Commentaires de Trellismay

What a disappointment. Could barely get through the first mess of an episode. Over-produced; incoherent plot construction muddied with inane dialogue; really horrid 'music' that served only to distract further from any coherence. Loud, ugly, silly. Such a shame that Norton took this on after Happy Valley and Grantchester successes. Guardian review way off the mark on this one.

Should have read the reviews, but we didn't. We had very high hopes for this drama from Australia shown on US PBS. The cast promised to be adequate with well-known actors. The premise seemed intriguing, the city of Melbourne is certainly gorgeous. But the incessant loud, annoying, hideous "music" began with the first moment and never ever let up. It was physically impossible to engage or connect with any character development, any storyline, any anything because of the intrusive and ill-conceived sound track. We were forever muting, un-muting during the first two episodes. We were not able to follow what might have been an interesting plot and fascinating story. We gave up after two.

Dragged through the first couple of episodes. Just gratuitous forensic stuff, scenery-chewing tripe. Such a good cast, such a bad show. 2022 hasn't been blessed with great series. Hated to bail out, but couldn't stay. Back to some reruns and/or foreign TV series. Ann-Marie Duff is in this, she's fabulous in Bad Sisters (great cast, great production value). James Nesbitt has been so good in other shows; this is not his best, not even good. Joey Richardson was good in the opening scene, but that scene was full of gaffes, so unbelievably crass. And Nesbitt couldn't pull off the grief he should've been experiencing. Just don't bother.

Really engaging show with interesting plots; lovely setting in the south of France. Candice is charming and smart; her character is warm and likable and you care about her. She's more than able to take care of herself in crime situations or at work with a bitchy boss. And her work and home lives are complicated, messy, and believable. The supporting cast are very good, and the often snarky, funny dialogue (captions) support their diverse team relationships. The team wasn't sure about Candice at first, but then...

So this isn't as stylish as Call My Agent - after all it's not Paris - but the topics are current and the stories are stand-alone good. Someone mentioned that it's nice to get away from the grey, foreboding, gloom of Brit crime shows; that's true. Candice Renoir can take you to an area of France quite different from Paris or Cannes.

It would be great to have more than the 3 series offered now, maybe that will happen, supposedly there are 8 seasons.

Where to start; maybe casting, costumes, direction. Cumberbatch is no more a '20s era Montana cowboy than he is a poorly dressed Brit interloper at a Western-themed Halloween party. His faux bow-legged gait in flappy chaps is ridiculous. His snarky dialogue glibly tossed out like witty repartee makes him seem like a twitchy professor who can't communicate with his class. He just comes across like a hateful middle aged twerp who's got a cob up his tail.

Dunst as Rose is the picture of pathos. Unfortunately we never feel much more than pity for her character - must be the direction. No other explanation for her mostly averted eyes, her random wanderings in nightclothes as she stumbles into various groups clutching a liquor bottle, or when shes races outside the old house to beg Native Americans to listen to her. She could have been made far more appealing, far more believable were it not for distracting 'stage business.'

Poor Peter, Dunst's prissy son; he's the med student who's a misfit in big hat and white tennis shoes. Another lost opportunity to make a solid character - and a lost opportunity because of silly props, blatantly 'wrong' clothes, bland facial reactions to horrific action.

More than two hours of creeping, crawling dysfunction. And you don't really give a hoot who lives or dies. Yes, the scenery is pretty. Yes, the horses pant and shiver. That's not enough.

Watched every episode in the entire series and am so sad that it's over. Call My Agent is a gorgeous series - we may just begin all over again! I don't speak French, but do recognize a few phrases; and not having a command of the language didn't matter at all. The captions were witty and obviously well-scripted, reflecting screen action and actors emotions/behavior.

Each actor was terrific! Every nuance, every expression was clearly portrayed, and the cameos by great French stars were superb. Binoche, Adjani, even US Sigourney Weaver (and more) are in and out of episodes, well-directed and great to see.

The character development, the diverse cast, the intricate relationships were engaging, believable. The costumes/clothes/make up were of course stylish. The street scenes in Paris and Cannes, the ASK office itself, were welcoming and drew you into elegance and excitement. The occasional music was fun, supported the ambiance, wasn't intrusive.

And importantly, viewers get an idea about the inner workings of talent agencies and production dynamics. Whether every plot line was true or not, it became easy to understand the "star system" and the lives of agents who represent celebs. What a way to make a living! These characters and their context seemed authentic, easy to love/hate and easy to understand.

Watch Call My Agent. Don't worry about the captions, you'll get it. After a couple of episodes, you'll forget the captions are there. It's not to be missed.

