gfarrell0
Joined Jan 2015
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Ratings3.7K
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Reviews51
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Rescue: HI-Surf
Rescue: HI-Surf Review
"Rescue: HI-Surf" has all the ingredients for a hit series, yet it stumbles with its lead characters. Arielle Kebbel stars as Emily Wright, the main protagonist whose performance feels flat, compounded by a character that lacks depth and development. Her love interest, Will Ready, portrayed by an Australian actor, shows potential but is underutilized, left with little to do to advance the plot or showcase his acting chops.
At its core, "Rescue: HI-Surf" feels like a modern-day "Baywatch" with the storytelling ambition of "9-1-1." Filmed against the stunning backdrop of Hawaii, the series benefits immensely from its picturesque setting, which adds a vibrant visual appeal. The secondary cast is where the show shines, featuring well-cast actors who bring authenticity and energy to their roles, making the supporting storylines engaging.
Currently, "Rescue: HI-Surf" sits in a middling territory - it's enjoyable enough if you stumble upon it, but not compelling enough to ensure weekly viewership. To elevate from a one-season wonder to a long-running series, significant changes are necessary. Replacing the lead actress with someone who can add more charisma and depth to Emily, along with sharpening the writing to include stronger, more dynamic storylines, could turn this show into a must-watch. Without these changes, "Rescue: HI-Surf" risks being just another fleeting entry in the TV landscape.
Rescue: HI-Surf Review
"Rescue: HI-Surf" has all the ingredients for a hit series, yet it stumbles with its lead characters. Arielle Kebbel stars as Emily Wright, the main protagonist whose performance feels flat, compounded by a character that lacks depth and development. Her love interest, Will Ready, portrayed by an Australian actor, shows potential but is underutilized, left with little to do to advance the plot or showcase his acting chops.
At its core, "Rescue: HI-Surf" feels like a modern-day "Baywatch" with the storytelling ambition of "9-1-1." Filmed against the stunning backdrop of Hawaii, the series benefits immensely from its picturesque setting, which adds a vibrant visual appeal. The secondary cast is where the show shines, featuring well-cast actors who bring authenticity and energy to their roles, making the supporting storylines engaging.
Currently, "Rescue: HI-Surf" sits in a middling territory - it's enjoyable enough if you stumble upon it, but not compelling enough to ensure weekly viewership. To elevate from a one-season wonder to a long-running series, significant changes are necessary. Replacing the lead actress with someone who can add more charisma and depth to Emily, along with sharpening the writing to include stronger, more dynamic storylines, could turn this show into a must-watch. Without these changes, "Rescue: HI-Surf" risks being just another fleeting entry in the TV landscape.
September 5 is an outstanding cinematic achievement and a must-watch for any film enthusiast. This film revisits the harrowing story of the Munich hostage crisis during the 1972 Olympics, but it distinguishes itself by offering a fresh perspective through the lens of the ABC news crew.
The screenplay and performances are nothing short of top-notch. The narrative is compelling, weaving a tale that keeps viewers on the edge of their seats from start to finish. This movie holds particular historical significance as it was during this event that the world witnessed live coverage of a terrorist attack for the first time, thanks to ABC's pioneering worldwide broadcast.
John Magaro delivers a career-defining performance as Geoffrey Mason, the junior sports director at ABC, capturing the intensity and complexity of his character with remarkable depth. His portrayal is so powerful that it's hard to imagine him not being in the running for an Academy Award.
Leonie Benesch shines as Marianne Gebhardt, a German citizen embarking on her first day at ABC. Her role is crucial to the storyline, providing both innocence and insight, and Benesch's acting brings a poignant authenticity to the character.
Peter Sarsgaard plays Roone Arledge, the dynamic ABC sports executive who not only leads his team but also navigates the high-stakes environment of live broadcasting. His character's struggle for airtime and control over the narrative against ABC's news division and rival network CBS adds layers of corporate and ethical tension to the already gripping plot.
Overall, September 5 is not just a recount of historical events but a masterful exploration of human responses to crisis, journalism ethics, and the dawn of global media. It's a film that resonates with authenticity, drama, and the human spirit's resilience in the face of tragedy.
The screenplay and performances are nothing short of top-notch. The narrative is compelling, weaving a tale that keeps viewers on the edge of their seats from start to finish. This movie holds particular historical significance as it was during this event that the world witnessed live coverage of a terrorist attack for the first time, thanks to ABC's pioneering worldwide broadcast.
John Magaro delivers a career-defining performance as Geoffrey Mason, the junior sports director at ABC, capturing the intensity and complexity of his character with remarkable depth. His portrayal is so powerful that it's hard to imagine him not being in the running for an Academy Award.
Leonie Benesch shines as Marianne Gebhardt, a German citizen embarking on her first day at ABC. Her role is crucial to the storyline, providing both innocence and insight, and Benesch's acting brings a poignant authenticity to the character.
Peter Sarsgaard plays Roone Arledge, the dynamic ABC sports executive who not only leads his team but also navigates the high-stakes environment of live broadcasting. His character's struggle for airtime and control over the narrative against ABC's news division and rival network CBS adds layers of corporate and ethical tension to the already gripping plot.
