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Corner Gas: Shirt Disturber (2009)
An alarm only burglars can hear!
Like most of season 6, this episode suffers a bit of strain; the characters tend to stray a bit off the established marks. But the good moments are still there -- mostly thanks to Fred Ewaniuck, whose character break is surprisingly effective. Fred also gets to do one of the funniest jokes of any CG episode.
Two other highlights: Nancy being hilarious in her borrowed clothes, and the Leroys' inability to manage their new alarm system. The lesser storyline just has Quinton being unnecessarily petty about Pelly's job title.
On the whole, an agreeable episode with some top-shelf moments. Now, where can we get a home alarm like the Leroys??
Coffee and Cigarettes (2003)
Just No
It's a funny thing when getting deeper into movies; you soon find yourself dealing with piles of recommendations, getting further away from mainstream notions of narrative, character, story, plot (etc etc). And it's so very liberating to realize that movies don't necessarily have to have any of these elements, and to appreciate movies that do whatever they do in unique and intriguing ways -- daring the viewer to lose interest or patience, while rewarding the viewer who calmly accepts the challenge to go down the filmmaker's path, and perhaps arrive at something sublimely different.
Well, this isn't it. It isn't funny, it isn't insightful, and it isn't interesting. What it is is b-o-r-i-n-g. More boring than the slow-as-molasses Werckmeister Harmonies, the 10-hour Heimat, or the 9.5-hour Human Condition -- all of which I recommend instead of this movie.
Corner Gas: Full Load (2008)
The sound of one shark jumping
TV series don't last forever, and even the best ones can experience some decline before they finally call it done. So it is here: the characters all take an immediate step down to become meaner or dumber, if not both. The jokes and beats are still there, the characters are still essentially the same -- it just feels lesser ... like they stopped polishing their scripts to the same level? Whatever the reason, the quality is noticeably dropped in this episode, and remains that way for the remainder of the season. The results are still passable as TV fare -- but it's not quite the same Corner Gas as before.
Robson Arms (2005)
Good idea, depressing results
There's a good idea here: every episode goes behind a different door in the same apartment building - lending itself easily to guest roles and featured bits, without requiring all the cast to be in every episode. Except ...
Well, first up is the first episode, which fails to give us any sense of the overall residents. The second episode dispenses with Ep1's main characters in a cameo, then occupies itself entirely with the residents of another room. Sure, why not? Except it means all the personal suffering we put up with in one has no dramatic meaning to the next; the only real continuity is the building itself. So we're basically getting a different show, just taking place in the same building.
Well, that can be good, right? Except it isn't very; 22 minutes feels a lot longer, and it's not long enough to do anything more than be (of course!) episodic. Which could work for a comedy, but this isn't one: it's a series of vignettes that aren't generally humorous (with the notable exception of the Cantonese-speaking mother-in-law in the convenience store). Of course, some may find it humorous when children speak lines that should be for adults, or when adults speak lines which are childish -- and these can indeed be very funny, and have been in other productions. But they aren't funny here, because the overall tone is one of sadness and disconnection. Yes, the acting is good, but the result tends toward pathetic or depressing (again, excepting the Cantonese-speaking mother-in-law). If that's your idea of comedy, this is your show.
Ma mère (2004)
Sex with your mother, anyone? Eh, no thanks
Ya gotta hand it to the French; they have a real flair for making movies about sex. If you want to see sex in a movie, they aren't going to let you down. Take Betty Blue, which starts with a full minute (or is it two?) of hardcore going-at-it* (the real word that goes here would likely not be approved for publication). We might argue over how necessary that was, so plainly shown (and without any preamble of any kind), but there's no arguing that they do in fact have sex. BUT - being French - there ain't gonna be any glamour in it. In fact, for all the sex that French movies show, they seem almost determined to prove there isn't any fun in it.
