Tag: Drama

Finding Carter – Season 1 – Episode 1

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I may be a damn fine reviewer but I’m not a police procedural expert, however, I feel well equipped enough to say Finding Carter isn’t a realistic representation of what would occur if a missing girl was discovered, thirteen years after her kidnap.

After being picked up by the police with all her mates for trespassing on a fairground, Carter watches her pals go home while she waits for her mother to collect her from custody. Problem is, she’s been identified as a missing person and the police are waiting for child protective services.

In this show, protective services protect the child by dropping a massive bombshell: Your mom, isn’t your mom. She robbed you. And by the way, your real folks are here and they’re taking you home.

She even pleads that she isn’t ready. But any delay would slow the show, and we couldn’t have that.

Her real mom is Hurley’s girlfriend from Lost. She was more believable in that show as the crazy-turned-sensible-chaperone to the big guy. Here she plays the bad mom to Carter’s lovable thief mom. But even her rendition as a cop is more realistic than how the show pops Carter into a brand new family and within a day is perfectly comfortable.

She enjoys immediate immersion into the family dynamic and appears in no way phased by the 100% change to her situation. One character even says, “Wow! You must be majorly freaked out.” Yeah, she should be but if she was, it’d get in the way of taking her newly discovered sister to a party. So she goes to the party – without a care in the world.

If the show was carrying a deeper hidden message about the adaptability of children, and how Carter is the product of her experiences, including those that have been supressed and known only by the subconscious mind, this sequence would be a powerful metaphor. But this is MTV produced for a teen audience, rather than examine human factors, it’s more important to throw in some love interests.

There is a moment Carter tells the new mean Mom she is loveless and hasn’t displayed any affection to her family. New brother explains she is like this because of Carter’s kidnap. Rather than be touching, it’s MTV’s way of reminding us, Carter was kidnapped, the unfortunate family has suffered ever since.

Unnecessary twist alert! New Mom was having an affair with a cop she was using to follow Carter. She was going to leave her husband but can’t now. Oh, let that resentment build. Layered, MTV. Layered. Just so happens Carter’s latest love interest is the son of said cop.

The Mom that raised Carter, Lori Stevens, risks capture to arrive at Carter’s new (and deliberate) place of work just to see her. And also to dangle the there’s-more-to-this-than-you-realise carrot.

Whether that is enough to pull you back for more will depend on how much you have bought into the mess so far. I’m tempted because sometimes, when things are so bad and ludicrous, it almost makes them good.

4/10

A Touch of Grey – Review

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On the face of it, A Touch of Grey, had the chance to be an understated work of intelligence. Its premise is to reunite four women after twenty-five years. The former high school friends would compare notes, and with a comedic angle, examine one another’s lives.

That was on the face of it, at least. Instead the early moments in the film are far from funny. Cringe, yes, but not in a deliberate way. Less The Office and more like it’s been produced by people that normally work in a paper mill.

Terrible camera work is only spared the title of worst element by the dire dialogue. Clichéd, forced and delivered by actresses that prove why some are suited to commercials and others meant for the big screen.

The soundtrack would have sounded bad on a bad seventies daytime TV show even back in the seventies. The little snippets of this remove you further from anything remotely natural feeling – if that’s at all possible, with the jarring conversation that sounds like a primary school student has written it for a lazy homework piece.

In the early going, it’s understandable if you give up before the thirty-minute mark. After all, there’s still time to press Stop on the player and find another movie. But then enters our fourth and final woman. Angela Asher’s Liz saves the setup from descending into something even worse.

She delivers her lines in the informal but natural way they were intended. The bigger life issues come up. Suddenly it’s not middle-aged women acting like they think girls do on a get together, but relatable issues we all face.

It begins to feel less forced, more natural especially when Barb opens up her heart. This is another saving grace because up until this point the actress who plays Barb, Maria del Mar, was the figurehead of the film. She was carrying a failing concept on her back and was looking as broken as her character.

Her little nuances and facial expressions give the depth to the later scenes that were wasted early on. The gloss is removed and it actually goes a little dark. If the initial annoying stages were set to act as a contrast, it was unnecessary, what follows is poignant enough.

It goes from touching, Patti breaking down about age catching up with her body but her mind feeling young. To the ridiculous, when Barb puts a lemon in Patti’s eye to disguise her tears from the others.

