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Showing posts with label harvey guillen. Show all posts
Showing posts with label harvey guillen. Show all posts
Thursday, 30 January 2025
Critical Week: Dance the night away
Wednesday, 4 October 2023
Screen: October TV Roundup
T H I S I S T H E E N D
Sex Education: series 4
Firing on all cylinders, this show powers into its final season by knowingly shifting the action to a touchy-feely politically correct school where our heroes' shenanigans aren't nearly as revolutionary. Even if plotlines sometimes hiccup, each of the central characters takes their own pointed journey through this new reality, and they bring complexity and engaging nuance to their interaction. Asa Butterfield, Ncuti Gatwa, Emma Mackey, Connor Swindells and Amy Lou Wood have deservedly boosted their stardom over these four seasons. And Gillian Anderson channels Margaret Thatcher from The Crown into her sexologist. There are also several sparky new characters who hint that this show shouldn't stop here. (Netflix)
Things continue to ramp up for Sheila (Rose Byrne) as she becomes a minor TV celebrity with her weekly workout segments, expanding her empire. Yet despite doing some work on herself, she has a new inner demon to contend with in the form of arch-rival Zooey Deschanel, whose actual character is miles away from Sheila's imagined version of her. This kind of writing seems a bit uneven, reusing old ideas rather than finding a fresh new direction, and her big revelation and ultimate grounding isn't particularly convincing. But Byrne is terrific in the central role, a complex character whose messiness makes her sympathetic. Her journey is still compelling to watch, even if we care less and less about the people who are in her orbit. (Apple)
Juice
Written by and starring bright young spark Mawaan Rizwan, this riotous comedy is made to a very high production standard, with often outrageously colourful sets and costumes and cleverly inventive transitions between scenes. It follows the antics of Jamma (Rizwan), who is described by his boyfriend (Russell Tovey) as a tornado of energy. Indeed, the show is sometimes so chaotic that it's a little exhausting, but it's infused with a huge amount of heart thanks to the endearing performances and writing that digs beneath the hyperactive surface. Terrific costars include Jeff Mirza (as Jamma's surly dad) and Rizwan's mother Shahnaz and brother Nabhaan as gloriously heightened versions of themselves. (BBC)
When this series recaptures that sense of kinetic energy and snappy camaraderie that made the Star Wars universe hum to begin with, it's remarkably involving. But like other recent series, there's a tendency to turn ponderous and very dark (both thematically and visually) for no real reason other than to heighten the drama about the Jedi and Sith fighting over control of the galaxy. And there's now a second galaxy to worry about. Alongside Rosario Dawson, the solid cast brings scenes to life, especially the late Ray Stevenson and the voice of David Tenant. The show is very well-made, with lovely offhanded moments scattered all the way through, but the mythology is so dense and intrusive that it's difficult to care. (Disney)
From Australia, this comedy-drama traces the coming-of-age of young artist Adam (Will Hutchins), who has his first sexual experience with cute rugby-playing Josh (Adam Mountain), best friend of his brother Clayton (Steven Christou). So Adam decides to come out, then has to navigate this new reality. This includes going to bars, dating and working out who he is and what he wants. There are the usual sitcom elements, such as Adam's witty interaction with his boss and colleagues, and the show definitely has sex on its mind, but shoots anything sexy with a awkward prudishness (it's not about what's shown, but how). That said, the side roles are enjoyably sparky and the humour is wonderfully dry, and there are sharply pointed issues woven through each 20-minute episode. (Cinephobia)
Only Murders in the Building: series 3
Things ramp up once again, as our trio of sleuths (Steve Martin, Martin Short, Selena Gomez) investigate the messy murder of an actor (Paul Rudd) by someone in the company of his Broadway show, which includes a hilariously gung-ho Meryl Streep. The stakes feel higher this time around, perhaps because the murder happened (twice!) right within their midst, and all of the suspects are good friends and colleagues. This gives a charge of energy to the show, which is further heightened by fabulous guest stars like Andrea Martin and Matthew Broderick. Where the plot goes is enjoyably twisty, packed with witty in-jokes about both the mystery genre and theatre culture. And some great songs too. (Hulu)
