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Reviews
Moonbase 8 (2020)
a nice warm cup of dark character comedy and subtle dry wit. definitely a promising start.
What we have here is a different kind of comedy. close-minded folks are meant to be tossed to the wayside on this one. as my title implies, this is an amalgamation of both dark and dry humor more like a Brit comedy than an American one. Moonbase 8 tells the story of three very broken men, each beaten down by life in their own way, desperately clinging on to a NASA test progam with the promise that this will lead to them getting to go to the moon. however, these men have no scientific interest in running an actual base on the moon, rather this journey to the moon becomes a twisted pipe dream that each man believes will magically solve all their life's problems.
Tim Heidecker's Rook is rather meek and well-mannered christian man with an ungodly amount of children being taken care of back home by his wife and pastor, the latter two having convinced him that its his calling to spread their god's word to the cosmos. this is implied to be a front for them to make a cuckold of Rook, especially seeing as he is so childlike and naive and would never dare to think such things of the two biggest figures in his life.
then there's Fred Armisen's Skip who is arguably both the darkest and most interesting character of the three. his father was an instrumental part in the rise of NASA and Skip is thusly left with some big shoes to fill. as the show goes on we begin to realize the full toll his father's shadow has taken on him, revealing a deeply demented side to the intellectual doctor. He's often a voice of reason, though his aforementioned demented nature is a part of what keeps him from greatness and instead tethered to these two mediocre wannabe spacemen.
and lastly is John C. Reily's Cap. Caputo is your typical loud, brash narcissist whose delusional ego drives him from one bad situation to the next. while being the de facto leader of the crew, its Cap who has possibly the least relevant reasons for going to space seeing as he is merely looking to go to the moon to leave behind a hellish life in Hawaii where his small business tanked and his family gave up on him. He seems to think of himself and the crew as existing in a movie like The Right Stuff or Apollo 13. He often concots hare brained and desperate schemes in an attempt to rocket them to success but these plans typically end in disaster or unforseen circumstances. he often bumps heads with the more logic-based Skip but has a real bond with the gullible Rook who sees him as a mentor and friend.
these characterizations alone are what makes this show such a joy to watch and while the show mostly relies on this dynamic for equal parts humanist drama and blink-and-you'll-miss-it bits of belly-laugh-inducing dialogue, there is the occasional situational goof you would see in a major network comedy, just done with a premium television sheen and a much wittier writer's room kick.
what it seems like most are getting confused or caught up in is this association that the character's being mundane people thus makes the show mundane but they seem to be missing that its that very mundanity that leads into the observant commentary on the human condition. this is explored in many different facets throughout the series but i think is most enjoyable in the episode where they meet a crew of young and intelligent Space X scientists. i'll keep from spoiling the details. but its that attention to detail on the writing that makes a lot of these user reviews claiming to know what good comedy writing is so out of touch it's severely cringe-inducing. maybe its not everyone's cup of tea but that doesnt make it bad writing. don't miss out on this gem over some petulant brats stuck on office re-runs like they're mainlining opioids. at 6 episodes, 30mins a pop, this is easy, breezy, comfy watching for comedy nerds and open-minded folks alike.
i'm really hoping for a season 2, especially based on the finale which ends on quite the interesting twist that could make a second outing something even better and wider in scope. this is a great concept that is practically begging to be mined for more shenanigans and onion-peeling these three delusional wannabe astronauts. i'm personally very excited to see how much further they can unravel these broken men.
Delocated (2009)
deserves to be considered one of the greatest tv comedies
In an alternate universe, this would be a 7 season NBC classic. in THIS universe, it should be talked about right up there with classics like The Office, Arrested Development, and any other beloved network comedy. however i do understand how a show with a faceless protagonist might throw off the boomer crowd, thus its lumped in with more artistic and surrealist programming on adult swim which led to mixed reception.
regadless of its reception, this show is consistently a hoot and a half. Jon Glaser's semi-anonymous "Jon" is possibly one of the most hysterical protagonists second only to the ever-obnoxious Michael Scott. he is rude, inappropriate, egotistical, delusional, and tries the patience of anyone willing to spend more than two seconds with him. if thats not the makings of a hysterical protagonist, i don't know what is.
