Change Your Image
malcolmcochran
Reviews
Pandore (2022)
Superbly acted and produced drama, subtle twists,
Shakespeare would have been proud of this. The story line moves across several concepts, nicely up to date. Even the introductory music and cartoons are clever. But it is the way each idea gets examined or tested and, moreover, the timing of each piece of action that is impressive.
The two main characters sink steadily in their respective lives, one obsessively following her instinct and ruining her career in the process; the other toughing out increasing missteps but losing a family.
On top, throughout, there is the fight for freedom for females from male misbehaviour. This is shown in a number of ways throughout the show. And, understated, low-grade political ineptness bordering on corruption.
At the beginning, an offender is freed and one wonders if the victim will be further attacked - move on! Punches are neither pulled nor glorified: a horrific moment is marvellously shown "endlessly" in the rear view mirror of a car; the beautiful assistant in love with the politician describes her possible future.
I do agree with another commentator that the "rescuing a girl in jail" by pressuring a Saudi Prince is totally unbelievable - ridiculous - the writers should have found another way.
El asesino de los caprichos (2019)
Is it meant to be funny?
This film is entirely based on a hunt for a bizarre killer by a misanthropic, self-destructive female cop - who comes to a sticky end. The "plot" is almost meaningless (hence the inverted commas) and I think it allows for the historic nastiness of the Surrealistic era, (not to mention the subjects of the Goya engravings themselves) - but this adds little.
The cops have a security camera image of a van which might be relevant: it is. It has false number plates of course but they trot along and find it, nonetheless. Etc.
The cop's partner is shown to be "good" being a family person with all the time for her children, though also managing to frequent a night club - doubtless more to fill in interest for the viewer than carry the plot along.
By the end, I wasn't clear who the villain's accomplice was but maybe the director wasn't either.
Dirigenten (2018)
Dragged out plot, poor acting
This has a deal of time-wasting, without entertainment, for what is a very meagre plot. There is the occasional piece of good acting but mostly it is self-conscious and stilted. One actor (the boss) who fortunately seldom appears seems to be particularly out of date, more 1960s style than 1990s.
The basic plot is that a Swedish Bank, only interested in making money, has a youngster with a past, tending to go it alone, thus crossing into "Mafia" territory when he (somehow) guesses that a former Soviet land-holding has Oil. Remarkably, there are private Shareholders who have to be persuaded to sell their stock. The usual mayhem follows, including some lucky escapes.
Jordskott (2015)
Magic but too disconnected
It's OK using the magic to permit strange sequences but there really is to much disconnection in action. (OK we need to go down endless stairs yet again; but how come we are at the top of a high rise building?) Its almost as if the writers knew the end but didn't care how they got there.
There simply were bits that were silly even allowing for the idea of creating a bleak fairy tale.
Taking it as it was, the second police chief (minor role) was sadly a poor actor for the part; action was fitted round the (never seen) mystery Muns but such a potentially important character just got "left behind". The last episode of the first series had some terrible acting/directing to tidy it up. So, disappointing if you were paying attention.
Lots of potential. Just tidy it up, please.
Tin Star (2017)
Good idea with bad production and script
Season 1 only:
Tim Roth simply does not look like **any** sort of policeman. He is a good actor but not in this case, slouching around muttering the F word at every turn. In fact most of the audible script is the F word. It's not James Bond yet every woman finds him irresistible: Nuts. The characters mostly whisper hoarsely for effect, sometimes audibly. Also no assistant cop would put up with being punched for nothing, with no apology tho' he finally finds his place. (1 star)
The most convincing character by far is the oil company spy chief (6 star).
The best actor is the company PR woman with her minimalist acting (8 star)
The idea of the tale of a troubled soul is fine but it requires acting the part, not that of a down-and-out with a one word vocabulary, the rest inaudible. Not excused by his "background".