And that's the kind of movie this is: obsessed with sex, but in a way that makes it seem like a really unattractive (even unhealthy) activity. Which i suppose is seen as some kind of public service? It's certainly true that movie don't have to be about healthy or happy people, but this one just left me wondering why anyone would want to make it, or watch it.
Mr. Bean's Holiday (2007)
This is the film Bean needed to be
Not that the first Bean film wasn't a decent production, but it was so ... Hollywood. In some ways that could be considered an improvement, but it was still a difference which made it separate from the earlier TV show. This film restores the previous Bean, and rightfully banishes verbal humor by placing him in France. It helps a lot if you've seen M. Hulot's Holiday, but isn't necessary. It also helps if you've seen the kind of arty films which might do well at the Cannes film festival, but that isn't necessary either. Great casting all around make this a fun watch and re-watch, reasonable for the whole family.
BTW, and a warning: if you think Emma de Caunes is an engaging actress you'd like to see more of, do NOT choose Ma Mere as your next movie, at least not with kids around.
I Am Woman (2019)
Vapid overview, lovingly filmed
The good part is, you can watch this biopic and have some idea of Helen Reddy's career - on par with, say, The Buddy Holly Story. It's also lovingly photographed, with many shots of the cheek planes on the principal's face.
The weak side (as with so many living-memory biopics) is that there's practically nothing else: no character motivation beyond the vague desire to sing, no real understanding of why things go as they do, no real relationships. We never know anything at all of Helen's first marriage or why it failed, nothing of her life before arriving in the US, no understanding of why she chose her manager/husband. We never see her other talents; we just hear her husband tell someone she can sing dance and act, without seeing evidence of either.
Some will say this is compensated by Tilda's acting, which can only be described as pleasantly warm. Which sounds good, if the result didn't feel like an extended ad for women's products, with an emotional range that rarely goes outside of vaguely concerned to warmly satisfied. This includes all the emotional peaks, with the odd result of muting everything. Even the one Reddy song with real actual melodrama in it ("Me And You Against the World") is diminished by omitting the mother/daughter exchange on the end, recasting it instead as including her husband instead - despite his constantly relegating her to secondary status.
This isn't the actor's fault: it's what the script wants, and no doubt what the director asked for. The script also wants us to feel some kind of triumph when she basically performs karaoke for a political rally at the end, while other women look on and cheer.
Well: it looks great - especially if you don't really pay attention, but just have it playing on the TV while making dinner. But as a drama, it's lukewarm to the point of feeling like it maybe oughta be reheated. There is a real story here, but it would probably need more sources than just Reddy's own autobiography.
Just Shoot Me!: Pass the Salt (1998)
Strong episode made stronger with excellent casting
You know you've got the right guest star when they bring out top performances from the regulars, and Dennehy does: drinking with George Segal, talking with David Spade, and especially interacting with Wendie Malick. The writing already makes this one of the sharper episodes, but Dennehy brings a gravity and realism which really makes the script sing; one suspects he could make a hell of a commercial. I can only assume he is uncredited here for some legal or contractual reason, because he is easily the central character of the story. Not to be missed -- and thankfully he came back for more. Top 10 JSM episode.
Robin Hood (1991)
Britain vs Hollywood
Back in 1991, Kevin Costner was a reigning box-office draw, while Patrick Bergin was only a supporting actor in someone else's thriller ... can you guess whose Robin Hood was going to get the lion's share of press exposure? Right. So everyone watched Costner's RH and sorta shrugged it off as the competent, predictable vehicle it was. And then, why watch another?
What they missed was a version that wasn't so glossy and -- well, fake -- and I don't just mean the accents. This Robin Hood is more realistic: forever damp and overcast, with characters that act and speak more like real people. All the familiar elements are still present, but it's less storybook and more character-driven. It's not perfect; Uma Thurman is remarkably underwhelming, with her character's speech shoveled in to satisfy modern politics. But on the whole, this RH feels more right and real than any other -- certainly more than the costume-drama popcorn-fare made that same year with Costner. Definitely recommended.
