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Matthew Krueger (10051 KP) rated Basic Instinct (1992) in Movies
Apr 17, 2021
Love The Way You Lie
Basic Instinct- is a excellent erotic thriller. Both Micheal Douglas and Sharon Stone are excellent in it.
The plot: The mysterious Catherine Tramell (Sharon Stone), a beautiful crime novelist, becomes a suspect when she is linked to the brutal death of a rock star. Investigated by homicide detective Nick Curran (Michael Douglas), Catherine seduces him into an intense relationship. Meanwhile, the murder case becomes increasingly complicated when more seemingly connected deaths occur and Nick's psychologist and lover, Beth Garner (Jeanne Tripplehorn), appears to be another suspect.
Douglas recommended Kim Basinger for the role of Catherine Tramell, but Basinger declined. He also proposed Julia Roberts, Greta Scacchi and Meg Ryan but they also turned down the role, as did Michelle Pfeiffer, Geena Davis, Kathleen Turner, Ellen Barkin, and Mariel Hemingway. Verhoeven considered Demi Moore.
She was paid $500,000, a low sum relative to the film's production budget. Michael Douglas was determined to have another A-list actress starring in the movie with him; worried to take the risk on his own, he was quoted as saying "I need someone to share the risks of this movie. [...] I don't want to be up there all by myself. There's going to be a lot of shit flying around.
Basic Instinct is rated R for "strong violence and sensuality, and for drug use and language". It was initially given a commercially restrictive NC-17 rating by the MPAA for “graphic depictions of extremely explicit violence, sexual content, and strong language”, but under pressure from TriStar and Carolco, Verhoeven cut 35–40 seconds to gain an R rating.
Its a excellent thriller and a must watch.
The plot: The mysterious Catherine Tramell (Sharon Stone), a beautiful crime novelist, becomes a suspect when she is linked to the brutal death of a rock star. Investigated by homicide detective Nick Curran (Michael Douglas), Catherine seduces him into an intense relationship. Meanwhile, the murder case becomes increasingly complicated when more seemingly connected deaths occur and Nick's psychologist and lover, Beth Garner (Jeanne Tripplehorn), appears to be another suspect.
Douglas recommended Kim Basinger for the role of Catherine Tramell, but Basinger declined. He also proposed Julia Roberts, Greta Scacchi and Meg Ryan but they also turned down the role, as did Michelle Pfeiffer, Geena Davis, Kathleen Turner, Ellen Barkin, and Mariel Hemingway. Verhoeven considered Demi Moore.
She was paid $500,000, a low sum relative to the film's production budget. Michael Douglas was determined to have another A-list actress starring in the movie with him; worried to take the risk on his own, he was quoted as saying "I need someone to share the risks of this movie. [...] I don't want to be up there all by myself. There's going to be a lot of shit flying around.
Basic Instinct is rated R for "strong violence and sensuality, and for drug use and language". It was initially given a commercially restrictive NC-17 rating by the MPAA for “graphic depictions of extremely explicit violence, sexual content, and strong language”, but under pressure from TriStar and Carolco, Verhoeven cut 35–40 seconds to gain an R rating.
Its a excellent thriller and a must watch.
Lyndsey Gollogly (2893 KP) rated The Pillars of the Earth in Books
Aug 3, 2019
Very good read
Contains spoilers, click to show
Against this richly imagined and intricately interwoven backdrop, filled with the ravages of war and the rhythms of daily life, the master storyteller draws the reader irresistibly into the intertwined lives of his characters into their dreams, their labors, and their loves: Tom, the master builder; Aliena, the ravishingly beautiful noblewoman; Philip, the prior of Kingsbridge; Jack, the artist in stone; and Ellen, the woman of the forest who casts a terrifying curse. From humble stonemason to imperious monarch, each character is brought vividly to life.
The building of the cathedral, with the almost eerie artistry of the unschooled stonemasons, is the center of the drama. Around the site of the construction, Follett weaves a story of betrayal, revenge, and love, which begins with the public hanging of an innocent man and ends with the humiliation of a king.
I don't really know where to start. This book brought so much suspense ,fear ,love ,hate ,romance ,death and heartache! I loved it! I waited all 900+ pages for William to get what he deserved and it was worth it! This book showed how harsh life can be aswell as how amazingly strong people can be.