the subplot of the Russian mafia eternally tracking him down, while significantly less developed, still manages to keep the show interesting with Eugene of Bob's Burgers fame bringing non-stop laughs in Season One with his assassin-turned-comedian but his brother, the cold-blooded killer really begins to shake up the narrative from Season Two until its closing. he manages to be both genuinely terrifying and absurdly hilarious which makes him a compelling foil to Jon.
the biggest hook of this show though, is always Jon. those familiar with Parks and Recreation's Jeremy Jam will find Jon as the proto-Jam. as funny as many of the situations and other characters are, its often Jon delivering absurd one-liners and catchphrases that will leave you in stitches. i particularly love the Dog Mayor episode where Jon becomes psychedelically entranced by sub sandwiches and waxes spiritual poetry about its ingredients.
its a shame that this only ran for 3 seasons and a finale, though what we have is endlessly watchable and quotable. every episode is available for free on the adult swim app, so theres really no excuse to miss this underappreciated masterpiece of comedy tv. its surely worthy of a full ten star rating.
Documentary Now! (2015)
deeply niche, exceedingly masterful; a wet dream for cinephiles and comedy writer nerds alike
I will admit to not understanding this show for years. i, as i'm sure is also the case with many others, just found myself confused while watching season one as it premiered. i found myself waiting for some overt goof or joke, when i finally realized this material is far more akin to the work of Andy Kaufman as opposed to the more straightforward vibe of SNL. its less about building to a punchline and moreso about absolutely commiting to the bit.
watching any interview or conversation that includes either Seth Meyers, Fred Armisen, or Bill Hader, it becomes clear that they are simply comedy nerds of the highest order. Armisen has the deadpan commitment needed to sell these jokes, no matter how subdued. Hader has the imagination to turn a simple gag into a realized world. and Meyers has the deep appreciation of the blood, sweat, and tears that go into comedy writing that makes him see the deep brilliance of a joke that would go over the heads of the general public. give these three the keys to a show and you get a truly unique experience, unlike anything else on television.
besides the sheer commitment to a joke, the other standout of this show is the production's borderline obsessive attention to detail when it comes to recreating the documentaries being spoofed. one of the biggest joys of this show is seeing how effortlessly their crew recreates the style and era of each film being parodied or satirized. Armisen and Hader's long-practiced talent of impersonating is also used to great effect for this same purpose. i struggle to name any other actors who can make at least two seasons worth of material where they both embody entirely different characters that works just as well.
given the hyper-focused lens of both comedy and film being put on display here, its definitely not a show for everyone. but if you can open your mind to something completely different, i think you'll find it hard not to enjoy. with the right mindset, its like a warm cup of tea. cozy, comforting, and tranquil to just sit back and take in.
The Mountain (2018)
the insurmountable nature of existence
What is a mountain? why are humans drawn to them? what do they mean to us?
a mountain has no discernable structure. it knows no order. it is rough, uneven, daunting.
the mountain is a representation of the human psyche. we are not born with a gender, gender was developed by our society. gender is us as humans trying to scale the mountain instead of acknowledging that we and the mountain are one in the same. this is the journey Andy is on during this film. a journey of understanding
when talking about the unspeakable illness that has its hold on Susan and her father, Susan's mother says "i have it too, but i have the guts to live with it in the world. and her father has no guts.". therein lies the message of the film. we see Dr. Fiennes go from hospital to hospital, lobotomizing women that are clearly just depressed. they admit that they don't have the courage to grasp onto the pain of existence and society makes them pay the price for it. yet we quickly see that Dr. Fiennes can't cope with the pain of existence either seeing as he depends on booze. Susan's father is far worse, drinking near constantly and leading a spiritual group with complete manic nonsense. both Dr. Fiennes and Susan's father represent a gender disparity in America that we are still recovering from and undoing to this day.
we can tell from the first few minutes that Andy is horribly depressed. yet his depression makes him invisible to a society that doesnt recognize being in touch with the overwhelming dread of existence. it is Dr. Fiennes who sees him hurting and through his own guilt, brings Andy with him. though we soon understand this is simply for Dr. Fiennes to justify his own existence, being a master of a dying "art".
this is a film that speaks to so many things by commenting on where we are now through the lens of the past. its like the inverse of classic science-fiction. and i think its both sad and hilariously ironic that a film about how the idea of outsiders and insiders is merely a myth upheld by society, which refuses to hold the audiences hand and allows the individual to define the story for themselves, is being review bombed. this is a film where the themes are based in projection. if you got nothing out of it, it is because thats what you put into it. you're not mad at the film, you're mad at yourself and you're blaming the film for it because thats easier than looking in. congrats, you're basically Dr. Fiennes. a sad existence in denial of itself.
i understand that this is not a film for everyone but just because you don't appreciate it doesn't make it a horrible film. the same way liking The Room doesnt make it a good film. don't complain about studios only funding mindless garbage tailor made to pander to Chinese audiences when an original and artistic story makes you petulant and upset.