The Love Boat: Isaac's Teacher/Seal of Approval/The Successor (1981)
An OK episode - which is above average for this show
Like all LOVE BOAT episodes, it doesn't try to do much, and doesn't do it very well -- but this one has some highlights.
1. Lillian Gish! It's one thing to have a TV show, it's another to have the First Lady of Cinema guest-star on it.
2. Reb Brown! Admittedly a private enjoyment, since he doesn't get to do much. But it's always a thrill to see him (he also did an episode of Fantasy Island)
3. Ted Lange and Fred Grandy get to flex some character in a story of their own. Not a big stretch (this is Love Boat) but proving they were both valuable additions to the show. Gavin Macleod brings some gravity to his very small bit.
On the other hand, Florence Henderson and Georgia Engel are little more than repeats of their roles in their other shows. Lauren Tewes gets nothing to do beyond deliver a few lines and flash her admittedly megawatt smile, and Jill Whelan has no real purpose in the show. But that's LOVE BOAT; pleasant filler and pat plotlines. This one stands out a little better than most, though, by virtue of some above-average casting.
5.5 stars, rounded up to six.
You Can Change the World (1950)
Like an Amway seminar
This isn't entirely terrible to watch, though it is terribly boring, because it doesn't really know what it's talking about. Yes, there is a good idea motivating this film: to get "good people" involved, but the whole premise of "early American" values is vague and spurious. Over and over , they harp on God and the Declaration of Independence -- seemingly ignorant that neither form a basis for the government of the United States; that would be the Constitution, which gets only a passing mention. Like an Amway seminar, You Can Change The World is big on grand ideas, short on connecting those ideas to usable actions, but so sure of itself that it isn't too concerned with explaining much.
Nowadays, it's common to dismiss attitudes of the 1950s as being from "a different time" but this short film does present evidence that people's concerns back then are still going on today. So it does have that value. But as a movie, it's basically a heavy-handed speech to a bunch of nodding heads. FWIW, Bing and Bob appear only near the end (Bob in the last three minutes, and does include one funny joke).
Agatha Raisin: The Vicious Vet (2016)
Uneven, with both strong and weak moments
On the one hand, a good example why the one-hour format was just a bit too constricting for this series: 45 minutes of story, then a quick wrap-up confession. On the other other, we get some memorable moments -- like Jason Barnett in the house, giving DCI Wilkes some unexpected moves. This is actually the first episode to hint how entertaining Barnett would be in later episodes - always a highlight. And Asshley Jensen herself gets a little more to do than usual, when she looks at photos of Mrs Josephs.
But that doesn't change the general weaknesses in the writing or filming, which are generic to the genre: the out-of-frame hit, the assistant who gets distracted and allows someone to get away, etc etc. Perhaps these were in the source novel but that's no excuse. Glossy photography and strong acting (especially by Ms Jensen in the last scene) still can't make up for convenient scripting. Normally this doesn't matter in a mystery series, where coincidence and convenience are simply par - but the fact is that this episode does try for better: both Matthew Horne and Ashley's characters get scenes with some real depth ... and IMO both achieve it, largely thanks to the actors themselves. Next to that, conveniently blunt plot events look pale. This was not a mistake we would see again, so it's nice to have it here, however briefly.
Agatha Raisin: The Potted Gardener (2016)
Promising, more than delivering
As always, there's a lot to like in terms of color, energy, and the well-timed comic moment. And then -- all too often -- there's the odd turns and incompletions. Beaton likes to have her characters be odd ducks, without wishing to look into **why** they are odd, and so the result is necessarily rather superficial -- like the plots. This one is a fine example: beginning with torn-up gardens, but we never do find out who is tearing them up. Then there are the night-time car destructions, which we DO find out about -- but there is no follow up. As is too typical for the genre, the murder solution seems almost random, with red herrings that do nothing, but so it goes.
The principal actors do fine with what they have, but guest actor Antonia Clarke comes off as a model who mistakenly thought she could act. Sasha Frost does very little but sings nicely. Abubakar Salim shows promise and subtlety; no surprise if he went on to better roles.
