tonya-jarrett's reviews

Catch You Later or in the U. S., The Game, isn't brilliant TV. It's a rather derivative cat and mouse thriller that doesn't have much new to say. There are performances though that really elevate this tired material: Robson Green, a longtime favorite actor of mine, is appropriately reptilian and charming when he needs to be. It is bonkers though, that the neighborhood group don't clue in sooner, the one exception being Sunetra Sarker as Huw Miller's wife.

By turns, she is angry, frustrated, tired, ultimately loyal and very strong in defense of Huw, seasoned enough to intuit a predator in their midst. It's a performance that works on several levels of believability and ultimately satisfying.

Which brings me to the incredible performance of Jason Watkins, who I bet I've seen in many a British movie/TV show but just don't remember. He gives a full bodied, fleshed out performance of a man obsessed with the one that got away, his white whale. And all his selfishness, determination, frustrations, anger and near hysteria at times, filtered through such human ticks, to get this killer off the streets burns through you. I thought he was just magnificent.

The show isn't required viewing, but if you're an actor, you can learn a lot by just sitting back and watching Jason Watkins work.

I find Flower of Evil to be second only to The Glory, truly one of the best of the Korean series out there. It is incredibly detailed in the arcs of the story, the misdirection, the red herrings and keeps you guessing. Maybe it didn't need to be so long in scope but perhaps the creator and writers thought it the best way to tell the story about real family, duplicitous family and just being human.

I take a point off for the very annoying music. It is almost like watching a Douglas Sirk film and it is absolutely not needed. Why not just depend on your extremely capable cast and the writing, set pieces, which are great. I do not understand this soapy, awful romantic music swelling up, threatening to swallow intimate and emotional moments.

It was a solid first act. It, at least, was interesting and intriguing, well acted, as you try to work out what is going on. How could Acts Two and Three be so awful. How did this get released? I'm still pissed at how I was taken in by daft reviewers out there framing the film as the best thing since sliced bread in the horror world. It isn't. Yeah, there is room in the horror genre for everything, even this dog, I guess. But that doesn't excuse the write-ups and reviews calling it inventive, scary, dark, brilliant (??) because it isn't. Watch The People Under the Stairs, Watch Hemlock Grove to see a truly perverse, frightening TV series with Bill Skarsgård. But don't piss down my back (The Outlaw Josey Wales) and tell ME it's raining. Three stars for Act One.

This is one of the best "The Secret Past Is Revealed" shows I've seen by far, in which the subtext is everything. That's what people criticizing Bella Heathcote's performance as Andy, are completely missing. There's a huge reason for the character's somewhat immature, clueless & more importantly hauntingly lost quality at the beginning of the series; 30 years old and not really knowing who you are. What a fine job she does with a character who apparently inherited both her parents' good and bad qualities, tenacity being one.

I don't know what series the negative reviewers were watching but I had a fine time with this political/personal saga on the small screen. Fine production values and acting all 'round.

I stumbled onto this series today, and have watched episodes 1 and 3 (2 sounded boring) and I'm done. This is one of the worst adaptations of a film to series I've ever seen, and it is mind boggling Richard Curtis had anything to do with it.

There's a reason the film is so loved; it has heart, charm, wit, laughter and tragedy, all mixed together in an artful way. It has Hugh Grant, Charles, stammeringly expressing his love for Carrie, Andie McDowell (who makes a ghastly appearance here), via the words of a song David Cassidy was famous for. It has great writing. This series has characters so arch, paper-thin and dishwater-dull I nearly wept, I'm not kidding.

Mindy Kaling has a product, and it's ridiculous, vapid, BS like this, with no idea how to keep the tone of the film and update it to 2019. I'm staggeringly insulted by this dog and pony show trading on the title of the film to sell it.

2 stars for some nice scenery of London.

I should always avoid movies that are touted as the next best thing in horror. Still, I was curious, particularly because Richard Armitage was involved.

