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If you didn't get the early 2000's cult classic Napoleon Dynamite and if you think Amazon's The Boys is too vulgar, HBO Max's Pacemaker is not for you.

The humor is crude and juvenile and the lead character, Peacemaker is off-putting, self absorbed, socially awkward and a caricature of toxic masculinity...but if you're not too prude, it's hilarious. Many of the jokes are funny simply because of the shock value. It's intellectual slapstick with a good lick of physical slapstick for good measure.

And, then there's the dark side. Robert Patrick plays a KKK-esque Grand Wizard type character who is a unapologetic, explicitly offensive, verbally, emotionally and probably physically abusive bigot and is the obvious villain of the show. He's beyond offensive and many people will hate the show because of the hurtful, foul things he says about homosexuals, people of Asian decent, Black people and any other non-white hetero male demographic. Dude is foul, but I have faith that this despicable character development is so viewers know who to root against when the protagonist is such a failed hero. Not an anti-hero, but a failed hero.

Don't look for this to be more than what it is. It's either for you or it isn't. If you can differentiate between being uncomfortable and being offended you'll probably enjoy the show but if you don't understand the nuance between the two you're going to hate it.

End Of Watch is approximately 99 minutes of potentially pulse pounding action and suspense and 10 minutes of "This is it?!?!"" payoff. 

The movie has been advertised in the above trailer and others as a gritty, action packed movie about two cops who through the course of duty cross a Mexican drug cartel and now must "watch their 6" (slang for watch your back) from violent retribution. 

This, by itself is a very interesting, compelling premise. Then add in the fact that the film was written and directed by David Ayers , the man behind (either as writer or director) other successful LA cop movies such as Training Day , Dark Blue , Street Kings , Harsh Times , S.W.A.T.  and even was the screenwriter of The Fast and Furious, it's a very exciting movie to look forward toward. Unfortunately, the execution of the idea got buried in over an hour and a half of attempting to build a rapport between the audience and the main characters. Except for a high-speed chase that opens the first three minutes, almost all of the action happens, literally, at the very tail end of the movie. 

We're subjected to extended time and conversations with Gyllenhaal and  Peña as they unsuccessfully attempt to establish believable chemistry between their characters. Although, as typical of a David Ayers script, the dialog is crisp and believable and captures (what I imagine) realistic cop jargon, the supposed friendship of the two characters feels forced, artificial and contrived.

The majority of the movie focuses on that relationship between LA police partners Brian Taylor (Jake Gyllenhaal ) and Mike Zavala (Michael Peña ) over the course of many months. (Since there is never a reference to a time-line anywhere throughout the film, which was a bit annoying, I originally thought the movie took place over a few days.) We see the officers' daily routine via lapel video cameras and a hand-held camera Taylor carries for a class project in which he's involved. The cameras document the officers as they serve warrants, make traffic stops & drug busts and assist fellow officers (including an almost unrecognizable America Ferrera  from Ugly Betty ) policing Precinct 13. The neighborhood is sometimes dangerous and difficult to patrol since a small Hispanic street gang's presence and influence grows as Mexican drug cartels infiltrate South Central Los Angeles. 

Colorful background characters are littered throughout the film including a Ayers' film regular casting: former LA Blood Gang member Cle Shaheed Sloan  as Mr. Tre.  As Sloan's face is recognizable to fans of director David Ayers' previous films and from Sloan's work in the LA  police TV drama Southland , this film is just as familiar. It's not as gritty, intriguing, complex nor exciting as any of his other, better films; just as familiar. The frantic ending is so similar to at least three other Ayer films that at the point of the film where the poorly built tension should finally peak, that it generates about as much suspense as a National Geographic special documenting zebras crossing a den of lions. A

Set in 1960s against the backdrop of the explosion of R&B thanks in large part to Berry Gordy and Motown Records, Sparkle is an artistic homage to the original 1974 film with it's own unique voice.

Looking to become the next Berry Gordy, a young man named Stix, played by Derek Luke (Friday Night Lights) helps three talented sisters form a R&B group which he hopes to get signed to a major record label. But as fame comes their way, it becomes more of a challenge for the family to stay together. Among those standing in the way of success is the girls' mother, Emma, a jaded and bitter former singer who now wants nothing more for her than "a respectful education and a relationship with the Lord."

American Idol winner, Jordin Sparks gives a adequate performance in her film debut as Sparkle, the youngest sister of the trio and Stix best chance at realizing his dream. It doesn't hurt they share the dream and a lot of chemistry. Carmen Ejogo channels Lonette McKee (Half & Half) and gives a stellar performance as Sister, the oldest, most defiant sister and the one most desperate for fame and fortune. The sister that the mother Emma fears will most likely follow in her footsteps.

Irony permeates a supporting part that was supposedly designed to be Whitney Houston's "comeback role" but instead sadly became her swan song. Although this was not a starring vehicle for Whitney, that fact, may be testament to her skill as an actor; not upstaging newcomer Sparks while still making her presence felt through her character's personality.

Surprisingly it's Mike Epps (Next Friday) who steals the show as Satin,a paradoxically evil stand-up comedian with whom Sister falls in love. His command of the screen displays his growth as an actor since his first roles as nothing more than comedic relief or bit parts early in his career. The fact that Epps who is a hilarious comedian in real life gave such a strong performance that was intentionally not funny but intensely dramatic should speak volumes to future casting directors who may have previously seen him as a one-note actor who would forever play sidekicks like "Black Dougs" as in The Hangover and Day-Days like his character in Next Friday and its sequel.

More than anything, Sparkle is a soulful musical complete with feel good R&B songs from the original like the Curtis Mayfield penned "Something He Can Feel" and "Hooked on Your Love" which are beloved classics today. Other catchy original songs for the film, like the melodic "One Wing" were produced by none other that R. Kelly himself. It's the gospel cornerstone "His Eye Is On the Sparrow" however, that provides Whitney an opportunity to provide yet another (but sadly her last) powerful performance that would make her mother, gospel legend, Cissy Houston proud.

Maybe it's that real life tragedy of that underlines the plot that also undermines it. Every time Whitney is on screen, one cannot help but feel a twinge of grief knowing she is no longer alive, ultimately because of the same showbiz demons that her onsceen daughter was battling.