Maybe it's just me, but despite the solid cast and high production values, and writers willing to take on big topics, this show is struggling to hold my interest. This season seems designed to merely hit the usual action beats while making references to the original series, rather than allowing thoughtful drama to drive the episodes forward. And the ever-expanding cast means that no one gets enough screen time to become fully engaging. Even in their relatively short scenes, Anson Mount, Rebecca Romijn, Ethan Peck, Christina Chong, et al are riveting. The Lower Decks crossover episode is fabulous, striking the witty tone the whole series needs. And the musical episode was certainly ambitious. (Paramount)
More focussed than the first season, this sequel show carries on both reinventing its characters and refusing to allow them to grow in any meaningful way. It's an odd concoction in which Sarah Jessica Parker tries to play Carrie as if she's still 35, rather than almost 60, which might add a more meaningful kick to everything. Parker, Cynthia Nixon and Kristin Davis don't get a lot to do here, and most of the side roles remain oddly thankless. Cameos from the original series continue to pop up from episode to episode, adding enjoyable colours. So it's always watchable, even if it never quite feels like anything interesting is happening. And like the original series, it never feels remotely believable. (Sky)
Even more tightly written and directed than the first season, this heist thriller series gleefully plays with the narrative, flickering around in time to conceal plot secrets and then reveal them at just the right time to keep the audience on board. Although the villain's motive remains obscure for far too long. The central plotline about Assanne being blackmailed into stealing things is a little tedious, but it plays out with pizzazz. This is hugely entertaining to watch, with a steady stream of satisfying payoffs. Omar Sy is terrific as the charming super-thief at the centre, with his bright smile and lanky swagger. And the supporting cast have had their roles deepened and textured to add even more interest. (Netflix)
Leaning more intently into female power dynamics with the arrival of moneybags boss Elizabeth Perkins, this show continues the now-rising fortunes of a magazine editor (Ophelia Lovibond) who finds success with her publication centred around naked men. As before, the show is a mix of business struggles, personal challenges and flashy shenanigans. And most of the trouble is caused by scruffy publishing genius Doug (Jake Johnson), while more interesting characters played by Oscar Montoya, Jessica Lowe and Idara Victor take pointed side journeys of their own. Snappy pop culture references and an overall sense of narrative momentum keep us watching, even if characters and plotlines are somewhat underwhelming. (Starz)
And we're back with another murder that takes place during an afterparty, this time a wedding. Tiffany Haddish returns to the scene as the no-nonsense detective, and each partygoer's account of the fateful event is rendered in another genre style, including romcom, period drama, noir mystery and a Wes Anderson film. It's also just as messy and pointless as it was the first time around, with the frantic pace and scattershot approach making it difficult to care much about whodunit. That said, it's skilfully well-made, and the cast is always watchable, including returnees Sam Richardson and Zoe Chao, plus Elizabeth Perkins, Jon Cho, Jack Whitehall and Paul Walter Hauser. (Apple)
Even more bonkers than the first season, this show is infused with a hilariously quirky sense of humour as our best pal outcasts, angel Aziraphale (Michael Sheen) and demon Crowley (David Tenant), find themselves in the middle of a supernatural battle when the amnesiac archangel Gabriel (Jon Hamm) turns up. Wacky antics ensue, augmented by an amusing collection of nutty flashbacks scattered throughout eternity. Plus the tremendous chemistry Sheen and Tenant have developed here and elsewhere (see Staged). So even if it all feels faintly pointless, it's a lot of fun to watch inept angels and demons trying to force order into the universe, while Sheen and Tenant remain outside the fray. (BBC)