You've seen the excellent BBC productions of Dickens, Hardy, Eliot, Forster novels, right? This isn't that kind of production. This is akin to your local community theatre filming a show with nice (but amateur) folks on stage and behind the camera. The Woman in White is a mish-mash of poor casting/directing with females leads who seem totally uninterested or bored by their dire predicaments. The choppy camerawork uses, incessantly, one or two flashbacks in dark forest or bright cemetery. Over and over and over. There are added odd noises to ...frighten? The dialogue seems unrelated to the reality of the women's situation ... poor script? Charles Dance couldn't save it. Don't bother.

We were struggling through the third episode, each episode more implausible, and decided that it's just more fun to watch a travelogue of Australia. The premise sounded good. We usually enjoy Aussie film. But this. Oh how dumb these characters are; nobody could be THAT dumb. Back to the watch list, no more wasting time on this.

Could have been so much better. Characters were quickly established, but odd and unresolved plots undermined their efforts. Simm and supporting cast were good, but their dialogue was often silly and irrelevant.

Gratuitous violence was intense and frequent in each episode. Second episode creepy and unbelievable. Simm's backstory not really established.

Glad we only had two episodes; we'd have quit after the second. Wanted to like Grace, just too many flaws in plot(s) and script.

Happened upon this and hadn't heard of it. What a lovely surprise! After a long year of isolation, watching literally hundreds of films/TV series, this gem could be one of the top films we've ever seen. "Sir" will be a film we'll watch more than once, and we'll recommend to everyone.

The casting, the photography, the pacing/direction bring you into lives that are incredibly challenging, devastatingly different from many Euro/US lives. The actors carry their roles with utter clarity and seem as believable as a person you might personally know well. You trust these characters, you know they won't deteriorate into schlock or suddenly assume some odd quirky shtick.

No gratuitous violence/sex/abuse; no raging dialogue that means little; every word seems exactly right, every scene seems authentic. There's sadness, there's family dysfunction, there's love. There are unresolved problems, but there's calm reality.

The clash of caste/culture(s) in India are fully explored. City and village scenes are brilliantly photographed.

See this film.

What a brilliant, stylish mini-series from a decade ago - don't miss it! Rufus Sewell is outstanding as the Venetian detective in the city of Rome. The BBC got this right; no fake accents, good writing, complicated plot twists and turns that are fascinating and rewarding to view. The supporting cast are excellent; some are nuanced, some are bombastic but all support the storylines. Interior shots of apartments in Rome are beautifully set; fashions seem timeless; countryside locales are gorgeous. Caterina Murino and Ben Miles are excellent in supporting roles. Don't miss this mini-series. There wasn't another!

Tired of graphic forensic detail? Weary of exploding heads, car chases? Northern Lights might be your cuppa. And no, it's not a smarmy Hallmark series. School friends who are like brothers, sisters who are best friends, funny work/home dynamics make this series pleasant and engaging. These aren't the posh Oxford/Cambridge folk, these are Manchester and Newcastle characters whose relationships chug along without servants and country houses. The dialogue is clever, there's occasional 'language,' and the cast create believable people. Plots range from a laughable school reunion to a very big criminal event. Robson Green is great, Mark Benton, Nicola Stephenson, Sian Reeves are excellent. Two seasons to watch, give Northern Lights a try.

We've watched George Gently, Janet King, The Paradise, A Place to Call Home, and the list goes on. UK/British TV series are great for interesting plot, good casting, beautiful locales and of course superb actors. Our most pleasant surprise is this years-old series "New Tricks." COVID-19 isolation has expanded our viewing beyond the usual PBS/US TV dramas. In signing on to several British outlets we've seen UK shows that have increased our appreciation of the wit/culture that are hallmarks of Brit shows. "New Tricks" is a winner, night after night. There's sufficient salty language and sophisticated sexy innuendo to move the stories quickly forward, no Hallmark syrup here. Plots are unlike any other crime shows we've seen, no spoilers; just watch, you'll see.

The premise of "New Tricks" is based on three retired police officers whose investigative expertise and often cynical approach to crime solving build believable characters. Dialogue is clever, with references that are subtle but still current. Alun Armstrong is brilliant as an alcoholic savant. Amanda Redman is a perfect feminist Guv directing three older men; she's got a complicated past, but builds her team. Dennis Waterman and James Bolam complete the excellent leads. There are frequent cameos by outstanding actors seen more recently from Downton, Grantchester, Doc Martin, and Masterpiece. There's Sheila Hancock, Nicola Walker, Ian McNeice, Claire Bloom, Patrick Malahide and more.

Settle in, you'll watch and watch and miss them when they're gone.

