macc99 Reviews

Inside Man (II) (2022)

Two shows mashed together.

[6/10 · 18 May 2024]

There are two storylines going here, but the problem is that they're tonally very different.

The one with Stanly Tucci is dry, cerebral and psychologically-engaging, while the one with David Tenant is broad, sort-of comedic and relies on ludicrously-unlikely plotting.

Either would have been fine if they'd picked one and stuck with it. The Tennant storyline works perfectly well if you just 'park-your-brain' and accept the absurdity, but then you're being asked to engage with the measured, thoughtful tone of Tucci's storyline.

Going back and forth between the two is jarring - jumping from broad, dark comedy to smart, subtle drama.

Tucci's storyline would have made a gripping psychological study, not least because Tucci is such a compelling performer, but it's a shame it was thrown away in this "game of two halves."

Ted 2 (2015)

Underrated

[7/10 · 11 May 2024]

No, it's not as good as the first one, but it's still much better than most attempts at film comedy these days.

The problem is the plot which doesn't always hang together and pretty much comes off the rails at one point, however, there are more than enough quality jokes to patch over the cracks.

Mark Wahlberg and Ted/Seth MacFarlane are excellent and Amanda Seyfried, who recently showed her incredible range in 'The Dropout,' plays it pitch-perfect here.

Ted has been rejuvenated in the excellent TV series, but this film is by no means a failure - it's a worthy addition to the Ted universe.

It's tough to follow a very funny comedy and while this didn't quite reach those heights, it's still a solid, funny film.

Peacemaker (2022– )

Pure Joy

[9/10 · 29 April 2024]

The only TV show with an unskippable intro.

And it only gets better. Hilarious, and action-packed with genuinely-smart, witty dialogue. Terrific cast - John Cena has weapons-grade charisma and serious comedy chops. He's in the "lovable oaf" tradition but he takes it up a gear and creates a genuinely-original character. Sometimes he's the butt of the joke, sometimes he owns the joke.

The tone is pitch-perfect. Expert plotting that never lets up. Unpredictable. Even the fight scenes are brilliantly-choreographed slapstick.

The best show on telly right now. (Well, the best I've found). This needs to run and run.

Jimmy Carr: Natural Born Killer (2024)

Nothing lasts forever.

[6/10 · 20 April 2024]

Brilliant comics age, just like everything else, and Jimmy Carr is a brilliant comic.

He's one of the smartest, funniest, most inventive British comics of his era, but the nature of being sharp and inventive is that it has a shelf-life. There are still flashes of the old brilliance but a lot of it feels like treading old ground. That's not to say that he can't get back to his old level of brilliance, because great comics can adapt and reinvent themselves.

The "I'm so edgy" shtick is just cringe, and pretty standard for many comics whose glory days are behind them. Just make sure you have the best material, and get on with telling the jokes. It's not the 1950's and the only people who are "offended" are newspaper columnists who are only pretending to be for adclick revenue. Truth is, most people aren't actually watching - they have their own lives to get on with.

If anyone is genuinely offensive, they won't get a Netflix special - the comic genius of Jerry Sadowitz is an example. It's tough for ageing comics but it is possible for them to revive their act. It starts with them admitting to themselves that their act needs reviving, not deluding themselves that they're an "edgy" 51 year-old.

The Regime (2024)

Disappointing.

[5/10 · 18 April 2024]

Given the people involved, the fertile subject matter and the stellar cast, this should be a gem of a show, but sadly it's not.

At times it seems to be coming together as something interesting but it's trying to do too much - it's trying to be satirical, provocative, surreal, entertaining etc and it ends up as none of these. Probably most damaging of all, it's trying to be funny and when that falls flat, it's very difficult to care about the rest of it.

A common criticism of its critics appears to be that they don't understand the situation(s) it's trying to satirise, which is an odd take as that period of European political history is probably the most obvious thing about it - but whatever - it's an incredibly rich period for black comedy and cautionary tales, but unfortunately The Regime doesn't manage to capitalise on any of that.