Barry: berkman > block (2019)
the future is genreless
This finale is proof that genre is a thing of the past. Hbo is on fire right now with both Succession and The Righteous Gemstones walking the line between comedy both dark and absurdist, as well as masterful moments of action, suspense, and drama.
However, none of these shows even come close to Barry. And while ronny/lily episode showed how comedy and action go hand in hand, this episode is light on comedy and goes head first into drama, suspense, and action. Any other comedy this wouldnt really work, it would be going too far in on the bit, but because season one already established this sort of venn diagram of tone an episode like this works.
And it works extremely well. Its no telling that Hader has spent his career dreaming of directing because this finale displays masterful style and control. Even a choice so subtle as removing the title music makes all the difference for the atmosphere of the episode. Barry has done a good job of making its moments of suspense and anxiety really hit you in the gut, but this episode takes that to a whole different level.
The true nature of Barry (the character) is revealed and it is deeply terrifying. He's truly a monster. It almost borders on the feeling of a slasher flick. Yet Hader manages to inflect him with moments of emotion, making Barry's struggle for change truly and deeply felt and heartbreaking.
For years there have been films and television that walk the line of drama and comedy but its truly exciting to be alive in a time where such masterful work like this is progressing our ideas of what genre can be and if the idea of categorization of that nature truly matters.
Too Old to Die Young: Volume 6: The High Priestess (2019)
the otherworldly priestess
Well it seems my wish was granted, as this episode refocuses on Jesus & Yaritza. they get married and head off to L.A. to get their revenge and said word out to their soldiers already in the city to take out Damien and send a message. when the job goes wrong, Jesus must step up and be a leader and take control of the cartel for himself.
this may be the most surreal episode yet, as Yaritza's looks and demeanor absorb each scene with hypnotic suspense. we also get a deeper insight into Jesus and his past, more specifically his relationship with his mother and the strange bond they had. i struggle to really describe the episode, as i feel that most of what i would explain will spoil some of the jaw-dropping moments here. all i will say is this show continues to impress me with each new episode, feeling as if each one is better than the last.
some may get frustrated at this episode as there are a lot of scenes that don't exactly make sense until they're explained later. i enjoy getting lost in the wonder and mystery of it but i also understand that sort of thing may not be for everyone.
ultimately, i cant wait to see what happens when Martin and Jesus finally meet. if these episodes from the latter's perspective tell me anything, its that the detective is screwed.
Mother! (2017)
a director abuses their powers
I believe provocation has an essential place in film but only if it is done with artistic integrity. what is on display here is some of the most abhorrent and self-absorbed writing and directing i have ever seen on screen. this film is intensely patronizing. most of its big moments bank on metaphors thay become less and less tethered to the fabric of the story when its not busy patting itself on the back for senselessly traumatizing you.
this was especially devastating considering how strongly the film begins. the cinematography, performances, and tension are all built perfectly but as the metaphors begin to grow, the things about the film that work begin to fade away and by the end all we're left with is ankle deep metaphors about god, jesus, nature, and religion. Jennifer Lawrence is mother nature, Javier Bardem is god, the old couple are adam and eve, their sons are cain and abel, and Bardem's followers are religion. watch an interview with Aranofsky about his lack of creative control on Noah and it becomes abundantly clear that this entire film is masquerading as a spit in the face to the religious people that were responsible for his lack of creative control on that film.
if you want to see a film where story and metaphors exist in tandem i'd suggest the work of Yorgos Lanthimos. there is an artist who understands that for an audience to buy a metaphor, no matter how absurd, it has to make sense in the world of the story. here, the more the underlying message becomes apparent the less the story makes sense.