Making most of the worst mistakes of fantasy TV series (and movies), the dialog in this show has far too much mythology in it, including endless people, place and thing names that are impossible to understand or remember if you haven't read the books. But the production quality is much stronger this season, including more eye-catching special effects, even if many action sequences take place murkily in the night. It remains watchable because the ensemble cast members deliver nicely offhanded performances, let by the reliable Rosamund Pike. So when the show concentrates on their interrelationships, we can get involved in the story and ignore the gibberish. (Prime)
Twisting the story further, these endearingly ridiculous characters enter a new dynamic when Guillermo (Harvey Guillen) breaks the rules to realise his dream of becoming a vampire. This adds an intriguing new mix of tension and emotion to the usual silliness. The storylines are expertly crafted to build amusingly on threads from previous seasons as Guillermo's secret spirals increasingly out of control, although where it ends up feels like a cop-out. Still, these characters seem to have no end of hilarity built into them, as they continually misunderstand even the most basic things while assuming their centuries of existence make them the smartest people in the room. (FX)
Starstruck: series 1-3
Rose Matafeo created and stars in this comedy as Jessie, a seriously disastrous 30-ish woman trying to make sense of her aimless life in London when she falls in love with famous movie star Tom (Nikesh Patel). Their on-off relationship is the spine of this series, and they spend most of the episodes at an awkward distance, grappling with lingering feelings that make it difficult to move on. Jessie is such a relentless self-saboteur that she's not easy to like, but then she only has one proper friend (the fabulous Emma Sidi). She continually stirs up drama and wrecks her connections with friends, then blames them for it, which is exaggerated and not remotely funny. But the dialog crackles with wit and honest emotion. (BBC)
series 1-2
Essentially a more grounded Swedish variation on the sexy Spanish teen soap Elite, this show is also set at a posh private school. Here, 16-year-old Crown Prince Wilhelm (Edvin Ryding) causes all kinds of drama simply by being present. These spotty teens are realistically messy in their romantic entanglements, and there's meaningful commentary about race, class, politics and economics along the way. But of course the most engaging thing here is the romance between Wilhelm and townie Simon (Omar Rudberg), a cutie with the voice of an angel. And Malte Gardinger is particularly good as conflicted villainous senior August. The question is whether they can keep this going as the actors begin to look 30. (Netflix)
I'm not sure why I missed this show, but the presence of Betty Gilpin and Alison Brie made me want to take a look, plus a starry lineup of directors. Strong characters kept me watching over the 30 episodes, even with some rather annoying plot lines (such as the unlikely romance between Brie and her boss Marc Maron). And there's a sense that after the sparky opening set-up season, the writers attempted to drastically slow things down, moving from the creation of a ladies wrestling TV show to a Vegas extravaganza that isn't nearly as interesting. There actually could have been more wrestling on-screen, as it's hilariously choreographed and staged. Getting back to basics might have saved this show. (Netflix)
One Piece
While this has been a big hit, it's difficult to know who it's made for. The humour seems aimed at an audience around the same age as the teen protagonists. But it's also relentlessly dark and violent. This might have worked with half-hour episodes, but at an hour this is simply too much, especially since everything is so hammy. I only made it through two episodes. (Netflix)
The Full Monty
Catching up with the characters from the 1997 movie 25 years later, this show isn't easy to get into. It feels like the first season of a Sheffield-set soap opera about people struggling to survive due to societal issues and bad decisions. The cast is good, but their connections feel contrived, which gives the show no sense of direction. I stuck it out for four episodes. (Hulu)
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GUILTY PLEASURES: Drag Race (UK/Down Under), The Great British Bake Off, Strictly Come Dancing, Selling the OC.
NOW WATCHING: The Continental, Still Up, Gen V, Our Flag Means Death (2), The Morning Show (3), Black Mirror (6).
COMING SOON: Frasier, Lessons in Chemistry, All the Light We Cannot See, Loki (2), Invincible (2), Upload (3), Elite (7).