Raised by Wolves (2020–2022)

Something special

[9/10 · 28 March 2024]

This is a rare beast - a measured, thought-provoking show that was allowed to unfold at its own pace. Frequently tense, with outbursts of extreme violence, yet it never lost sight of the philosophical themes that drove it.

A terrific cast of actors, beautifully-directed in incredible locations that at times gave it the feel of a fever dream.

The fact that Ridley Scott put his name to this tells you that, not only is it exceptional, it's shot through with Scott's recurring thematic obsessions, but told in an original, challenging, thoroughly-entertaining way.

This is an open goal for any broadcaster - a golden opportunity to pick up a gem of a show that's proven itself beyond doubt - and run with it.

Saltburn (2023)

A remake

[4/10 · 19 March 2024]

This film is a remake of a film called 'The Talented Mr Ripley.'

Ripley's an excellent film, so this one isn't entirely without merit - it's just that if you've already seen Ripley, there's not much point in watching an inferior remake.

This is going to happen more and more often - taking the beats and plot points of old films and reproducing them in a modern setting. Much of the marketing for a film like this is via Tik Tok with sequences set to (eg) 'Murder On The Dancefloor,' or putting in OTT scenes that get "buzz" on social media - and as most of the target audience won't have seen the original film - it won't matter to them that it's a remake.

Outer Range (2022– )

Different

[8/10 · 12 March 2024]

This show doesn't meet you half-way. It doesn't throw in 'eye candy' scenes or give you particularly likeable characters or hold your hand in any way. You have to either pay attention and fully-engage with it or go watch something else.

If you do stick with it, you'll be enjoying one of the most original, thought-provoking dramas in a long time. The central conceit is outrageous, but it works because the film-maker's commit to it and to delivering it in a very specific tone.

It's great to see a drama that takes bold risks with story-telling and, had it fallen flat, it would be still be laudable for that intention alone. But it doesn't fall flat - it works as a fine, ambitious piece of quality, high-end TV. Really looking forward to seeing where it goes in season 2.

Animal Kingdom (2016–2022)

An incredible show.

[9/10 · 2 March 2024]

This show starts out as a trashy, glossy, action-packed and very, very watchable entertainment. Successful bank heists are celebrated with a sky-dive, for no other reason than to have a very cool skydiving sequence set to pumping music.

The genius of this show is that it very, very gradually starts to deepen, uncovering layers to the main characters and slowly revealing their depths and complexities. It does this so gradually that you don't even realise it until realise you're watching some of the most beautifully-drawn characters on TV for a long time.

It then becomes as much a character- study, and a character-driven drama - as it is an action-packed heist show. The issues, plotlines and brilliant twists and turns are consistently unpredictable and original.

Some of the heists stretch credulity - as action sequences often do, but the whole thing is so skillfully-woven that it doesn't matter - you happily buy into the lack of believability in the heist/action sequences, because they're so well integrated into the brilliant character studies and first-class storytelling.

The casting is perfect - everyone is bringing their A-game but Shawn Hatosy is astonishing and Ellen Barkin is hitting a career best.

It's a Breaking Bad-level achievement, possibly exceeding it at times. One that flew under the radar.

Ted (2024)

Finally!

[8/10 · 9 February 2024]

It's been a long time since a new, fresh, genuinely-funny comedy but here it is. Terrific, likeable characters straight out of the box.

The dialogue is "screwball" style with smart, sharp gags flying thick and fast. Everyone is at the top of their game, there are no weak links and even the CGI bear is a fully-formed character with killer lines. Alanna Ubach is knocking it out of the park - this is her showing what a truly-brilliant comic actress she is.

Seth Macfarlane is obviously some kind of comic genius to create Family Guy and American Dad - these alone would have cemented his name in comedy history - but to launch another instant classic at this stage of the game puts him up there with Levitan & Lloyd and other creators of multiple comedy classics.

This is way too good to be only a mini-series - it has to run and run.

Fargo (2014–2024)

It's done.

[6/10 · 13 January 2024]

Nothing lasts forever and Fargo is no exception. It's a silly, fun way of spending an hour but its only connection to the masterpiece that it started out as, is the title.