This is a thinly-veiled exercise in masochism, which takes a long time to unmask its reveal, as well as being confusing as hell. As another reviewer here said, I did not feel good at the end of this film. Horror is usually cathartic but this was like being plunged into a depressive state, along with the lead actress.

Better writing and tightening, and a far stronger narrative might have aided the story, but as it is, nah. Wouldn't it have been far better if the people responsible for the whole scenario had been unrepentant? Rhetorical question. I think, yes.

Some good acting here, but the pace is leaden and Richard Armitage's contribution being basically a cameo, is criminal.

I wish there were a separate listing for Season 2 of this anthology horror show, but this will have to do.

Not sure what happened but the quality of this second season blows Season 1 out of the water; production values, location, plot, acting. While it might seem there is the usual derivative disguised killer theme at work, there is guesswork on hand for the audience to make their own decision, clever use of flashbacks, and misdirection. Really, well done all involved. A good ride.

The narrative of a horror film does not have to have Bullitt's Mustang at full throttle every second or blood and gore fogging up the movie or TV screen. Films about people, how they survive, move forward, or at least try to do that are, for me, ultimately more interesting and more moving. With spare details to go on and information during flashbacks about the female protagonist, Ann, and her family (Jason and their baby) filling in, you are left to use your imagination about how an illness not named decimated the United States. Ann has been on her own for a year when we meet her and we watch her daily routine just to stay alive and away from creatures who were once human. Eventually, she meets two other survivors who fill up some of her loneliness, but inevitably with human beings and all of their quirks and hidden emotional turmoil, events shift rapidly.

If you can't watch stillness, listen to the sounds of nature, and let yourself be immersed, you won't be able to watch this film. Just know it's the stillness and beauty of the remote area juxtaposed with some horrifying moments that brings out the intensity of trying to survive day by day in this post-apocalyptic world. The actors who bring these characters to life are strong, mostly because they seem like real people, not actors trying to "be" real people. I cared about all of them and enjoyed the ride immensely.

What do you call Zach Whedon's little gem of a film? It's part romance, part mystery, and part thriller, and all good and intriguing. It's not a loud film, despite the action sequences; it has nuance, and lovely touches in the Aaron Paul (David) and Annabelle Wallis (Claire) relationship.

The film begins with a misdirection, actually a long-standing motif with David and Claire, which creates tension from the get-go and almost a quality of premonition for the rest of the film. I never watched Breaking Bad but was impressed by how good Aaron Paul's Everyman was, doggedly putting himself though Hell to find an answer when something happens to Claire.

I was equally impressed with how Whedon took David from a Naif out of his element to a little more savvy the deeper he dug, trying to find information along the way on his quasi-detective journey.

Nice acting from everyone involved. You will probably recognize a few actors you've seen before in film and television.

True love WILL make you do the wacky. I really enjoyed this film.

I watched this today, being sucked in by the "name" of James Caan, whose storied career as an actor still means something to me. Look, I get it. Even Laurence Olivier did low-budget crap that was beneath him, and Polaroid commercials. He had another family, he needed the money. I know Mr. Caan didn't do this for the acting thrill. This was like falling off a log for him, doing very very little.

Billed as a thriller, it barely has any tension. I believe one of the characters said it best, in so many words, when he began to object to what he and his friend were doing to the neighbor: "This is effed up". Yep.

I was leery of watching this series but found it to be far better than both films. There is quite an arc from Episode 1 to Episode 6 and gives the young protagonist ample opportunity to shine as a kind-hearted, smart, yet tough deliverer of justice. There is something so satisfying, watching a character grow the way Eve does. Along the way in the narrative, she has to toughen up even more and grow up quickly to achieve her objective. And there's hardship and a lot of pain along the way.