Highly recommended to anyone who hasn't yet read!
⭐⭐⭐⭐

The building of the cathedral, with the almost eerie artistry of the unschooled stonemasons, is the center of the drama. Around the site of the construction, Follett weaves a story of betrayal, revenge, and love, which begins with the public hanging of an innocent man and ends with the humiliation of a king.
I don't really know where to start. This book brought so much suspense ,fear ,love ,hate ,romance ,death and heartache! I loved it! I waited all 900+ pages for William to get what he deserved and it was worth it! This book showed how harsh life can be aswell as how amazingly strong people can be.
Highly recommended to anyone who hasn't yet read!
⭐⭐⭐⭐

Gareth von Kallenbach (971 KP) rated Vacation (2015) in Movies
Jun 19, 2019
It is hard to believe it has been 32 years since Chevy Chase took his family on their now infamous “Vacation” and in doing so launched a series that would eventually spawn four movies.
The well-meaning but unlucky Griswold family gave new meaning to family trips and Europe, Christmas, and Las Vegas will never be the same.
In the new version, Rusty (Ed Helms) works away as a pilot for a commuter airline which ensures he is home each evening to see his beloved wife Debbie (Christina Applegate) and their sons Kevin and James.
The family tradition has been to go to as cabin for the Memorial Day weekend but after hearing that their neighbors recently went to France and that Debbie yearns for a break from the cabin, Rusty opts to take the family on a road trip to Wally World, where he has fond memories from the trip he took as a child.
The idea of spending a long week in a car does not sit well with his family but they decide to indulge their father and hit the road.
It does not take long for the Griswold legacy to start and after a series of hysterical and outrageous encounters along the way ranging from an ill-fated Sorority reunion, an awkward father and son conversation at a pool, running afoul of a trucker, and some hysterical car problems, and more, the crew make it to Texas to see Rusty’s sister Audrey (Leslie Mann) and her husband Stone (Chris Hemsworth).
Rusty has always had a distrust of Stone as he flirts with his wife and shows off his toned physique whenever he can, and touts his success to all.
Naturally some more mishaps ensue on this visit and Rusty and his family continue their trip with stops to the Grand Canyon and Four Corners.
There are plenty of other moments but suffice it to say that challenges and mishaps are the Griswold way whenever a trip is involved and Rusty has to seek help from his parents which sets up a great finale as Chevy Chase and Beverly D’Angelo add to the fun.
The film has plenty of nods to moments from the series but is very much its own film and not a reboot. The humor in the film is a bit raw for those used to the recent PG-13 efforts from the series, but I think returning the series to the R-Rated origins of the original film was a good idea as it allows the unexpected and outrageous to happen more often and it does many times during the film.
I went in hoping for an amusing continuation of the series and what I got was a film that had me laughing throughout and had some cringe-worthy moments where my wife alternated between laughing and hiding her eyes from the outrageous antics.
The cast did a great job of carrying on the Vacation tradition while establishing their own characters. They are not retreads of Ellen and Clark, as Rusty and Debbie are very much their own people with everyday concerns.
Here is hoping we see this group down the Holiday Road again in the future.
http://sknr.net/2015/07/29/vacation/
The well-meaning but unlucky Griswold family gave new meaning to family trips and Europe, Christmas, and Las Vegas will never be the same.
In the new version, Rusty (Ed Helms) works away as a pilot for a commuter airline which ensures he is home each evening to see his beloved wife Debbie (Christina Applegate) and their sons Kevin and James.
The family tradition has been to go to as cabin for the Memorial Day weekend but after hearing that their neighbors recently went to France and that Debbie yearns for a break from the cabin, Rusty opts to take the family on a road trip to Wally World, where he has fond memories from the trip he took as a child.
The idea of spending a long week in a car does not sit well with his family but they decide to indulge their father and hit the road.
It does not take long for the Griswold legacy to start and after a series of hysterical and outrageous encounters along the way ranging from an ill-fated Sorority reunion, an awkward father and son conversation at a pool, running afoul of a trucker, and some hysterical car problems, and more, the crew make it to Texas to see Rusty’s sister Audrey (Leslie Mann) and her husband Stone (Chris Hemsworth).