Sherrif Tillman is a cartoon/panto bogeyman, whereas Lorne Malvo was a fully fleshed-out original, unpredictable person. One you'd never want to meet but compelling to watch.

So many of the characters are so dumb they could only exist in a cheesy drama; like the policewoman who stays married to a guy who plays golf all day, racks up $100k debt and criticises her for not being more of a "wife." Obviously she's unable to react because the writers haven't given her a personality. Maybe meet some actual policewomen before writing a character? Maybe credit women with the ability to think and act for themselves?

Munch is a nod to the weirdness of the original film series but the genius of the Coens is in finding the weirdness in the ordinary and the mundane, not just planting a weird character into an ordinary street, have him murder people then carry on as if witnesses or ring cameras don't exist.

But it had a good run and seasons 1-3 still stand up as excellent TV. I'm looking forward to whatever Noah Hawley does next, now that Fargo is done.

Logan Lucky (2017)

Almost great.

[6/10 · 10 September 2023]

A lot of great elements in this. The cast, the plot, the setting, the characterisation are all there but tonally they don't always quite hang together.

The 'droll redneck' humour works well but what's lacking is any real tension. The pace is the same throughout all the prep and build-up to the heist, as it is during the heist - when it should be racked up and pounding. There's no real burning sense of urgency or 'ticking clock.' The film ends on an ambiguous tone - clearly leaving it open for a sequel - with a shot of an FBI investigator who's clearly meant to be a force of investigative nature, but we've barely seen her throughout the film.

Also, as much as I love Seth MacFarlane's cartoons, they really should have got a comic actor for that role. Or even just one who can do accents.

Terminator Genisys (2015)

Underrated.

[7/10 · 19 August 2023]

No it's not T1 or T2, so go and watch them if you really can't move on. Terminator Genysis is a very entertaining addition to the series with a bold and genuinely surprising plot and excellent action sequences.

Tonally it gets a little wobbly with some of the attempts at humour, but nothing that derails the movie. Emilia Clarke maybe lacks the physical presence of Linda Hamilton doing pull-ups (and being generally intense) however, she brings her own dynamic to this one with a solid performance. Also her paternalistic backstory with the T800 works well.

Terminator 2 will not be bettered. You can either spend the rest of your life feeling sad about that or you can enjoy Terminator Genysis as a mostly-successful film in its own right. Up to you. That future is not set.

Emily the Criminal (2022)

A little gem.

[7/10 · 12 August 2023]

97 minutes - taut, spare and no filler, no dull moments. What a blessed relief among all the '2 hours and over' movies clogging up streaming platforms.

Aubrey Plaza is totally compelling; gradually revealing more of her true self as the story unfolds, while her character development takes original and unexpected turns. The story is set in the grinding, exploitative workplace choices facing debt-ridden grads these days, yet it's set in an LA we rarely see on the screen.

This film is a reminder that we don't need an avalanche of overlong films plastered in CGI - a tight, strong story carefully told and with great performances, will always count for way more.

Spiderhead (2022)

All the right ingredients but a very average result.

[5/10 · 12 August 2023]

The script is based on a terrific George Saunders short story, the dialogue is whip-smart, Chris Hemsworth is excellent as a charismatic and occasionally-charming psycho, the rest of the cast do a fine job and the location is atmospheric and visually-arresting.

Unfortunately the tone is all over the place. For the first two-thirds of the movie this isn't a dealbreaker but as we build to the climax, humour (that seems to have walked off the set of a different movie) is shoe-horned in and turns what should be an intense stand-off into a slapstick farce. There's a very good reason why Hall and Oates have never been the soundtrack to a 'final showdown" and, after this film, they never will be again.

The Righteous Gemstones (2019– )

Danny McBride is a comic genius.

[9/10 · 16 July 2023]

The funniest show in a long time. Not only is it laugh-out-loud hilarious, it takes a family of awful, greedy narcissists (who should be quite hateful) and not only humanises them, not only makes them likeable, but actually makes them lovable.