We couldn't stomach it. We liked the original movie, loved the book and Leonard's writing. This TV series seems ill-cast, O'Dowd is not believable, not suited. The camera work varies from garish to dull and not in any artistic way. Buckets 'o blood that don't seem related to anything except graphic violence. There are too many other good crime/cop shows to bother with this.

Of course we're home. Of course we're looking for good TV shows from amazon prime. (Given that we pay gazillions for cable... let's find a free series.) We did, Burn Notice; and we are hooked. Well produced, interestingly cast, witty dialogue, stylish sets/costumes, super photography and fascinating locale. Even though it's been around awhile, it's not dated and it's not typical of a TV 'back in the day.' Burn Notice is fresh, snappy, believable with a hint of 007/Bond.

Individual episodes stand alone, but the series is ever more intriguing and engaging. We probably wouldn't change anything about this series and it's far better than so much schlock on network/cable in 2020. There's plenty of fast action: Explosions, car chases, kidnappings, hostage-taking, will they/won't they romance, older characters/very young characters, diversity, and the plots aren't duplicated.

Jeffrey Donovan brings a clever wit, and exceptional performances to the series. His co-stars Gabrielle Anwar, Bruce Campbell, Sharon Gless are solid talents. The interaction among these actors is a director's dream, a viewer's delight.

As a reviewer stated earlier, "7 seasons in one week." We're working on that, and we're tracking down other work by Westen, Anwar, Campbell and Gless.

Give this series a look, it's a great diversion from the realities of April 2020!

Character-driven series with appealing people who live in a Sydney apartment complex. Once the characters are established, the action and dialogue are well devised; viewers are really able to sympathize with or reject their behavior. There are believable twists and turns in plot, the Aussie scenery is gorgeous, and as someone noted, it's "binge worthy." It's a shame that there's no Season 3 available, we're so taken with the characters it's fascinating to project their futures! Some hurtful situations, some sex, some snark - but no exploding heads or shootings or horror. Just a sweet rom-com to enjoy when you want a break from violence and disturbance.

We just watched the last episode and we were thoroughly charmed by the series. Each episode stands alone, but it's helpful to have watched Upstairs, Downstairs to have a bit of context. Settings, costumes, staging are all authentic and the scripts are witty and and plots are clever, if sometimes far-fetched. That said, each story is diverting and the relationships between Sarah and Thomas and their casts are well drawn and believable. You really care about the people and their predicaments.

After leaving the Bellamy's, Sarah and Thomas have become equals, they push and pull and the plot lines seem to give each character equal worth. The idea that a woman could choose to simply travel and work and live with a man she's not married to is a surprise for that era. And the idea that a woman of that era not only challenges but succeeds in knocking back polite snobbish society is fun to watch.

These period pieces are enjoyable and interesting, and Pauline and John are exceptional actors who've worked in theatre, TV, movies. They are attractive and adept in building their characters.

If you're tired of screeching car chases, exploding body parts, pathologically abusive relationships that get more graphic with each episode... then you'll enjoy Thomas and Sarah.

Give it a try!

It's difficult to disagree with film lovers who are so enthusiastic about Phantom. But we will. Let's say you are searching for a movie to enjoy, to maybe even analyze or critique with friends. Let's say you choose Phantom at mall or at an art house.

Were you to be unaware of Anderson's rep, of the Kubrick influence, etc., you might just walk into this movie expecting to connect with characters on some level other than psychosis. The overwhelming effect of noir, of dark, of shadow, of neuroses is claustrophobic. We simply wanted to leave - physically and mentally - after the first half hour. There was not, for us, a moment of caring or connecting to any character. Yes, the actors are brilliant with their delivery and their body language; and the fashion scenes are interesting (gowns are gorgeous); but ultimately we didn't give a hoot who slept with whom or who slept at all (or who lived or died).

Because the plot line is so tenuous and so random, there's no real link to establish engagement.

Without being a spoiler, it's a challenge to even review this. You'll just have to decide whether your time and money are available for a couple of hours of dull pain. Read the review in the New Yorker mag some months ago for a more literate and critical explication.

We really enjoyed this film. It's a witty, spontaneous, engaging story of marriage(s). It's well-cast with actors who are utterly believable. Camera work is so good, great close-ups; captures authentic emotion and business. Sub-plot involves teens and kids - they are equally good and believable.

Set in London, the row houses and streets have such appeal. The age of this film does not diminish its value; some of the phones, the typewriters, etc., are visible much of the time but in no way distract from the contemporary validity of the story or its people.

See this movie if you are weary of TV snark, exploding bodies, car chases, buckets of blood. We will see this again, with some of our kids who've not been exposed to Mike Leigh or some of the good actors from the UK. You will be delighted!