a brighter color pallette and, for lack of a better word, a “bouncier” animation style that frequently veers into surreality.  That is an even more surreal than a world with talking bird people.  Also, BoJack is a show that keeps returning to the inevability of misery and that other people will disappoint you.  Tuca & Bertie is more positive and shares its belief that one can count on the people you love to get you through troubled times.

Despite it’s wacky humor, Tuca & Bertie reveals more serious undertones over the course of the season.  Tuca is an outgoing toucan and free spirit who has no filter between her brain and mouth.  It’s established early in the season that she’s alcoholic and six months into living sober, and confronting supressed anxieties for the first time.  Bertie is a songbird with more open anxiety issues and people pleaser. She struggles at work with men speaking over her and sexual harrassment.  Yet we see her assert herself to get a new position as senior operations analyst at her publishing firm and explore a second career as a baker. The two characters are rightly depicted as a yin-yang late in the season because they complement each other so well.

This is a bright and heartwarming show, and just delightfully weird.  I especially like the music – both the electronic dance background music and the fact that characters narrate their life in song.  If you decide to watch it and it doesn’t work for you at first, give it a few episodes to sink in.

 

Movie Review: The Unicorn Store (2019)


Title:The Unicorn Store
Release Date: April 5, 2019
Director: Brie Larson
Production Company: The District
Summary/Review:

This movie directed by and starring Brie Larson is about a girl named Kit who grows up enjoying princesses, fairies, and rainbows and yearns to be an artists. But when the professor at her art school disapproves her Lisa Frank-style painting, Kit flunks out of college and is forced to move back in with her parents.  Suffering from depression Kit decides that she has to become a responsible adult and takes a temp job.  Some of the funniest scenes are basically Kit cosplaying at adulthood, and finding the people in the office is are also neither mature nor have it all together. (And 20+ years after being a temp myself, I had to laugh that temps are still expected to make lots of photocopies, and are complimented for being good at it).

Kit receives strange invitations which lead her to The Store where The Salesman offers to fulfill her dream of owning a unicorn.  The Salesman is played by Samuel L. Jackson (who had such great chemistry with Larson in Captain Marvel)  who plays against his tough guy persona, but still manages to drop in some profanities.  In order to earn the unicorn, Kit must provide her a home, food, and a loving environment (meaning she has to work out her diffrences with her parents).

Kit takes on the first task by hiring Virgil (Mamoudou Athie) from a local hardware store to build a unicorn house.  Virgil is also in a low-level job for which he feels he has not talent and is uncertain about his future, and it appears he takes on the seemingly absurd task out of curiousity more than anything else.  But Kit and Virgil form a bond and their friendship begins to help them grow and change.  Kit also gets the opportunity from her creepy boss to work on an ad campaign, which gives her a chance to use her artistic talents.

The unicorn plot could’ve gone in some predictable ways.  Either The Saleman could’ve been a scam artist or Kit could’ve been delusional.  But I’m glad that the story went another way entirely. The premise of the movie is basically having the Manic Pixie Dream Girl trope be the main character and then justifying her place as a real person.  After all athletic boys are allowed to become jocks when their men even if they no longer play sports, and the itnerests of nerdy boys are well catered to for adult men, so why not make a space for women who still love unicorns and rainbows.

The cast in this film are great, especially Athie and Joan Cusack and Bradley Whitford as Kit’s parents.  Nevertheless, I felt the humor was just a bit off and the movie was less satisfying than it had the potential to be.

Rating: ***