Overall, September 5 is not just a recount of historical events but a masterful exploration of human responses to crisis, journalism ethics, and the dawn of global media. It's a film that resonates with authenticity, drama, and the human spirit's resilience in the face of tragedy.
"Star Trek: Section 31" is a visually stunning venture into the Star Trek universe, with Paramount sparing no expense on production values. The casting, led by Michelle Yeoh as Emperor Philippa Georgiou, is commendable. However, the series struggles significantly with its narrative coherence and character development.
Story and Premise: The show departs from the traditional Star Trek format, focusing not on the adventures of a ship and its crew but on Section 31, portrayed as the Starfleet's equivalent to the CIA. This reimagining turns the series into something akin to "Mission: Impossible" set in space. The attempt to introduce a "Suicide Squad"-like team into this universe feels forced and lacks the clear mission objectives that fans might expect from a Star Trek narrative.
Character Critique: Emperor Philippa Georgiou: Michelle Yeoh delivers a powerful performance, but the character's portrayal as an ultra-villain who casually eliminates family and friends' strains believability, especially given her background as a Starfleet captain. Her transition to Section 31 does not mitigate these issues.
The Squad: Fuzz (Sven Ruygrok) - A mechanical warrior cyborg whose main trait is brute strength without much depth, reducing him to a cliché.
Quasi (Sam Richardson) - A shapeshifter whose comedic background doesn't translate effectively into this darker, spy-focused narrative.
Alok Sahar (Omari Hardwick) - As the second-in-command with centuries of experience, he feels like a generic, loyal company man, reminiscent of Colonel Rick Flag from "Suicide Squad." Melle (Humberly Gonzalez) - A seductive Deltan whose character doesn't push beyond stereotype.
Rachel Garrett (Kacey Rohl) - A by-the-book Starfleet officer doubling as an IT expert, but her character lacks the depth needed for viewer investment.
Zeph (Robert Kazinsky) - A human-robot hybrid controlled by a tiny alien, intended perhaps as comic relief but coming off as bizarre, especially with his supposed Vulcan heritage.
Character Dynamics and Engagement: The team lacks chemistry, and their interactions do not foster audience connection or investment. Each member's backstory and motivation are either too thinly sketched or too confusing, making it hard for viewers to care about their fates or the missions they undertake.
Narrative Confusion: The show mixes elements of mystery and espionage in a way that often feels muddled. The missions lack the clear, compelling narrative arcs that are a hallmark of Star Trek storytelling, leaving the audience with a sense of narrative drift rather than purposeful adventure.
Conclusion: "Star Trek: Section 31" has the potential to explore darker, more nuanced aspects of the Star Trek universe but falters in execution. With high production values but a confusing plot and underdeveloped characters, this series might appeal to those looking for a new twist on the franchise, but it's likely to disappoint long-time fans expecting the depth and moral complexity typically found in Star Trek.
Story and Premise: The show departs from the traditional Star Trek format, focusing not on the adventures of a ship and its crew but on Section 31, portrayed as the Starfleet's equivalent to the CIA. This reimagining turns the series into something akin to "Mission: Impossible" set in space. The attempt to introduce a "Suicide Squad"-like team into this universe feels forced and lacks the clear mission objectives that fans might expect from a Star Trek narrative.
Character Critique: Emperor Philippa Georgiou: Michelle Yeoh delivers a powerful performance, but the character's portrayal as an ultra-villain who casually eliminates family and friends' strains believability, especially given her background as a Starfleet captain. Her transition to Section 31 does not mitigate these issues.
The Squad: Fuzz (Sven Ruygrok) - A mechanical warrior cyborg whose main trait is brute strength without much depth, reducing him to a cliché.
Quasi (Sam Richardson) - A shapeshifter whose comedic background doesn't translate effectively into this darker, spy-focused narrative.
Alok Sahar (Omari Hardwick) - As the second-in-command with centuries of experience, he feels like a generic, loyal company man, reminiscent of Colonel Rick Flag from "Suicide Squad." Melle (Humberly Gonzalez) - A seductive Deltan whose character doesn't push beyond stereotype.
Rachel Garrett (Kacey Rohl) - A by-the-book Starfleet officer doubling as an IT expert, but her character lacks the depth needed for viewer investment.
Zeph (Robert Kazinsky) - A human-robot hybrid controlled by a tiny alien, intended perhaps as comic relief but coming off as bizarre, especially with his supposed Vulcan heritage.
Character Dynamics and Engagement: The team lacks chemistry, and their interactions do not foster audience connection or investment. Each member's backstory and motivation are either too thinly sketched or too confusing, making it hard for viewers to care about their fates or the missions they undertake.
Narrative Confusion: The show mixes elements of mystery and espionage in a way that often feels muddled. The missions lack the clear, compelling narrative arcs that are a hallmark of Star Trek storytelling, leaving the audience with a sense of narrative drift rather than purposeful adventure.
Conclusion: "Star Trek: Section 31" has the potential to explore darker, more nuanced aspects of the Star Trek universe but falters in execution. With high production values but a confusing plot and underdeveloped characters, this series might appeal to those looking for a new twist on the franchise, but it's likely to disappoint long-time fans expecting the depth and moral complexity typically found in Star Trek.