Although McBride is blessed with the same weapons-grade charisma as his screen father (John Goodman), his inner man-child is never lurking far from the surface. He and his siblings are never far from reverting to the same childish squabbles they obviously had as kids.

There are no weak links - everyone is their own strong, distinctive character. The supporting/recurring players (like Walton Goggins) are amazing and the world McBride created is utterly compelling.

Commercialised religion is such an easy target and McBride could so easily have gone for total cynicism, but how he created a show with such heartfelt affection for his characters - while also keeping it wildly-hilarious, is comic genius.

The Wonder (I) (2022)

An intensely powerful story about the power of story.

[8/10 · 14 May 2023]

This film sets out its stall from the opening; it literally opens on a film set and tells you that you're about to watch a film with actors saying written lines. It's a very bold move and it works perfectly to introduce the theme of the power of stories.

It unfolds slowly and thoughtfully, and pulls you in with an emotional power and depth. While it's set among a peasant community, it's not interested in judging their particular adherence to their (religious) narrative, it's interested in exploring the power of narrative that we're all subject to, whether we realise it or not.

The performances are excellent, particularly the two leads whose gradually deepening friendship is touching and believable.

A deeply-engaging and thought-provoking film.

Babylon (I) (2022)

One of the few films that merits being 3 hours long.

[8/10 · 14 May 2023]

Not many films need to be three hours long but this one is epic in scale and ambition and can't be contained in less time.

It's about the heaven and hell of giving up your life in pursuit of "something bigger than you." It's about creativity, fame, approval, money etc and it neither romanticises or demonises the process - it just turns it into a wild ride.

Everything in this film is intentionally overblown and relentless, so that when someone does actually take a breather to be honest with themselves or with others, it lands.

There are several compelling storylines to follow here but that of Jack Conrad (a pitch-perfect Brad Pitt) probably captures the film's tone best. A movie star who realises his best days are behind him would, in a lesser film, be entirely bleak but in this one he understands how lucky he was. However, at the same time he also understands that's all he was, and that without it there's nobody there.

In time this film will be recognised for the epic triumph that it is.

Succession (2018–2023)

A masterpiece, ending at the right time.

[9/10 · 1 April 2023]

Like the Sopranos, we'll be talking about this in 30 years time. It's a masterclass in how to make a bleak dramas and a hilarious comedy, and keep the viewer guessing as to which one they're watching.

It's also a masterclass in how to take a group of repellent narcissists and give them some humanity. As awful as the Roy kids are, you're constantly reminded that they're deeply damaged by their father. Behind the private jets and multi-billion dollar deals are their ongoing failures to make genuine human connections.

But it's ending at the right time; just as the rhythm of the (very funny) profanity-laced insults starts to become familiar, and the recurring brilliant techniques the writers use start to become more visible. One more season would become soapy and over-familiar, whereas one last killer season (which this one is shaping up to be) will guarantee this show's legacy as one of the greatest TV shows of all time.

The Rig (2023– )

Great idea, poorly executed.

[5/10 · 24 March 2023]

An oil rig is a terrific setting for an atmospheric drama: isolation, heaving sea-swell, lashing rain, howling wind. However, most of this takes place in corridors or dismal interiors.

The outdoor scenes are shot in a studio (understandably, for practical reasons) - and there's no reason why you can't recreate the outdoors in a studio - but in this the actors are standing on a helideck, supposedly in the north sea, with hardly a breath of wind, a drop of rain or barely any wind or sea sounds. There's a scene with two guys climbing a tower which has been done umpteen times on youtube with go-pros to terrifying effect. Here it looks like what it is - two actors climbing a studio prop.

Which wouldn't be a dealbreaker if it had compelling characters but we've seen these ones too often: the feisty female, the bolshy older "anti-authority" bloke etc. The "banter" between workmates doesn't ring true and and there's not a lot of reason to care about these characters, and not enough plot happening to paper over the lack of character development.

Which is a shame because it's a good idea and could have been a neat homage to Carpenter's "The Thing," yet one with its own identity. Disappointing.