3rd Rock from the Sun: Just Your Average Dick (1998)
A standout episode from a standout series
There's not much point in rating individual episodes of this series, but this one is a standout for several reasons. First, the plot: in deciding to be as average as possible, the show finds mew ways to plunder its premise. Second, Joseph Gordon-Levitt asppears with short hair for the first time -- which is made part of the plot. Third, a guest appearance by the amazing John Cleese, though only a cameo which would be further exploited in the following episode. But fourth: a really strong episode for Kristin Johnston, who really goes for it in the 'being average' aspect of the plot. Few things could be better written for her, and she fully lives it here. A standout episode from this standout series.
3rd Rock from the Sun: Dick and the Other Guy (1998)
Everyone shines, but Lithgow stars
A strong episode simply because it features John Cleese, who proves a formidable parallel/opponent to the Lithgow. In terms of writing achievement, this doesn't equal the previous episode, simply because Lithgow-vs-Cleese practically writes itself. This doesn't make it any less enjoyable to watch, while Jane Curtin proves her expert ability to play along with either (or more frequently, both). If there's anything else to say about this episode, it's that it shows John Lithgow equal to any guest star, no matter how good -- a fact which would soon be proved again, on even higher terms. Meanwhile, Wayne Knight proves his usefulness in new ways not previously explored, and Elmarie Wendel gets a marvelous scene of her own.
Dark Future (1994)
Filmed in blah-0-vision
OK: it's not very good (as others have made abundantly clear) -- but it's NOT a one-star or two-star film. Shots are reasonably in focus, the pacing is approximately good, and there are visuals of reasonable interest. The central idea is stretched a bit thin, however ... about as thin as LOGAN'S RUN, but somehow less convincing. The static ball entrance is actually pretty good -- really the only memorable thing in the whole film -- and the gun-zaps look good as well. But when the plotting runs thin and the scripting does likewise, we can't help wishing for at least someone charismatic to hold our interest. The closest we get is flaming barrels and Andria Mann crawling head-on in a low-cut top, which together essentially sum up the whole movie.
Road to Bali (1952)
Solid enough with strong highlights
THE ROAD TO BALI isn't the best, or worst, of the ROAD movies. It does largely coast on the charisma and history of its principals -- which mostly means it shouldn't be anyone's first ROAD movie. And while it did seem slow in parts (and there is no real ending), there are also enough memorable moments to make it worthwhile. But clearly, the ROAD series was reaching its end.
Plus points include (as always) the songs, and the Crosby/Hope stage bit shows how excellent they were as vaudevillians. Lamour seems to be feeling a little too grande-dame-ish to really give over to the comedy -- but that may simply be the writing ... and there's no faulting the warm presence she brings.
On the whole, it feels like a film just barely pulled together -- as if they started filming without a completed script, expecting new ideas to pop up during the filming to fill out the running time. If so, they still managed some brilliant moments, even if they are spread out a little thinner. At least they still had Lamour for the proper trio, making this a fitting conclusion to the six genuine ROAD movies.
Agatha Raisin: Witch of Wyckhadden (2016)
Stupidest episode of the first season -- and maybe all seasons
If this is a top favorite episode, that says something more about the fans than the episode. In five minutes it looked to be terrible, so we skipped over it to the next one ... and came back later, to see if we'd been wrong. And we weren't wrong.
To be fair: it looks great -- maybe the best-*looking* episode of the show. And it would have to be, because it is utterly stupid in every part of its story, scripting, and dialog. Gloppy music sets the mood, but is hardly necessary; the excellent lighting has plenty of mood already. Evidently they got permission to film all over this spectacular estate, and made the most of it, so your eye will not get bored. But honestly: if you watch this episode with the sound turned down, you won't miss anything of consequence. There will be a murder, a few people will get excitable, and it's over. Waste of great cast, though Ashley does look nice in her wig (is that a spoiler?) (No).
