PandoraProductions4
Joined Jun 2014
Welcome to the new profile
Our updates are still in development. While the previous version of the profile is no longer accessible, we're actively working on improvements, and some of the missing features will be returning soon! Stay tuned for their return. In the meantime, the Ratings Analysis is still available on our iOS and Android apps, found on the profile page. To view your Rating Distribution(s) by Year and Genre, please refer to our new Help guide.
Badges9
To learn how to earn badges, go to the badges help page.
Reviews38
PandoraProductions4's rating
Bad dialogue, unlikeable characters, boring plot, superficial visuals, not very compelling thematically. There is a not very much else to say about it, I almost feel asleep while watching the first two episodes. Nothing happened! The worst part is Galadriel who is portrayed like a religious zealot, complete with crazy eyes. The not-Hobbits are gross and dirty, and feel like an amateur theatre production. The elves don't look right. The one okay thing about this is the dwarves look fine and some CGI vistas look decent. A pity the story is terrible. Tolkien would not approve of his story being bastardized in this way, he's rolling in his grave.
Slow, moody and repressed, Dangerous Lies is the newest feature film offering from Netflix, a streaming service with a very weak track record when it comes to original content, not withstanding a couple successful television shows and documentaries.
Directed by Michael Scott and penned by David Golden, both of whose resumes mostly include Hallmark and Lifetime television movies, the film looks and plays like a fairly generic example of those aforementioned television productions.
The plot starts out fairly simply, before devolving into a convoluted mess. Katie (Camilla Mendes of Riverdale fame), and her husband Adam (Jessie T. Usher) move into a large "Chicago" (though actually and clearly Vancouver) mansion when its owner Leonard (bizarrely, Elliot Gould) dies under suspicious circumstances and leaves everything to Katie. The police keep asking questions, and the young couple seem to have a dubious sense of morals.
Development leads to development and red herrings trip over red herrings before we realize the full truth a full 4 minutes before the movie ends. The fact that there are still unresolved plot holes when the credits roll don't seem to worry the filmmakers much.
The movie plays like a rather by the numbers mystery thriller. There is not much to say about the performances because there is not much performing going on. The wooding acting is at least tolerable in Camilla Mendes' case, a young lady who is very easy on the eyes, even though she is wearing approximately fifteen pounds of make up in every scene.
The dialogue is about what you would expect from something like this, exposition delivered in the most blunt and apparent way. The subtext, as Giles from Buffy would say, is mostly just...text.
In terms of the visuals, the film is competently shot, though the cinematographic choices are conservative and unoriginal. The colour grading is very obvious throughout the movie, perhaps an attempt to make the end product look closer to Riverdale, the audience of which are no doubt the same target as this film. There is a slight orange tint to the exterior shots which I suppose is supposed to suggest Chicago, though it obviously was filmed in Vancouver, as most Netflix productions are at this point.
Despite all this, I did find the movie vaguely compelling in a "what is the solution to this mystery" way, though the movie does a bad job of providing any clues to help an attentive audience follow the plot, preferring to instead reveal things with no set up or payoff. To each their own, I suppose.
Dangerous Lies clunks along like the bad but watchable Lifetime-esque movie it is. It does nothing that hasn't been done before several dozen times, some better and some worse, and leaves the viewer with a slightly unsatisfied feeling as of "oh, I guess that was it?". The lies that Dangerous Lies tell are mostly to the audience, but end up being ruefully not dangerous.
Directed by Michael Scott and penned by David Golden, both of whose resumes mostly include Hallmark and Lifetime television movies, the film looks and plays like a fairly generic example of those aforementioned television productions.
The plot starts out fairly simply, before devolving into a convoluted mess. Katie (Camilla Mendes of Riverdale fame), and her husband Adam (Jessie T. Usher) move into a large "Chicago" (though actually and clearly Vancouver) mansion when its owner Leonard (bizarrely, Elliot Gould) dies under suspicious circumstances and leaves everything to Katie. The police keep asking questions, and the young couple seem to have a dubious sense of morals.
Development leads to development and red herrings trip over red herrings before we realize the full truth a full 4 minutes before the movie ends. The fact that there are still unresolved plot holes when the credits roll don't seem to worry the filmmakers much.
The movie plays like a rather by the numbers mystery thriller. There is not much to say about the performances because there is not much performing going on. The wooding acting is at least tolerable in Camilla Mendes' case, a young lady who is very easy on the eyes, even though she is wearing approximately fifteen pounds of make up in every scene.
The dialogue is about what you would expect from something like this, exposition delivered in the most blunt and apparent way. The subtext, as Giles from Buffy would say, is mostly just...text.
In terms of the visuals, the film is competently shot, though the cinematographic choices are conservative and unoriginal. The colour grading is very obvious throughout the movie, perhaps an attempt to make the end product look closer to Riverdale, the audience of which are no doubt the same target as this film. There is a slight orange tint to the exterior shots which I suppose is supposed to suggest Chicago, though it obviously was filmed in Vancouver, as most Netflix productions are at this point.
Despite all this, I did find the movie vaguely compelling in a "what is the solution to this mystery" way, though the movie does a bad job of providing any clues to help an attentive audience follow the plot, preferring to instead reveal things with no set up or payoff. To each their own, I suppose.
Dangerous Lies clunks along like the bad but watchable Lifetime-esque movie it is. It does nothing that hasn't been done before several dozen times, some better and some worse, and leaves the viewer with a slightly unsatisfied feeling as of "oh, I guess that was it?". The lies that Dangerous Lies tell are mostly to the audience, but end up being ruefully not dangerous.
Sometimes the simplest stories are the most compelling.
A man rushes to the bedside of his dying wife.
No sound except the lovely score by José Villalobos, which effectively helps convey emotion.
Told completely in slow-motion- an interesting creative choice.
It's visually impressive, jam packed with symbolism, and shows what can be done with not the largest budget, I'm guessing.
Clocking it at 3 minutes, it doesn't overstay it's welcome, but ends just at the right time and on the right note.
It moved me. I liked it. Check it out.
A man rushes to the bedside of his dying wife.
No sound except the lovely score by José Villalobos, which effectively helps convey emotion.
Told completely in slow-motion- an interesting creative choice.
It's visually impressive, jam packed with symbolism, and shows what can be done with not the largest budget, I'm guessing.
Clocking it at 3 minutes, it doesn't overstay it's welcome, but ends just at the right time and on the right note.
It moved me. I liked it. Check it out.
