Reviews

The difficulty with promising to deliver 6 episodes of on-the-road content when you're contractually obligated to only show a small portion of the actual performance (later sold in podcast form at a premium) and remove all discussion of current projects in development is that you've limited yourself to the utterly inane. Inexplicably in black and white (to give the illusion of timelessness, prestige, or simply provide a more flattering lens for the aging stars), the show actually captures the repetitive tedium of a tour - a seemingly endless cycle of hotels and green rooms, ordering from menus in said rooms, eating in said rooms, driving in buses or vans, and flying in and out of airports, all while barely noticing what city you're in. Aiding in this disorientation is the lack of any on-screen text beside the initial city name. Which hotel are we in? Or are we in the green room now? Is that someone's girlfriend or an assistant? Is that a friend or a producer?

Demystifying 3 of my Hollywood favourites, we see the differing psychological effects of long careers - Hayes (who seems to have worked through his childhood abandonment and neglect in therapy) is grateful for a successful job in Will & Grace and enjoys the jobs which come his way now, despite the exhaustion of his Broadway run; Arnett (who has had extensive and public struggles with sobriety) appears to show hints of poignant reflection reminiscent of his character Bojack Horseman's later seasons while still evincing a GOB-like hyperactive need for attention and laughs; and Bateman (acting since 10 and discussing the pressures this instilled in him) seems to have a neurotic need to be in control of everything, including the optics of himself in this series. We see a single moment of vulnerability from Bateman in the series, when he's (bizarrely enough) filmed urinating - another entry in the frequently occurring "evacuation" storyline"

Is this a true depiction of male friendship? Or is the shallow level of content a result of a mutual agreement to privacy, where certain topics are ok to be jokingly poked at but we don't go any deeper? We don't even find out what Jason Bateman is reading. The cutting room floor must be filled with deeply personal insights into the men and their dynamic. Either that, or a depressingly dull realisation that, despite being entertaining when performing, they offer little in substance as friends or individuals.

Madden and Chopra Jonas each earn two stars for their ability to create excitement, drama and chemistry when required. Tucci adequately phones in his quips. Cinematography and wardrobe rely far too much on breasts. Clumsy exposition like "I need your 19 character password to access the system" (after explaining what the system does to the man who operated it) is common. But when a handsome, high quality actor like Richard Madden is required to say the words "Activate ski boots" with a completely serious face, the show moves from a reality-suspending action spy drama to a cheesy James Bond sketch a la SNL.

This is a beautiful piece of work, but is nothing like the trailer. It's not the sweet, charming, lighthearted tale of a cranky man and his neighbours. It's about a man, mourning his late wife and whose repeated suicide attempts in an effort to join her in their double grave are thwarted by annoying interruptions by neighbours.

It is incredibly triggering for anyone struggling with depression or mental health issues, and their families. The focus on death, depression, mourning, and (most of all) the recurrent, vividly depicted suicide attempts, make it an agonising watch. I recommend any cinema or streaming service include a warning before screening the film, along with helpline information. Any person in an emotionally vulnerable state should avoid watching this movie.

We meet some interesting examples of people who have achieved the kind of fame these guys are searching for, and many more who give great advice for how to achieve it. Sadly, none of these strategies are implemented or contacts utilised to achieve their goal. What results is a plodding cycle of failures accompanied by growing despondent navel gazing about the nature of fame and its price. Factors like charisma (an obvious component in the successful examples) aren't identified or analysed. Frankly, what began as an interesting proposition ended up being two filmmakers repeatedly humiliating their "friend" while he has a mini breakdown.

This is not the kind of suspense thriller you can watch while scrolling Instagram or live tweeting. It's not going to give you jump scares or an adrenaline boost. In publishing terms, this film would be a long form article and not a listicle. For Windfall, you need to dim the lights, settle down with a good drink and relax into the mood set by the visual artistry.

The meditative, long-held establishing shots are not, as others have represented, "boring filler", but both references to film history and aid in giving the film its signature stillness. The camera rarely moves and only does so in response to characters' emotion and heightened activity. This visual flight-fight-freeze combines with themes of hesitation of movement, long-overdue and futile inaction, and dramatic overreaction to present a nuanced study of the human experience. To conclude that this is another "poor little rich girl" story is disingenuous and suggests that the reviewer paid little attention or missed the point of key scenes, eg the CEO's "woe is me" monologue in front of the gardener, the interrelationship dynamics of the couple before they discover the stranger.