Agatha Raisin: As the Pig Turns (2020)
Best of season 3?
By now I can't really say how well the story logic holds together, as this episodes plot twists get so tangled that I just accepted it and let it roll on. Keeping things lively, we get different combinations of characters, including the return of the always-wonderful Mathew Horne. Lucy Liemann gets a bit more range than usual thanks to a certain plot twist (which isn't really explained or prepared; it's just there, and so we must accept it). Tyack and Barnett are again the front-runners -- Barnett especially seems to delight in making every second of his role entertaining, and Tyack is just naturally charismatic. Come to think of it, so is. Jason Merrells. I wish Ashley Jensen equalled them, but perhaps this role just doesn't give her that opportunity .... though it sure seemed to in the first two seasons.
Hard to believe, but even at this length, it seemed like we were missing some plot elements which were simply thrown into explanatory dialog, despite seeming to drag out a bit for running time at the end. But y'know, it's TV: it ain't perfect, but it's beautifully shot and well-acted. Beaton's work doesn't plumb the depths of human existence, nor tries to; it's light-hearted action/mystery with a middle-aged woman driving the story line. For all the ways we might think season three could have been richer, it's still adequately entertaining. On to season 4.
Agatha Raisin: Love from Hell (2020)
Change of character
Well, I had read that Agatha's character in the books was less charming than the TV series, and it appears the direction in this episode was geared toward capturing that more closely. Fortunately this is something of an ensemble show, because Tyack and Barnett remain the most entertaining of the group. Ashley Jensen is still energetic as ever, if not quite as captivating as the first season. I've stopped really paying attention to the details of plot, because -- really -- that's not their focus here: it's more about the characters' interactions. Stylistically they're letting the show be a TV mystery show, adopting or referencing tropes typical of the genre -- like that whole business between James and the 'other woman', and how there's a misunderstanding, which of course he doesn't instantly dispel by simple explanation -- no, he's got to sputter and delay and let it grow while interruptions occur, and then react in irrational and unpredictable ways -- all to delay resolution, and extend the story. Eventually we learn there's a sociopath somewhere, and of course the identity won't be revealed until the final scenes, because James has no memory of etc -- all plot devices to keep us tuned for the full running time. But it's OK even if it does stretch things unnecessarily, because there is enough character among the others to keep us interested, even when they do stupid things. And that's the kind of TV show this is. And that's fine. It just woulda been nice if it was something more, because it coulda been, but then maybe not: when you base your TV show on best-sellers, you can't really stray too far from what they were. So OK: at least it's colorful, cheerful and well-filmed. And if it sometimes seems determined to make all the most active characters female or gay, well that's OK too.
Agatha Raisin: The Deadly Dance (2020)
Some good, some ridiculous, OK-to-decent with weak ending.
The good news is that there are memorable and fun moments in this episode - overall, a distinct step up from the previous episode. There is some cute business to gather info from a suspect's phone, and Jason Barnett is as entertaining as usual, as DCI Wilkes.
The bad news is that there are also some needlessly ridiculous moments (your mileage may vary on how many) and they impact the net results significantly. Most notable is the telling-the-villains-all-they-did denouement, which rarely goes well and doesn't here. And being last ten minutes, leaving a rather desultory final impression.
Of course, even bad moments can be smoothed over by cleverness, quotability, or great acting ... and there just isn't much of that. On the whole, a middling episode; the third season has yet to fulfill the promise of the second season, but hopefully getting there.
Agatha Raisin: The Haunted House (2019)
Big step down
First: there are some fun moments here, provided mostly by new cast member Jodie Tyack. But otherwise it's pretty ghastly.
The many ways this stepped down:
1. James. Such an improved character in the previous episode! But not here. Instead he whines, grouses, and grumps ... and for some reason has an enormous set of action figures.
