Showing posts with label ali wong. Show all posts
Showing posts with label ali wong. Show all posts

Monday, 24 April 2023

Screen: April TV Roundup

I'm always amazed at how watching an episode or two every now and then adds up so quickly: these are the shows I saw over the past few months in between the movies and stage shows. I use TV as an amuse bouche to reset my brain between work, which is why I won't watch anything based around death (I avoid shows about detectives, doctors, lawyers or cops). I'm also not a huge genre fan, but I do get into some fan series now and then...

W H A T   A   D R A M A

The Mandalorian: series 3
Folding this show's narrative in line with other series is showing some strain, as writers abandon what made it so special to begin with. No longer a series of little adventures, it's now a big, overly complicated mega-plot with random action beats and far too much murky conspiracy-mongering. Plus stunt cameos. There are still small joys to be found, thankfully. And it does eventually bring story threads together in a meaningful, even exciting way. But Disney's cinematic universe-building has snuffed out this show's charm. (Disney). 

Star Trek - Picard: series 3 
This show gets bigger with each season, and this one sends Patrick Stewart's ageing admiral on an epic adventure as he takes on old but newly fearsome foes, all while being a fugitive from Starfleet justice. Over these episodes, he reassembles virtually the entire cast of The Next Generation (as well as the score), which is thrilling even without the enormous action set-pieces they are thrown into. The plots are properly mind-bending, which may make us long for more simplicity. But the show's ambition is impressive and hugely satisfying. (Paramount)

His Dark Materials: series 3
Philip Pullman's trilogy of novels come to their on-screen conclusion with a remarkable faithfulness to the material. Impressively produced to a high standard, this fantastical story reaches a powerful, startling conclusion. The excellent ensemble cast is led by the terrific Dafne Keen and Will Parry, as two young people pulled into a parallel-world adventure. And where it goes is remarkably mature, never speaking down to teens in the audience. It of course helps to have the likes of James McAvoy and Ruth Wilson on board. (BBC)

Welcome to Chippendales
Skilfully written by Robert Siegel, this series centres on the pioneering male-stripping venue and its shocking history of murders and suicides. It boldly takes on the American dream with complex, surprising results. And it features stellar performances from Kumail Nanjiani as businessman-founder Steve Bannerjee, Murray Bartlett as his creative genius cohort Nick Dei Noia and Annaleigh Ashford as Steve's brilliant wife Irene, plus ace support from the likes of Juliette Lewis, Robin de Jesus and Andrew Rannells. The show also cleverly mixes pitch-black elements with 1980s glitter. (Hulu)

Extrapolations
Ambitious and smart, this show challenges the viewer to think about the future as the episodes skip years ahead in time, from the 2030s to 2070. Loose connections along the way are clever, as are observations and conjecture. Although there are some undercooked elements, most notably the tech (clear glass screens look cool but are ludicrously impractical) and fashion. And some of the science sounds a bit iffy. But the stories have a strong kick to them, and the terrific A-list cast finds moving emotions along the way. (Apple)

Pretty Baby:
Brooke Shields
There's an astonishing honesty to this two-part documentary. A model virtually from birth, Shields was sexualised by the media from a very young age, treated as either a slut or a goody-goody, and never allowed to be either a complex person in her own right. She speaks openly throughout, accompanied by interviews with family and friends and an excellent archive of photos and footage. Through all of this, Shields is articulate and never afraid to explore even the darkest chapters of her life, from rape to postpartum depression. Which leads to a powerfully insightful conversation with her daughters. (ABC)

I T ' S   C O M I C A L

Beef
Steven Yeun and Ali Wong star in this pitch-black comedy about two angry people whose road rage incident blossoms into a full-on family feud. As it gets messier and messier, the show is sometimes very hard to watch, but the characters are so vivid that we can't look away. The writers sometimes push things into cartoonish territory, but the terrific cast keeps it grounded, including ace supporting players Joseph Lee, Young Mazino, David Choe and Maria Bello. Watching this is a harrowing experience, but it's packed with insight into human nature. (Netflix)

Shrinking 
Jason Segel brings his hangdog brand of comedy to this smart sitcom about psychologists who take their personal issues to work. As a recent widower with a sparky teen daughter (Lukita Maxwell), Segel is as likeable as ever. And his banter with colleagues Harrison Ford (who's hilarious) and Jessica Williams is a lot of fun. Coming from the team behind Ted Lasso, the tone is warm and gentle, which can leave scenes feeling like they need some edge. But the characters get increasingly endearing over the course of these 10 episodes. So it's good news that more are coming. (Apple)