Previous roundup AUGUST 2023 >
Tuesday, 20 December 2022
Screen: December TV Roundup
O H T H E D R A M A
The White Lotus: series 2
Shifting to Italy with only the awesome Jennifer Coolidge's Tanya as a returning character, writer-director Mike White gets even more ambitious this time around. Enormous themes, ideas and even plot points are hidden in between the dialog and situations, offering constant moments of discovery for the audience. And just enough remains ambiguous to keep our brains spinning. It's still a story about haves and have-nots, but this time the lines are even more fiendishly blurred. And the first-rate cast includes Aubrey Plaza, F Murray Abraham, Theo James, Tom Hollander, Haley Lu Richardson, Michael Imperioli and Will Sharpe. Provocative, unmissable television. (HBO)
It's all change once again for this series, which follows the British royal family into the 1990s with Imelda Staunton now playing Queen Elizabeth. Appropriately, she's a bit more aloof than before, although this makes the show far less engaging. This also leaves her in the background as episodes centre more on Diana (Elizabeth Debicki) and Charles (Dominic West), plus a very odd episode that spirals away to tell the story of Mohamed Al-Fayed (Salim Daw). But the show is still immaculately produced and beautifully acted across the board. And it finds intriguing angles on things like press intrusion and the collapse of the Soviet Union. (Netflix)
Diving even further into darkly disturbing thriller territory, this show is unafraid to send its characters into some properly horrific corners, although it perhaps seems a bit odd that almost all of them are still alive considering the hideous violence all around them. Elisabeth Moss continues to shine as June, and she directed a few belting episodes as well. She's now in exile in Canada with her husband (O-T Fagbenle), but still intricately involved in the goings-on in Gilead, especially with Serena (Yvonne Strahovski) and the now-more-sinister Joseph (Bradley Whitford). In its penultimate season, the stakes are getting higher, and characters continue to get more complicated. So bring it on. (Hulu)
Ambitiously adapting Neil Gaiman's darkly complex comic book, this series is visually stunning, with an excellent ensemble cast circling around a skilfully nuanced Tom Sturridge as Lord Morpheus, the ruler of the Dreaming. The show's structure, which sees Morpheus trying to restore order after he's released from a century of captivity, involves frequent shifts in settings and tone, veering from wacky comedy to grim horror to wrenching drama. This makes it feel uneven at times, but each scene is dazzling. And when you have ace costars like Gwendoline Christie, David Thewlis, Charles Dance, Joely Richardson and John Cameron Mitchell on hand, it's impossible to look away. (Netflix)
Oddly dry and dull, this Star Wars series is a prequel to the 2016 film Rogue One, shifting between bickering officials in the Empire and the bickering rebels who are trying to undermine them. While it's enjoyably layered and intriguing, the narrative is scattered over a wide range of characters, each of whom has something interesting to do. But even with a terrific cast, no one emerges as a person who is terribly engaging. Even Diego Luna, in the pivotal role, feels like a side character. While expertly staged the action sequences seem oddly random, and the plot's spiralling political machinations remain rather clinical. So let's hope for a more personal approach in the second season. (Disney)
I was intrigued because this show was created by Andy Siara (Palm Springs) and has a cool cast that includes William Jackson Harper, Cristin Milioti, Skyler Gisondo and the always fabulous Nick Offerman. A sometimes remarkably dark mix of comedy and fantasy, the story centres around a holiday resort in the Yucatan and two young people who went missing 15 years earlier. Then tantalising clues hint that there's time travel involved. The gradually unfolding mystery is engaging, but it's the edgy humour and continuous stream of quirky characters that keeps us entertained. So there's a slightly bittersweet tone as things begin to come together, because we know this will mean that the gang will break up. Then the conclusion suggests that there's more to come. (Peacock)