I appreciated that this is not merely a slice and dice horror series (the films are fine and offer an effective urban legend, but the overwhelming gore and terror wore me out), but something with nuance and back story. The episodes give you time to really care about the people involved in Eve's journey. And how refreshing there is a love story that transcends physical lust; more like two souls that found each other but ultimately couldn't be together.

As to the acting, mostly quite good. Lucy Fry, who has the gravitas and strength of a young Robin Wright, excels as Eve, out to avenge her loss. She is ably supported by a number of characters, particularly Dustin Clare as Sullivan, the police officer compelled to help her at any cost, a kindly female truck driver, and an escaped prisoner who becomes an ally. John Jarratt does his usual believable, sinister performance as the game-playing butcher, Mick, the guy you never want to run into in a dark alley, the Outback or anywhere else.

Great job.

I have confidence in Glen Mazzara's creation of this series, even if the critics out there trashing it, do not. One critic went so far as to say he would never give this show another chance after viewing the pilot. What tripe and how close minded. I gave Hannibal a chance, a re-working of another well-known character, and was richly rewarded. I intend to give this series a shot, let it unfold and see how it hits me, as a big fan of the 1976 Richard Donner film from which it draws thematically and musically. What I like about the pilot episode: the modern updating, the acting, the music, and not making Damien good or bad but basically innocent until his 30th birthday (why, I will leave for you to discover), upon which he must start grappling with horrific memories of his long-past childhood.

It makes no sense for Damien to start out evil in this show, as that leaves his character nowhere to go. What I hope will be explored is if the nature of evil, whether you believe in Revelation/the Bible or not, is a growth, a given, a concept that can be overcome, or something you ultimately must submit to and revel in as your true nature. And that conflict, the gray area, is much more interesting to me. This series will sink or swim, based on its ability to draw out that narrative. And in just viewing the pilot, I think it has a lot of possibility.

Read some reviews on Netflix and decided to watch the film. I'm glad I didn't listen to the negative reviews there. Whether or not you believe in psychic phenomena is besides the point. Something happened to 10-year-old Daniel Lutz in that house, something painful and terrifying which lives inside him to this day. He believes it happened and that's what is important as you watch the child within the man still struggling to cope.

I do agree with him on this: I also believe that evil exists and that it can be drawn to certain people. After what I learned about George Lutz by watching this documentary, it is possible there are paranormal elements which Daniel experienced, along with psychological fallout from his childhood. The pain was the worst thing to witness but I found his story, as he related it, credible. There is horror and then there is horror, and this documentary explores that. After presenting information from many of the original players in the Amityville Horror occurrence, parapsychologists, reporters, etc., it allows you to draw your own conclusions and that is what a good documentary does.

I gave the film an 8, not just for the qualities of the film everyone else years ago have mentioned, but for Jude Law's performance. Such a pleasure to stumble across this at Netflix instant watch. I always thought Law was completely overrated save for his savvy performance in A.I. I thought he was dreadfully cast in just about everything, showing no emotion I could connect to or subtlety of acting. I was wrong and am not ashamed to admit I was completely intrigued by him in this film. He was absolutely fearless and I don't know whether that is a testament to the director, to the director and script, or to Law/Director/Script.

It is as odd and wonderful as if you just stumbled over The Man Who Fell to Earth, which is not your stereotypical sci fi film. This is not your stereotypical vampire film and I highly recommend it.

I ATE UP the Hatfields & McCoys yesterday and today. Just finished Episode 3. I imagine like many people because I have hardly read anything about the history, their story for me has been one of cheesy backwoods feuds, a catchphrase to use to describe bad blood between people. Well, I could not have been more wrong and Kevin Costner has come forward, along with Kevin Reynolds to produce, star in, with Reynolds directing, this magnificent three-part series on the History Channel. While there is a bit of the Borgias and the Corleones (the McCoys and Hatfields, respectively) in their blood/honor feud, there still is a compelling and tragic story that informs how it all came to be.