Too Old to Die Young: Volume 4: The Tower (2019)
the illusion of moral superiority
I am loving this series so far. each episode adds more and more depth to the world and the characters in it. this episode gives us a deeper look into Viggo and why he does what he does. he takes Martin under his wing and reveals that he was once technically dead for 3 full minutes and came back with a sense of clarity.
theres a high sense of irony in Martin setting out to kill people when he himself is sexually active with a girl who is underage. this harkens back to the line in the previous episode about the dichotomy of personality. not only is Martin hiding his assasinations from the police force he works for, but he is now hiding his own sins from this hitman who seeks to drive out sin.
Martin is no hero and his sense of morals is exceedingly warped but it seems he's trying to change or maybe just lie to himself which is why he tracked Viggo in the first place.
i'm sure all my ten star ratings may be obnoxious to some but i genuinely feel this is top of the line television. you may not agree and you're entitled to that but i'm merely expressing my true feelings. if i felt the episode wasnt up to par my rating would reflect that.
anyways it was awesome to see Hideo Kojima show up even if he doesn't do much. it makes me excited to see NWR in Kojima's upcoming Death Stranding. also, John Hawkes continues giving an absolutely riveting performance and i cannot wait to see where his character goes
Too Old to Die Young: Volume 3: The Hermit (2019)
spiraling deeper down the rabbit hole
The plot thickens as we are introduced to two new characters, a solemn hitman and a spiritual healer. the tethers that bind them may surprise you. to keep existing plots moving, Martin becomes a detective and his first case is to find the killer of a pedophile. these three characters converge and you may find the results rather unexpected.
in following the case, Martin is told by one of the suspects that "people aren't who you think they are" and insinuates that people have a side of themselves that they hide away. The camera focuses on Martin through this as the music swells, telling us that this dichotomy of personality is something he knows all too well.
this sets the stage for Martin's behavior throughout the episode. he tries to reckon with this battle of selves but he's unsure of himself. without spoiling anything, this episode ends with Martin feeling comfortable enough to confide in another character and it gives us fantastic insight into someone who rarely speaks their mind. he is clearly cautious about letting his guard down and goes through extensive measures to ensure he's found the right person to confide in.
while not quite as exhilarating as the previous two episodes, this episode not only expands the world in interesting ways but it helps us solidify our footing in the mystery a bit more in regards to just what kind of person Martin is.
John Hawkes and Jena Malone make fantastic additions to the cast, especially Malone who always seems to bring so much to each role she takes on.
Too Old to Die Young: Volume 2: The Lovers (2019)
the other side of the coin
This episode shows that Jesus is not simply our antagonist but a sort of alternate protagonist from Martin. with the morals of this show being as blurred as they are, this works to fantastic effect.
here, we learn about the world of the cartel and its basic operations. in any other show this would be highly methodical but instead we're opened to the philosophical implications of the concept of dynasty. a ruler contemplates his empire, the next in line struggles with his privilege, the lover watches her flower slowly wilt away, and the newcomer tries to find his footing in it all.
this could honestly work as its own film. it establishes so much that builds these characters and the world around them. sure, the first episode will give you a good idea of context but its not entirelt necessary. i guess NWR's claims that the show can be watched out of order is true! but i guess i'll have to continue watching to really find out. regardless, i have never been more sold on a show in so few episodes. can't wait to see how far down the rabbit hole goes.
Too Old to Die Young: Volume 1: The Devil (2019)
hypnotic and engrossing, a dark world comes to life
Right from the start, NWR establishes a tone and style that sinks us into this dark, messed up mirror dimension where cops and criminals are simply two sides of the same coin. morality is blurred to the point of being almost nonexistent and the idea of justice is more complicated than it seems.
Refn breaks down suspence on a molecular level here, to the point where something as simple as anticipating the next line of dialogue is an act of suspense in itself. patience is key here and if thats something you struggle with, maybe grab a fidge spinner/cube or something to somewhat distract yourself with because this pace is highly deliberate and is essential to capturing the nature of this world.
i personally was confused about claims that the show is too slowly paced because i found the running time deceptive. by the time the episode was over, i was ready to dive into the next.
the cinematography and score are both top notch which is to be expected of NWR but the score really may be the best work Cliff Martinez has done with him. the compositions are all immaculate and the instrumentation is intoxicating. it really helps you sink into the rabbit hole that is this show.
it may not be for everyone but i think if you keep an open mind and find ways to curb your short attention span, this show will pay it back to you in dividends.
(also the scene with Steve Baldwin is an absolute pleasure to watch. perfectly surreal and hilarious)