This guilty-pleasure drama from Spain continues to get darker, nastier and more convoluted. And also repetitive. After killing off another central character, the teens continue to indulge in drugs and partying while occasionally attending school. This time they're grappling with horrific violence in the form of a vicious public outing, attempted hit-and-run murder, drug-fuelled gang rape and homophobic murder, among other things. Yes, what these kids are dealing with is extremely grim, and the fact that they're all wildly wealthy doesn't help them at all. It leaves us hoping there's a glimmer of hope in the next season. (Netflix)
Only Murders in the Building: series 2
After setting up a new mystery at the end of the first season, this show slides effortlessly into back into its groove, with a confident storytelling approach that's even more engaging. The writing crackles with wit, including continuous references to the difficulty of ramping things up for a second season of the eponymous podcast. All three leads (Steve Martin, Martin Short and Selena Gomez) add amusing wrinkles to their characters as they interact with a collection of properly ridiculous people. In addition, the central mystery is genuinely knotted and intriguing, offering lots of twists, turns and scene-stealing moments for the fabulously hammy cast. (Hulu)
Marvel stays in sitcom mode (see also Ms Marvel) for this refreshingly silly series starring Tatiana Maslany as the cousin of Mark Ruffalo's Hulk, who is inadvertently infected with his blood and develops her own distinct giant green alter-ego. Hilariously, she hates the name "She-Hulk", as she should, and the show centres on her efforts to live a normal life as a lawyer, as if she could. Some of her antics are a bit gimmicky, such as trying to date as either Jennifer or She-Hulk, but the show is grounded by her relationships with friends, family and of course her various super-powered clients (including Tim Roth and Megan Thee Stallion). Maslany has a wonderful offhanded charm in the role, although She-Hulk's digital design is somewhat iffy. (Disney)
An unusually edgy tone makes this comedy-drama remarkably riveting, as it charges through a situation that never quite feels under control. Set in Chicago, it's anchored by another powerful performance by Jeremy Allen White (see also Shameless) as a disgraced world-class chef who returns home to run his family's sandwich shop. Clashes abound with relatives (including the fearlessly abrasive Ebon Moss-Bacharach) and employees, and everywhere else for that matter. Ayo Edebiri shines as a young genius who joins the team. But then the entire cast is strikingly realistic, as is the claustrophobic mayhem in the kitchen. (FX)
After ramping things up in the previous season, it's been fun to watch the heightened craziness boil over in various directions in these episodes. The writers continue to gleefully lampoon a range of societal issues, with added nuttiness as Nandor (Kayvan Novak) is granted a series of wishes by a slippery djinn (Anoop Desai), Guillermo (Harvey Guillen) starts taking a stand for himself, and Colin Robinson (Mark Proksch) is reborn as a bratty kid. These episodes progress at a remarkably brisk pace, throwing all kinds of nuttiness into the mix, with Nandor remarrying his favourite wife (Parisa Fakhri) and Nadja (Nastasia Demetriou) opening a nightclub, both with predictably messy results. (FX)
This brightly inventive comedy further develops its now-and-then plot strands by sending Eugenio Derbez's Maximo to Mexico with his nephew (Raphael Alejandro) while reminiscing about his adventures as a young man (Enrique Arrizon). Much of the story centres around romantic complications this time, including a big Valentine's Day episode that makes particularly good use of the show's candy-hued nostalgic colour palette. A bit of intrigue emerges this season as well. But what sets this show apart is its terrific depth for such comical characters, strongly complex relationships and some deeper themes in subplots involving diversity and gossip. (Apple)
There's a lot to like about this gimmicky comedy, with sees Hannah (Rachel Bloom) set out to revive the vintage sitcom her father (Paul Reiser) turned into a hit a couple of decades ago. As the reuniting original cast members, Keegan-Michael Key, Johnny Knoxville, Judy Greer and Calum Worthy have a lot of fun with their seriously messy characters. The interaction between them is gleefully soapy, making pointed jokes about the television and film industries and the nature of being an actor. And while it leans heavily toward both goofy and sentimental moments, there's enough knowing realism to make it genuinely hilarious. (Hulu)
