WatcherFromTheSkies
Joined Dec 2015
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.
Badges2
To learn how to earn badges, go to the badges help page.
Reviews13
WatcherFromTheSkies's rating
One initial observation: It's good to see a filmmaker at least acknowledge the whole 'Covid' thing. In fact, the aftermath of that ongoing crime against humanity hangs over this film like toxic smog.
I always enjoy the nature vs nurture dynamic Mike Leigh brings into his films. Are his most dysfunctional characters products of their environment, or can they grab the steering wheel and change direction? I think this film handles that dilemma in a far more humane way than some of his others. I'm thinking in particular of 'Another Year'. The character of Mary shares many of the same qualities as Pansy, but I would argue the portrayal here is far more sympathetic and compassionate (perhaps that has everything to do with the character of the sister - a genuinely caring person without a hint of pity or condescension).
Then there's her long suffering husband, or is he the cause of her suffering (or does it even matter since it seems so mutual and locked in?), conditioned into near muteness; perhaps from a realization that whatever he says, he will get the same response. He's checked out, but he's still there. It's as if they are two extremes of the same failing - the failure to communicate with empathy, or to even try imagining a new way of doing things.
This is also his funniest film. I found it funnier than the previous high water mark, Nuts In May. And boy do we pay for those laughs later on, when it becomes deeply, tragically, authentically moving. The scene in the graveyard somehow conveys a whole life of pain in a few words and gestures.
So yeah. I liked it. This is what cinema is about, and the best post 'Covid' film I've seen.
I always enjoy the nature vs nurture dynamic Mike Leigh brings into his films. Are his most dysfunctional characters products of their environment, or can they grab the steering wheel and change direction? I think this film handles that dilemma in a far more humane way than some of his others. I'm thinking in particular of 'Another Year'. The character of Mary shares many of the same qualities as Pansy, but I would argue the portrayal here is far more sympathetic and compassionate (perhaps that has everything to do with the character of the sister - a genuinely caring person without a hint of pity or condescension).
Then there's her long suffering husband, or is he the cause of her suffering (or does it even matter since it seems so mutual and locked in?), conditioned into near muteness; perhaps from a realization that whatever he says, he will get the same response. He's checked out, but he's still there. It's as if they are two extremes of the same failing - the failure to communicate with empathy, or to even try imagining a new way of doing things.
This is also his funniest film. I found it funnier than the previous high water mark, Nuts In May. And boy do we pay for those laughs later on, when it becomes deeply, tragically, authentically moving. The scene in the graveyard somehow conveys a whole life of pain in a few words and gestures.
So yeah. I liked it. This is what cinema is about, and the best post 'Covid' film I've seen.
In 20th century communist and fascist states, it was unwise to tell the truth. Even within the confines of one's own home, informers were everywhere; there was no real privacy or trust. So as a matter of survival, people learned to lie, and make the lies become second nature. Often their permitted language was altered, so they no longer had the necessary words to describe their reality, or feelings, making some truths a literal impossibility, and distorting the perception and feel of basic reality.
Dissidents could move abroad if they were lucky enough to escape or be released, where they would be safe to speak their uncaged minds.
But in the present age of globalism, where the ideologies of money, corruption, and lethal force rule; where can we safely run to?
If I'm reading it correctly, this documentary provides us with all the pieces, then leaves it up to us to put them together into a meaningful whole. The sheer length of the thing means that those unwilling to expend the effort won't get much out of it, and any lazy incurious BBC censors won't see anything amiss.
The depiction of the official post 2020 narrative is all present and correct. We of course still remember how powerful corporations (including one with a record breaking criminal fine for fraud), and corrupt politicians, suddenly changed their ways, told the whole truth, and saved the world from new (and often incoherent) threats. Force and fraud were vanquished and we were all gently persuaded into saving ourselves, and Grandma (if she survived the inexplicably sharp and sudden Spring 2020 excess mortality death spikes, that somehow hit almost everywhere at the same time), with repeated injections of a miraculous life saving elixir. Millions were saved. Hurrah.
If this were the last documentary Curtis made, it would be enough. I felt a sense of peace after watching it. It's deeply hopeful and optimistic.
Dissidents could move abroad if they were lucky enough to escape or be released, where they would be safe to speak their uncaged minds.
But in the present age of globalism, where the ideologies of money, corruption, and lethal force rule; where can we safely run to?
If I'm reading it correctly, this documentary provides us with all the pieces, then leaves it up to us to put them together into a meaningful whole. The sheer length of the thing means that those unwilling to expend the effort won't get much out of it, and any lazy incurious BBC censors won't see anything amiss.
The depiction of the official post 2020 narrative is all present and correct. We of course still remember how powerful corporations (including one with a record breaking criminal fine for fraud), and corrupt politicians, suddenly changed their ways, told the whole truth, and saved the world from new (and often incoherent) threats. Force and fraud were vanquished and we were all gently persuaded into saving ourselves, and Grandma (if she survived the inexplicably sharp and sudden Spring 2020 excess mortality death spikes, that somehow hit almost everywhere at the same time), with repeated injections of a miraculous life saving elixir. Millions were saved. Hurrah.
If this were the last documentary Curtis made, it would be enough. I felt a sense of peace after watching it. It's deeply hopeful and optimistic.
This felt a lot looser and more relaxed than previous episodes, and captured more of the nasty bitter humour I was hoping for.
Some of the confrontations of previous episodes (other than the delightfully acerbic Richard E Grant) didn't really convince. They were like nice people pretending to be angry (I know, it's called acting, but I want to forget it's acting. The Thick of It worked so well because it was documentary level immersive).
Hoping the Gurgler actor stays (I'll look up his name later) as he's a very funny foil to the other characters, and just like Richard E, he's relishing that role!
Looking forward to the next episode.
Some of the confrontations of previous episodes (other than the delightfully acerbic Richard E Grant) didn't really convince. They were like nice people pretending to be angry (I know, it's called acting, but I want to forget it's acting. The Thick of It worked so well because it was documentary level immersive).
Hoping the Gurgler actor stays (I'll look up his name later) as he's a very funny foil to the other characters, and just like Richard E, he's relishing that role!
Looking forward to the next episode.