That 90s Show
Rebooting That 70s Show with a new era of nostalgia, the writers cleverly bring back most of the original cast in cameo appearances, but centre around returning scene-stealers Kurtwood Smith and Debra Jo Rupp, now dealing with the antics of their granddaugher (Callie Haverda), who makes charming idiot friends while visiting for the summer. Most jokes and sight gags are the same, but by shifting everything by two decades there's a whole new perspective, plus an endless supply of things to make fun of. And the new characters are great. (Netflix)

History of the World: Part II 
Mel Brooks' 1981 movie History of the World: Part I finally gets a sequel. And it's as uneven as ever. Once again, all-star cameos populate the sketches, which usually simply take a historical event and overlay it with jokes based on either Jewishness, social media or both. It's not particularly clever, and some sequences are too silly to elicit a laugh, but it does have enough witty moments to make it worth a look. And some recurring performances are memorable, from Wanda Sykes as a sassy Shirley Chisholm to Jay Ellis as a super-cool Jesus. (Disney)

Unstable 
Rob Lowe teams up with his son John Owen Lowe to play, yes, father and son in this over-goofy sitcom set in a biotech company. Written by Lowe Jr, the script cleverly and mercilessly pokes fun at Lowe Sr, who plays a handsome-genius scientist who, working with his nutty scientists, might be able to save the planet from climate change. Each character is so broadly ridiculous that they're not particularly believable, but they're fairly hilarious, and well-played by Sian Clifford, Aaron Branch, Rachel Marsh, Emma Derreira and Frank Gallegos. (Netflix)

Young Rock:
series 3

Dwayne Johnson continues mining his childhood for amusing anecdotes, and it's beginning to look like he will never run out of material. Not only is he a lot of fun in the framing scenes with Randall Park (and Dawnn Lewis in this season), but the actors playing his younger self (Adrian Groulx, Bradley Constant and Uli Latukefu) continue to grow on us. They also continue to grow up, which adds an extra zing to the overall narrative arcs. The little sermons tucked inside each episode are corny, but they add to the charm. (NBC)

Abbott Elementary: series 2
This sitcom is never as sharp or original as it could be, but it's hugely watchable thanks to its smart setting in an underfunded state school populated by teachers who love their jobs. The chemistry between the cast members keeps it engaging, even if the will-they-won't-they situation between Quinta Brunson and Tyler James Williams never quite builds up steam. And some token characters feel oddly underdeveloped. But Janelle James is hilarious as the scene-stealing principal, and Sheryl Lee Ralph is a national treasure. (ABC)

The Conners:
series 5
 
This extremely long-running sitcom, which began as Roseanne in 1988, continues to take on current issues with unapologetic honesty, finding earthy humour in unexpected places while deeply developing each of its lively characters. The ensemble cast is as strong as ever, and it's a rare series that has allowed the shape of the family to grow and change over the years, reflecting real life through an astute and refreshingly amusing perspective. Which allows comments about things like fractured politics and the rising cost of living to have real bite. (ABC)

I   G I V E   U P

Poker Face: This is a very well-made show, with clever writing and a terrific cast made largely of scene-stealing guest stars. But I'm simply not a fan of series that hinge around murders, and barely made it through three episodes. (Peacock)

Marie-Antoinette: Sharply written and produced, this show struggles to feel like anything new amid a sea of more inventive period costume dramas. It has terrific wit, and a solid Euro-cast, but it never quite held my interest. (BBC)

CURRENTLY WATCHING: Mrs Davis, Schmigadoon (2), Ted Lasso (3), Dave (3), Succession (4), The Marvelous Mrs Maisel (5).
COMING SOON: Citadel, Bupkis, White House Plumbers, The Afterparty (2), The Other Two (3).

Previous roundup: DECEMBER 2022 >

Friday, 21 June 2019

Short Cuts: Death, love and rehab

Here are two Netflix films I caught up with this week, plus another film that hasn't had a UK release but is already streaming from the US...

Murder Mystery
dir Kyle Newacheck; scr James Vanderbilt
with Adam Sandler, Jennifer Aniston, Luke Evans, Terence Stamp, Dany Boon,Gemma Arterton, Adeel Akhtar, Luis Gerardo Mendez, David Walliams
19/US Netflix 1h37 **.

Let's be honest: you know you're in trouble when they can't even be bothered to give a movie a title. A bit of breezy entertainment, this energetic comedy is relentlessly dopey, but will just about do the trick when you want no mental stimulation whatsoever. It's about New York cop Nick (Sandler), who takes his frustrated wife Audrey (Aniston) on the European honeymoon he promised her 15 years ago, mainly to cover his continuing failure to pass his detective exam. On the plane she meets Viscount Charles (Evans), who invites them to Monaco for a weekend on a palatial yacht owned by his billionaire Uncle Malcolm (Stamp). The passengers are a who's who of characters from one of Audrey's mystery novels, so when Malcolm is stabbed with the bejewelled family dagger just before signing his new will, Nick steps in to help solve the crime. Of course, he immediately becomes the prime suspect.