The title may refer to the emoticon, but it's also indicative of the tone of this Spanish comedy, which keeps the audience happy with its sometimes simplistic romcom tale about two men who seem completely wrong for each other and yet still click. Carlos Cuevas and Miki Esparbé are terrific in the roles, as a sexy bartender and a slightly nerdy architect who know that having a relationship won't work, but of course they can't resist each other. Their circle of friends is unusually sparky for a series like this, taking the show in some refreshingly offbeat directions. And the complexity of the situation gives the comedy an unusually unpredictable tone. (Netflix)
For the fifth season, this sketch show comes back with five episodes that are tightly written and performed to take on specific themes. While poking fun at everyday life, the media and politics, the scenes dig more deeply into the way we react to these things. So everything strikes a nerve, and it's expertly played by Schumer and her terrific ensemble of costars, including Tim Meadows and Cara Delevingne, plus witty music from Ron Weiner. Most impressive is the momentum these episodes build as they go along, almost creating an overall narrative that touches on topics we all grapple with. And Schumer's unapologetic approach is engaging and refreshing. (MTV)
T H A T ' S A L L F O L K S
Kevin Can F**k Himself: series 2
Annie Murphy is back for a second and final season of this offbeat hybrid sitcom/thriller, which feels much darker this time around. Even the studio-audience sequences have a bleak edge to them, as Murphy's Allison continues to try to escape her hellish marriage to the goofball Kevin (Eric Petersen), this time plotting with her pal Patty (Mary Hollis Inboden) to fake her own death. The mix between the bleak comedy and pitch-black drama feels a little forced now, but the point the show is making about male and female perspectives is provocative and important. And where the story goes is genuinely involving, and chilling too. (AMC)
Lively and more than a little absurd, this comedy thriller series concludes with a snaky series of episodes in which our heroines (Christina Applegate and Linda Cardellini) desperately scramble to avoid trouble with the police, even as they become increasingly entangled with them for a variety of random reasons. We also get the return of James Marsden, as the twin brother of the late Steve. And the show's dance with death continues through a cancer diagnosis. But at its heart, this is the story of an unexpected friendship, and Applegate and Cardellini make it hugely enjoyable even when the plot begins to get very silly indeed. (Netflix)
I G I V E U P
From 1989 to 1993, this zippy time-travel series was a guilty pleasure, so it's almost surprising that it took three decades to reboot it. Alas, the writing this time is abysmal, including the feeble attempt to create an ensemble cast and the painfully undercooked adventures as Ben (Raymond Lee) leaps from period to period. Scripts aren't rooted in even the most cursory logic or detail, leaving it impossible to connect with, so I stopped trying. (NBC)
NOW WATCHING: Welcome to Chippendales, Marie-Antoinette, Abbott Elementary (2), His Dark Materials (3), Young Rock (3), The Conners (5).
COMING SOON: That 90s Show, Shrinking, Extrapolations, Ted Lasso (3), Star Trek: Picard (3), The Mandalorian (3).
Previous roundup: AUGUST 2022 >
Thursday, 8 December 2022
Critical Week: All for one and one for all
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| BEST OUT THIS WEEK: Matilda the Musical The Silent Twins The Alleys • Hidden Letters PERHAPS AVOID: The Leech ALL REVIEWS > |
I also managed to catch up with two movies on the flight home. Infinite Storm, directed by Malgorzata Szumowska, stars Naomi Watts, Billy Howle, Denis O'Hare and Parker Sawyers in a contained, often silent story of survival on a snowy mountain. A jaw-dropping true story, it's spectacularly shot to put the audience in the situation with Watts' tenacious rescue worker. Ad The Outfit, directed by Graham Moore, stars Mark Rylance, Zoey Deutch, Johnny Flynn, Dylan O'Brien and the fabulous Nikki Amuka-Bird in a 1950s Chicago-set tale of a suit maker who becomes entangled with feuding mob bosses. The twisty plot is great fun, even if the film is rather uneven.
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