It is moving, just about. It suffers from all the additional and unnecessary components the filmmakers assumed were required to get it on film. These only serve to detract from the core messages.

It should have been played out as if on stage, delivered in monologue rather than moanalong.

The final third of the film saves it from a terrible score. Although it should feel lucky it hasn’t suffered a lower mark in spite of this.

4/10

The Leftovers – Season 2 – Episode 10

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So an extended episode attempts to wrap up what has been an enthralling season. Even with the extra minutes, nobody expects all the answers. But things look bleak for Jarden as a whole and in particular Kevin Garvey, whose handprint on the girls’ car has now been identified. Oh yeah, and he’s been a little bit dead for an episode.

In a move that is either deus ex machina or a necessary plot device (I’ll let you decide), Kevin suddenly remembers the missing girls faked their disappearance. How that sits with you could change the perception of an entire season.

Knowing this doesn’t stop John Murphy shooting him and leaving Kev for dead . . . again.

So we head back to that strange hotel (afterlife or not?) where he once again finds a way to escape back to reality.

Once back on familiar ground the Guilty Remnants have enacted their plan. The illusion of a Miracle Town has given way to all-out anarchy. Peace has been destroyed and this time the cult has a strong foothold over a town.

Kevin and John makes friends, as you do after a friendly shooting, and pull together.

The ending is emotional and it’s easy to feel that Kevin has been on a journey. It all just feels a little contrived.

7/10

The Leftovers – Season 2 – Episode 9

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After taking a leap of faith and entering an unknown realm, episode 9 brings the viewer crashing back to reality. In doing so the real antagonists of the show resume their reign of terror. It means the full return of the Guilty Remnants.

We get a final bit of backstory about how Liv Tyler’s character, Meg, became disillusioned and then self-radicalised. This goes in unison with catching up with Tom Garvey. From the backstory we learn Meg has already been to Jarden with her husband, and with a desperate Tom in tow, she intends to return.

Finally, we get to see the plot the cult have been working to all along. They have become much harsher under Meg’s rule. At one point she orders a public stoning. The parallels to terrorism are deliberate and used to great effect.

After all the fantastical elements of Kevin’s journey, this is the harsh reality that awaits the characters.

The Guilty Remnants arrive in Jarden to end any sense of Eden and inflict their idea of hell. With it they bring answers about the missing girls.

8/10

The Revenant – Review

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For the second movie review running the delightful Tom Hardy graces the screen. But The Revenant is a Leonardo DiCaprio vehicle. All plaudits and attention have gone to him. After all the hype, thousands of memes fighting to ensure he bagged an Oscar, the dust has settled. What remains in the cold light of day raises a few problems.

Alejandro G. Iñárritu, director and screenwriter, hasn’t done a bad job. Let’s get that out of the way. The criticisms that follow are more down to the burden of the film’s own hype. It’s a visual feast and he has captured the harshness of the environment. At times it is a moving canvas. Sadly, a picture here doesn’t paint a thousand words. It just fills in some time before Leo rolls around in the snow and/or dirt again.

That brings us to the leading man. Before we go on, he didn’t deserve an Academy Award for this performance. Yeah, yeah, he did deserve one on his mantelpiece at some point. But not in this turn. At times the suspension of belief asks too much. At others he mumbles through plot holes. Like, literally.

After being mortally wounded after the famous bear scene (I’m sure you’ve all seen the publicity surrounding it) he is left unable to speak (took a nasty scrape to the throat). But he did manage to muster some words for his son when an emotional scene required it. Then he was silent again for an hour.

He also musters up energy when seconds previous he couldn’t raise an eyebrow. It made me raise mine. Numerous other scenes had the same effect. He fell off a mountain but survived the fall thanks to a tree and then copied Han Solo’s survival techniques from the Empire Strikes Back‘s Hoth scene, a whole 160 years before that movie had made its way to cinema screens.

Pointing fun at the film is the only way to not feel saddened at a missed opportunity.

This could have been a modern day Deliverance. Instead it is a film only powerful at times, at others it is more vacuous than the landscape it is set in.

And like his effort in Legend, Tom Hardy once again has a stellar performance overlooked. Last time it was down to a poor script. This time the story is better, but the focus all wrong.

It’s rating is based on the touching scenes, the moral of connection through adversity, Hardy’s contribution, and the visual delights.

7/10