The script plays with the stereotypes and genre cliches as the body count grows and the amusingly blustery Inspector Delacroix (Boon) takes the case. From here the writer and director lazily indulge in trite jokes, never creating a coherent plot or characters. Action moments are clumsy, and much of the humour falls flat. But there are witty gags here and there leading to the usual closed-room solution, which of course is followed by twists, turns and some random madcap action amid picturesque scenery. For an Adam Sandler comedy, this means that it's far above average. But by any other measure, this is a stumbling mess of a movie. Even so, it fills the time amiably enough. Aniston invests fully into the role with her enjoyably shrill comical energy. Her chemistry with Sandler even makes him seem almost funny.



Always Be My Maybe
dir Nahnatchka Khan
scr Randall Park, Ali Wong, Michael Golamco
with Ali Wong, Randall Park, James Saito, Michelle Buteau, Vivian Bang, Keanu Reeves, Daniel Dae Kim, Karan Soni, Charlyne Yi, Susan Park
19/US 1h41 ***.

This romantic comedy has a silly tone that makes it likeable, finding realistic edges to the characters that make them deeply engaging. It's thoroughly obvious where the film is heading, but the characters and story are both witty and involving, so it's never easy to predict how any scene is going to unravel. Sasha and Marcus (Wong and Park) are best buddies from childhood, then share a romantic moment in their teens, which leaves their friendship in an awkward place. Now in Los Angeles, Sasha is a celebrity chef with a hot restauranteur fiance (Kim), but he has just taken an extended job in India. So Sasha decides to start over as she goes to San Francisco to open a new branch. She soon runs into Marcus, who's living at home, working with his dad (Saito) and playing in an indie band. He also has a crazy girlfriend, Jenny (Bang). But Sasha and Marcus begin rekindling their friendship, and they know each other too well to let each other get away with any rubbish.

The dialog is snappy, often with an improvisational feel to it. Park and Wong have terrific chemistry, bouncing off each other with jaggedly perfect timing. Marcus' band plays smart-alecky pop-rap novelty songs that you'll want to download immediately. And there are zinger one-liners scattered through the script for each of the side characters ("I'm an LGBTQIA ally, so thank you for your service," says Soni, as Marcus' bandmate, to Buteau, as Sacha's lesbian assistant). Keanu Reeves' sequence, in which he plays himself as Sasha's new boyfriend, is simply hilarious, as he unapologetically pokes fun at the image people have of him. Thankfully, along with some pointed pastiche about new cuisine, the film also dips a little deeper into celebrity culture as the story develops. It's never provocative or surprising, but it's thoroughly enjoyable, keeping the audience laughing and sighing right to the end. And there are moments that make us hungry too.



The Beach Bum
dir-scr Harmony Korine
with Matthew McConaughey, Isla Fisher, Snoop Dogg, Stefania LaVie Owen, Jonah Hill, Zac Efron, Martin Lawrence, Jimmy Buffett
19/US 1h35 **.

Matthew McConaughey is typecast as a loose-living stoner in this comedy by anarchic filmmaker Harmony Korine. He plays Moondog, a worry-free guy in Key West whose life is a series of hedonistic antics. Then he's called back to Miami to help his equally free-spirited wife Minnie (Fisher) with their 22-year-old daughter's (Owen) wedding. "I forgot how rich we were," Moondog says when he returns to their bayside mansion. His literary agent (Hill) berates him for throwing away his talent. So after a run-in with the law, Moondog checks into a year of court-ordered rehab, hoping he'll find the clarity to finally write his book. There he meets Flicker (Efron), a vaper who's equally irresponsible, so they escape and go on a crime spree.

Unsurprisingly, the film looks gorgeous, thanks to Benoit Debie's deep-hued cinematography, and it's accompanied by a superb collection of 1970s songs. Even so, the film feels like it was made in a marijuana-fuelled haze, full of wacky slapstick and broadly overplayed nuttiness, punctuated by McConaughey's piercing cackle. The film is mainly assembled from disconnected scenes of Moondog's aimless carousing and partying. Stinking rich, he hasn't a care in the world, so he never makes much sense. The open relationship between Moondog and Minnie is rather sweet, so a moment when the perpetually inebriated Moondog seems to feel a pang of jealousy feels downright false. Everyone talks about how his genius outweighs his bad behaviour, but there's little evidence of that. His best friends are his wife's lover (a mellow Snoop Dogg) and a disastrous dolphin tour guide (Lawrence). But aside from his general joie de vivre, there's nothing likeable about Moondog. So it's very difficult to celebrate him as a poetic hero rather than just a rich jerk who has had far more luck than he deserves. But then perhaps that's the vaguely political point Korine is making with this unexpectedly toothless romp.