Showing posts with label mel brooks. Show all posts
Showing posts with label mel brooks. 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, 22 July 2022

Critical Week: Mask up

The weather in the UK has broken all records, unbearably hot temperatures for a nation that has so little air conditioning. Thankfully, I was able to escape to cool theatres and cinemas! And the warm weather is continuing, so I'll be on the look out for ways to avoid the sweatiness. Films this past week included the Austen-style period romance Mr Malcolm's List starring Freida Pinto and Sope Dirisu. It's engaging but feels very gimmicky. And then there was Paws of Fury: The Legend of Hank, a surprising remake of Blazing Saddles as an animated kid-friendly romp set in feudal Japan. It's silly fun, perhaps too messy for children, but fans of the original will enjoy the references, including Mel Brooks voicing a new take on his original role.

BEST OUT THIS WEEK:
The Big City • My Old School
Kurt Vonnegut: Unstuck In Time
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A little further afield is the British historical drama Prizefighter, about 1800 boxing champ Jem Belcher. It's simplistic, but is boosted by having Russell Crowe and Ray Winstone in key roles. Katie Holmes writes, directs and stars in the pandemic romance Alone Together, which is warm and engaging, and also predictable. The comedy-drama The Shuroo Retreat, follows a journalist to a wacky self-help weekend, with results that are funny and remarkably complex. The British romantic drama You Are My Sunshine is clearly a labour of love by inexperienced actors and filmmakers. It's awkward but has its moments. And there were two more selections of shorts in the Girls Feels series: Forces of Nature and Skin Deep, taking bold, insightful looks at young women coming of age.

Films to watch this coming week include the animated adventure DC League of Super-Pets, Juliette Binoche in Both Sides of the Blade, Will Poulter in The Score, Billy Porter's comedy-drama Anything's Possible and the horror thriller Hypochondriac.

Saturday, 1 June 2019

Critical Week: I'm tired

I'm on a family weekend in the California desert, and we watched a time-honoured favourite together: Mel Brooks' 1975 classic Blazing Saddles, starring the iconic Madeline Kahn, Gene Wilder, Cleavon Little and Harvey Korman. Its rhythms are rather dated for today's rapid-fire comical style, and a lot of the film is deeply uncorrect politically, but I still adore its absurd sense of humour, raucous pastiche and some unforgettable gags. We also took a trip to the local cinema to see Rocketman, the Elton John biopic that's rendered as a musical fantasy. It's surprisingly dark at times, cleverly using the iconic songs out of sequence to generate strong emotional kicks here and there. And Taron Egerton is superb in the lead role.

There are also other films out this week in the US that I want to see, including Godzilla: King of the Monsters, Brightburn, Ma, plus X-Men Dark Phoenix next week, and perhaps I can catch Gloria Bell out on home entertainment release in North America (it opens in UK cinemas next week). It just depends when I can sneak out to a cinema...

Thursday, 19 October 2017

Critical Week: Sister act

It's been nice to only see three films in the three days after the film festival ended (rather than three or four a day). The main event was an epic press screening of Thor: Ragnarok, which is surprisingly funny all the way through while also being packed with eye-catching energy (especially the scene-stealing Cate Blanchett, above), even if the whole Marvel thing is feeling oddly stale, perhaps because there is no suspense left in the formula. But it's a lot of fun. I also caught up with The Snowman, Michael Fassbender's serial killer thriller based on the Jo Nesbo novel, which has deservedly had terrible reviews across the board. There is a huge range of talent on both side of the cameras, yet the script is a mess. And on the smaller side, I caught the British thriller B&B, which touches on some big topics (mainly bigotry) with strong characters and a genuinely unsettling plot. I also had some time for the theatre...