The quality cast to build tension and character from the scant script, at times chewing the scenery because there was such little meat in the plot. An elevator pitch probably sounded good - a commentary on truth in modern media through climate change and PR spin with a kidnapping twist. Execution of the idea was clumsy and, at times, nonsensical. Side quests took up screen time but went nowhere meaningful. The final episode of this mediocre show could have almost saved it with a shocking twist or revelation, but alas, we saw it coming. Rushed and poorly concluded plot points leave the viewer dissatisfied (eg how did X know Y? Does X ever go back home?). Ultimately the show suffers poor pacing throughout the season, frontloaded with filler and overwrought tension over minor matters then tied up in a hamfisted bow of unresolved threads.

And not for nothing - Uma Thurman has beautiful, natural hair. Either she has a terrible wig in this show or they need to blacklist the hairstylist for doing her so dirty. There's looking like a frumpy character on purpose, then there's having hair so bad it's distracting. This is the second.

The quality cast do their best to build tension and character from the scant script, at times chewing the scenery because there was such little meat in the plot. An elevator pitch probably sounded good - a commentary on truth in modern media through climate change and PR spin with a kidnapping twist. Execution of the idea was clumsy and, at times, nonsensical. Side quests took up screen time but went nowhere meaningful. The final episode of this mediocre show could have almost saved it with a shocking twist or revelation, but alas, we saw it coming. Rushed and poorly concluded plot points leave the viewer dissatisfied (eg how did X know Y? Does X ever go back home?). Ultimately the show suffers poor pacing throughout the season, frontloaded with filler and overwrought tension over minor matters then tied up in a hamfisted bow of unresolved threads.

***ATTN Ms Milano: You deserve so much better than this. You produced it. Please respect yourself enough to demand higher standards.***

I think the script was written by AI. They must have cast Alyssa Milano's cousin as her love interest because he makes out with her reluctantly, like she's Harvey Weinstein's bellybutton instead of the beautiful goddess she is.

2 stars instead of 1 because at least they weren't actively problematic and the specs (lighting, camera, costume, sets) were fine. There weren't boom mics noticeably falling into shots, audio was consistent, the characters looked appropriate in their scenes... they technically made a competent movie. It was just boring, predictable and awkward.

Lots of fun if you put your brain in neutral for a couple of hours. Not a thinker, but not every movie has to be. It's a bubblegum ice-cream flavoured roller coaster of nonsense and joy. I predict Dude's catchphrase will be quoted often by this generation, as mine quoted the ridiculous but fun "Dude, Where's My Car?"

I'm a fan of the show and enjoyed a lot of S4, but this episode is beyond compromised ethically and morally. The plot depicts 15 & 16 year olds sending nudes as a rite of passage, with the only classmate to not have done so feeling immature as a result. Rather than addressing the very real legal and emotional issues associated with taking and sharing these images (manufacturing of child porn, unwanted school wide distribution of intimate images shared in confidence), the plot follows this character taking photos, sharing them to mixed reviews, and ultimately finding success and increased maturity.

Ultimately it was incredibly disappointing that, in an episode where the writers specifically decided to address this issue, it was in such an irresponsible manner.

This movie has quality comedy actors - John C Reilly, Jason Bateman, and Jenna Fisher - in their prime. So why did they agree to such a dismal script? I'm convinced this was made while the cast was held hostage.

Disjointed and lacking in any form of story arc, a cishet white male expects to be rewarded with a promotion for not resolving the community conflict under his direct jurisdiction. He appears to have the minor revelation that he isn't perfect and may have been at fault for some negative interactions, which is apparently enough for a triumphant finish. Minor characters with unique personality are sidelined in favour of rambling voiceovers and repetitive scenes. Ultimately a massive waste of time and talent.

This episode is so hauntingly spooky that I assumed it first aired at Halloween. The somber strings combine with the whistling wind and creaking wood to evoke an isolated, foreboding and mournful atmosphere, perfectly suited for a grieving man grappling with his inner demons and ghosts. Chronology and reality are fuzzy, much like memories themselves. Ultimately we learn few new facts about Reddington, but gain a much deeper understanding of the man himself.

James Spader's performance is a masterpiece in this episode. His monologue about suicide was a gut-punch when I first watched it, and remains memorable years later.

It's Condor's take on Comedians in Cars Getting Coffee, but no one is funny, there's no coffee, and a whole lot of flashback scenes.

This is the movie equivalent of a car on Pimp My Ride, the show where Xzibit and his team deck out an almost-junkable car with fish tanks, subwoofers, coffee machines and flatscreens. Producers have sunk a whole lot of money and talent into something with fundamental performance problems. If you want to know things about your main characters like "Who is she?" or "What is he hiding?", this isn't the movie for you.

The 5 main actors in this movie are 5 of my all-time favourites, and I can't help but be angry on their behalf because I have a sneaking suspicion they signed up on spec rather than a full, final script.