Chris Rock: Selective Outrage (2023)

He's one of the greats of all time.

[8/10 · 5 March 2023]

Rock's early standup shows are among the best live comedy ever produced. Not only that, they are part of the evolution of standup comedy.

No artist could keep up that standard over the decades and on his last outing Tamborine, Rock seemed to have lost focus a bit (although lesser Rock shows are still better than the majority of live comedy). Now, however he's back on much firmer ground with Selective Outrage.

As brutally honest as ever, he talks about his life now from the point-of-view of being a very rich, successful comic. He doesn't play down his success or play down to his audience. He also doesn't care about the social media trend for "policing" comedy and will say what he likes. It will garner accusations that he's "bitter," "out of touch," etc and you just know he couldn't care less about that either.

It's great to see him back. In these censorious times we need honest, brilliant artists like Chris Rock more than ever.

Triangle of Sadness (2022)

Sophomoric attempt at satire.

[3/10 · 5 March 2023]

This film desperately wants to say something, but it does so very slowly and with all the cinematic grace and subtlety of writing it on a brick and throwing it at the audience. First create interesting, 3-dimensional, watchable characters, then put them in a believable, interesting situation, then worry about the thematic development.

None of which would matter if it was funny (which it's also trying to be) but it's not. It really isn't. If they'd gone for all-out comedy and cut the running time in half and dispensed with the tedious messaging, it might have been in with a chance.

Politics won't save a boring, unfunny film, not matter how interested you are in politics.

Tamborine (2018 TV Special)

Not his finest hour.

[5/10 · 1 March 2023]

Chris Rock is one of the finest stand-ups of our age but he's treading water here.

I don't care about the accusations of racism - it's a comedy, not a political manifesto. The problem with this show is that it just doesn't have the ferocious energy or unpredictability of Rock's classic work. He's older now, so he can't convincingly rant and rage like he so hilariously used to do.

That said, I'm looking forward to his next show and some fresh material. Chalk this one up to 'end of an era' and here's hoping his next era is a reboot. He made some of the greatest live comedy albums ever; I hope he's got a few more classics ahead of him.

The Gold (2023–2024)

Excellent entertainment, when it sticks to entertainment.

[7/10 · 16 February 2023]

Neil Forsyth is an excellent writer and The Gold has assembled an excellent cast. It's a very well-written, well-performed, heavily-dramatised version of real events and works well as escapism. Where it doesn't work is when it's trying to be a lesson on class struggle in the 1980's.

Firstly, the viewer didn't ask for, and doesn't need, a one-sided, finger-wagging morality lesson on societal iniquity. Secondly, Kenneth Noye and his associates were not class warriors fighting a rigged class system; they were a demonstration of amoral violent greed that makes even the worst of the class system look relatively humane.

But don't let that put you off watching The Gold; it's very entertaining and mostly manages to remember that it's supposed to be entertainment. In a world of multiple streaming options which credit the viewer with a modicum of intelligence, it would be great to see the BBC survive and thrive. If it's able to understand that the entertainment viewer primarily wants to be entertained and isn't actually looking for a simplistic, sophomoric morality tale, it might be in with a chance.

Sebastian Maniscalco: Is It Me? (2022 TV Special)

Even the greats have their lesser moments.

[5/10 · 18 December 2022]

Sebastian is one of the great stand-ups but no stand-up can catch 'lightning-in-a-bottle' every time. Maybe he lost a little form through the lockdown, maybe he got a little flabby through playing stadium gigs. Or maybe not - comedy is an elusive art-form and there's no formula for making it work every time.

There are great moments but it's quite far into the show before it starts to catch fire; such as when Sebastian nails the absurdity of his local schools' inclusivity policy. He also has a lot of fun playing with the audience's over-sensitive reaction to an ethnic reference, and the story of his trip to see "Hamilton" is a reminder of how good he can be. But on the whole the show never really takes off.

Disappointing, but he'll be back one day with a killer show - he's one of the best and great performers like him don't stay down for long.