Beautifully acted, scripted, produced. Costner has given us the quality of his film Open Range in Kentucky and West Virginia (but conveniently filmed in Romania to capture the open space, feeling and time of those places). Bill Paxton, Costner, and particularly Tom Berenger as Anse Hatfield's "Lieutenant" (who I did not recognize at all), disappear into their roles. Don't miss it - can be seen on Cable, On Demand if you've missed the run on History.

After viewing the third episode, these are my thoughts: I really quite like this show. It has a major Broadway star (Raul Esparza) in a supporting role and he's excellent (that's just a side note - thank you show runners). The premise is so much better than Ghost Whisperer, whose spirituality I found, at best, pretty saccharine. I did however, like the relationship between Melissa and Jim. You can't do much better than Jennifer Ehle as Dr. Holt's dead wife. Patrick Wilson is such a beautiful man and talented actor that I'm totally buying into his narcissistic Neurosurgeon character, who has enough restraint to not go after every woman he sees, and a good amount of decency left as a man and a doctor to still care about every patient, not just the rich. That inner struggle is what will keep the show interesting (and that people keep catching him talking to thin air is very amusing. He has a lot to learn about how to keep that on the down-low). So it's walking a fine line right now. He needs to always be somewhat torn, struggling with his sense of privilege, or it will turn into Dr. Michael Holt, Social Worker.

I sort of feel that his situation is like the Rolling Stones cover of You Can't Always Get What You Want (But if you try sometime, you just might find You get what you need). There seems to be a spiritual force involved that is trying to make him more balanced, to feel on a deeper level than exulting in his art as a surgeon (what we saw in the premiere episode was pretty cold and contained, but he has thawed a bit in each episode).

I like this show enough to stick with it and gave it a solid 7 out of 10 because it has room to grow.

This is less a review than an impression that I've been posting at a few sites - I'm an avowed cinephile so I hope that counts for something, but for people who have not seen this film yet, I only want to give a thumbnail. Sometimes a short emotionally-infused impression is better: Oh my. I'm just back from the film and espresso afterward. Never cried so much at any film version of this story. Finally, the best-paired two actors, a writer who knew how to bring out the best of the novel, and a director to pull it all together. Somehow, Director Fukunaga found a way to make it fresh without any modernism at all, with help from Screenwriter Moira Buffini. I do not want to go into detail - I want you to discover this film for yourself. I will say, for me, they mined everything that was important and gave it beautiful expression and downplayed the melodramatic elements of Bronte's story. They simply aren't necessary. We now have a definitive version of Jane Eyre for the ages.

LaBute's Death at a Funeral is indeed in some ways, more effective than the original. I personally think that the more uptight the family (the original, with a British cast), the better, and more jarring the scatological/drug humor and sexual peccadilloes will be, but this version surprised me. It is a much more warmed up version of Oz's film, which helps the film along immensely. After all, this is supposed to be comedic farce, and while Brits are quite good at it, that wasn't evident in the original.

James Marsden turned out to be a stunningly good physical comedian (I really only remember him from the X-Men films but pretty sure I've seen Disturbing Behavior and a couple of other things). He manages to far surpass the creativity and humor of Alan Tudyk in Oz's version (playing the boyfriend of a family member of the deceased). All the cast make solid contributions, though it is a bit disturbing to see Danny Glover playing the thankless role of the old, mean-ass, obscenity-spewing uncle, who torments Tracy Morgan's character.

Peter Dinklage is even better playing the same role of the mysterious funeral attendee with a disturbing secret and Martin Lawrence looks good and his acting is quite good, as the successful younger novelist brother of Chris Rock (in a thoughtful and restrained performance), the older brother who is trying to hold it all together. Lawrence seems to have gotten himself straightened out after his troubles some time back and has also had his shtick pulled back by Director LaBute. While it was somewhat embarrassing for me to be laughing uproariously in a movie theater in which there were only six or seven adults present, laugh I did. Couldn't help myself.