Young Frankenstein
at the Garrick Theatre
Mel Brooks adapts his own classic film (one of my all-time favourites) into this rather nutty musical, which opened in the West End last week. It's basically the movie with added songs that stretch out some of the more iconic moments, and the characters are all played by a skilled singing-dancing cast exactly like their big screen counterparts. Perhaps the film is so indelible that there's no other way to play these roles - they wouldn't be as funny it they didn't hark back to the great Gene Wilder, Madeleine Kahn, Teri Garr, Cloris Leachman, Marty Feldman, Peter Boyle, Kenneth Mars, Gene Hackman. The material is robust enough to handle this transition - the film's best jokes are still funny on stage. And the emotional kick is here too, even if it's somewhat diluted by the extra razzle dazzle. I'll probably go see it again.


Graeme of Thrones
at the Charing Cross Theatre
The subject up for satire is obvious, but this fringe show takes an amusingly fresh approach that is actually poking fun at fringe shows themselves. The three-person cast is up for quite a lot of riotous silliness, with physical slapstick, wordplay and lots of sight gags. Their rendition of the series' opening titles is impeccably ridiculous. Fans of the TV show will get all of the jokes, which include spoilers right up to the latest season. And there are plenty of gems thrown in all the way through for a wider audience, especially the performance art pieces that come out of nowhere with their delirious absurdity. Some of the humour strains a bit, but most gags hit the target astutely. And by the end, the sloppy "let's put on a show" vibe means that we're rooting for all three of these scruffy actors (plus one game audience member) to claim the Iron Throne.


Coming up this next week, we have Nicolaj Coster-Waldau in Shot Caller, Domhnall Gleeson in Crash Pad, British thriller Palace of Fun and Aussie coming-of-age drama Teenage Kicks.


Sunday, 16 October 2016

LFF 10: Close with a bang

And that's it. The 60th BFI London Film Festival came to a close tonight with the red carpet UK premiere of Ben Wheatley's Free Fire. Most of the cast were on hand (that's Sharlto Copley, Armie Hammer, Michael Smiley, Enzo Cilenti, Jack Reynor and Cillian Murphy, above), and I'm sure the party was a lot of fun. Not that I'd know: in the 19 years I've been covering the LFF I have never been invited to a festival party. But never mind - it's about the films for me, and here are some final highlights from Sunday...

Free Fire
dir Ben Wheatley; with Brie Larson, Sharlto Copley 16/UK ***.
With a bracingly simple premise and a screen full of hilariously quirky characters, Ben Wheatley plays a jazz riff on Tarantino in this riotous shoot-em-up. The plot may be under-defined and only barely developed, but the actors are having so much fun adding various shades of comedy and intensity to their roles that they keep the audience chuckling from start to finish.

Mascots
dir Christopher Guest; with Jane Lynch, Ed Begley Jr 16/US ***.
Using his improvisational mock-doc style, Christopher Guest takes on the world of sports mascotery. As in films like Best in Show and A Mighty Wind, Guest's gifted ensemble provides a constant flow of verbal and visual gags, playing up the wackier aspects of this subculture. There's nothing particularly new here, no innovation to the format, but the movie is consistently hilarious.

The Salesman
dir-scr Asghar Farhadi; with Shahab Hosseini, Taraneh Alidoosti 16/Irn ****
Here's yet another almost overpoweringly perceptive everyday drama from Asghar Farhadi, putting a normal couple through a series of events that push them to the breaking point. The plot centres on unexpected conflicts that provide challenging comments on both morality and forgiveness. This is a subtle, personal film that holds the audience in its grip, unable to work out where it might be going next.

The Last Laugh 
dir Ferne Pearlstein; with Mel Brooks, Sarah Silverman 16/US ****
Like The Aristocrats, this documentary explores the boundaries of what's appropriate in comedy. The specific topic here is when it's OK to crack a joke about a tragic event, specifically something as big and horrific as the Holocaust. What makes the film worth a look is how director Ferne Pearlstein strikes such a remarkable balance between the views of comics and survivors.

And finally, another film I saw in Venice was the Golden Lion winner The Woman Who Left, the riveting, nearly 4-hour drama by Lav Diaz. It was a last-minute addition to the London programme.