2. Agatha. What happened to that great sense of people she had, so clearly established in the pilot episode?
3. Format. C'mon people: you can't really expect to just open a detective agency and have cases flood in. Either you have a working business model or you don't. And let's not even talk about that repellant decoration job.
4. Scooby-Doo level realism. Lampshading the fact doesn't excuse it.
5. Music. When you find your movie's problems can't be fixed -- which is to say, when the problem isn't acting or pacing, but inherent in the story -- glopping it with excessive 'mood' music is the flop-sweaty gasp of desperation. If this movie was breakfast, you would hardly be able to tell whether it was pancakes or an omelette, because it would be so deeply buried in cream and syrup.
Overall, a very disappointing episode.
Agatha Raisin: The Curious Curate (2019)
Best one yet
It's nice to see this series find itself, and do well. Where the pilot suffered from too much padding, and season one constricted by brevity, season two recognized that 100 minutes is needed to encompass the plotlines of the novels. The first s2 episode struggled to fill the time well, but the second managed to justify all 100 minutes -- and here, with The Curious Curate, it all works: main plot, character, secondary plot, and red herrings -- everything seems to be just as involved and involving as it should be, with no filler or awkward denouements. We get to enjoy wonderful moments from almost every recurring character, and the red herrings work to fulfill the overall complexity rather than being arbitrary distractions. Bravo!
However, I can understand the reviewer who didn't like this -- because the Agatha character is, after all, a bit superficial: her personal problems are just as central to the plot as the murder, and they stem from her own inability to properly sort out her own personal life. That is, however, very much a part of actual life for a lot of people -- and, to be fair, she does come to some resolution by the end. For us, this was adequate reward for plowing through the messy personal issues that filled the first two episodes of this season. And (to further be fair) it was all more amusing here than it was in those episodes. - and resolved more satisfyingly than Downton Abbey (which is referenced in this episode). So there.
Agatha Raisin: The Fairies of Fryfam (2018)
Best Use of Garden Gnomes since The Full Monty
As usual, charming despite its clunky and clumsy proceedings. Plotwise, anything can happen, and if it's convenient for the story it probably does. Missing is the charm and vinegar of Matthew Horne's Roy character, but fortunately he'll be back. To compensate, we do get more Jason Merrells and ... garden gnomes.
Yes, gnomes: if we were to give out awards, this might be recognized for Most Significant Use of Garden Gnomes in a British Comedy since The Full Monty, 20 years previous.
Also: Most Gratuitous Cross-Promotion of Product (for mentioning Beaton's other series-made-into-a-TV-series, Hamish Macbeth).
Overall, a decent episode of what this show has to offer, with a decent denouement. Does it all make sense? Not really, but that's just par for the Raisin series. Meanwhile there are lovely camera shots, and no scene felt like filler -- which is a step up. We also found Katy Wix notable among the supporting cast, delivering comic-but-realistic dialog with memorable flair. Overall a step up from the previous episode, despite Agatha herself coming off rather more dippy.
Agatha Raisin: The Wizard of Evesham (2018)
Good enough for TV
I understand both the high-raters and low: these aren't programs of analysis and psychology, but character and scenery ... you know: TV. I'm not bothered by the deviations from the books as I haven't read them. The strengths of this show rest largely on the acting, because the plotting doesn't particularly matter. More importantly, series 2 reinstates the 90-minute format of the pilot; while this cures season 1's rapid resolves, it also means the occasional filler. Such is the life of TV program.
This particular episode is typical of the run: rife with chance encounters, ending with the villain carefully and succinctly explaining every detail of their nefarious plan. Realism isn't very important here, so the story dances along the ledge of believability, occasionally falling off. But mildly amusing escapism? Pretty good stuff.
There's just enough red herrings and character moments to keep the energy up. On the other hand, it's also like watching a freshly-born colt tripping over its own legs while trying to stand up: pandering to fans and visual tropes of the genre -- often as not doing it clumsily. But not so clumsily that we stop watching, so that's clearly a plus. And we can't complain about trying to add some fun to this world, can we?