Rusty has always had a distrust of Stone as he flirts with his wife and shows off his toned physique whenever he can, and touts his success to all.
Naturally some more mishaps ensue on this visit and Rusty and his family continue their trip with stops to the Grand Canyon and Four Corners.
There are plenty of other moments but suffice it to say that challenges and mishaps are the Griswold way whenever a trip is involved and Rusty has to seek help from his parents which sets up a great finale as Chevy Chase and Beverly D’Angelo add to the fun.
The film has plenty of nods to moments from the series but is very much its own film and not a reboot. The humor in the film is a bit raw for those used to the recent PG-13 efforts from the series, but I think returning the series to the R-Rated origins of the original film was a good idea as it allows the unexpected and outrageous to happen more often and it does many times during the film.
I went in hoping for an amusing continuation of the series and what I got was a film that had me laughing throughout and had some cringe-worthy moments where my wife alternated between laughing and hiding her eyes from the outrageous antics.
The cast did a great job of carrying on the Vacation tradition while establishing their own characters. They are not retreads of Ellen and Clark, as Rusty and Debbie are very much their own people with everyday concerns.
Here is hoping we see this group down the Holiday Road again in the future.
http://sknr.net/2015/07/29/vacation/
Movie Metropolis (309 KP) rated Finding Dory (2016) in Movies
Jun 11, 2019
Is it a return to form for Pixar/
For years, Pixar was an unstoppable force. The studio combined stunning animation with thought-provoking stories that adults and children could enjoy. From Toy Story to Wall.E, everyone, at some point will have watched a Pixar film.
Then a few things caused the bubble to burst. Firstly, other companies upped their game, big time, with Dreamworks in particular being hot on the heels of their rival. Secondly, Pixar’s own partner, Disney started churning out great animated films with Zootropolis and Wreck-it Ralph worth a mention.
Finally, Pixar lost its way. Cars and its dreadful sequel, followed by an underwhelming prequel to Monsters Inc and the marketing disaster that was The Good Dinosaur all culminated in a studio damaged by its own high standards. Now, in 2016, we have a sequel to arguably Pixar’s best film, Finding Nemo, but does Finding Dory build on its predecessor or sink faster than a stone?
Dory (Ellen DeGeneres) is a wide-eyed, blue tang fish who suffers from memory loss. The one thing she can remember is she somehow became separated from her parents as a child. With help from Nemo and Marlin, Dory embarks on an epic adventure to find them. Her journey brings her to the Marine Life Institute, a rehabilitation centre for diverse ocean species and from there; she tries to reunite with her long-lost relatives.
Finding Dory opens with a neatly packaged throwback to its predecessor, providing an easy way of getting the audience up to speed with what came before it – after all, it’s been 13 years since the release of the first film. From then on, it’s full steam ahead with a story that lacks the subtlety of Finding Nemo, but is engaging nonetheless.
The animation is you guessed it, exceptional. Nemo was one of the best films to showcase Pixar’s talents and its sequel continues that trend. The vibrancy of the colour palette is breath-taking and each shimmering wave makes you feel part of the watery depths. The blacks feel endless and the diversity of marine life just adds to the sparkle.
For adults, there are some cracking references to other films. Would you believe me if I told you Pixar managed to shoehorn an Alien homage in there? Well, they did, and it works beautifully. Couple that with a surprise turn from Sigourney Weaver as a park announcer and it’s a recipe for laughs all around.
Ellen DeGeneres takes centre stage this time around and rightly so. Dory is a loveable character, especially in her wide-eyed youth, and a very well-written one, despite her constant forgetfulness. Elsewhere, Idris Elba provides some laughs as a lazy sea lion and Ed O’Neill steals the show as a grumpy octopus.
Unfortunately, the final act of the film delves into unnecessarily and uncharacteristically silly territory. The joy of Pixar’s other works is that, despite their often out-of-this-world themes, they still feel grounded in reality. Dory’s finale is so ridiculous that it spoils the effect of the plot.
Nevertheless, you’ll be reaching for your tissues more than once as director and scriptwriter Andrew Stanton combines that heart-warming story with some lovely dialogue that will resonate with all generations.
Overall, Finding Dory isn’t the outright success it could’ve been, but it doesn’t continue the slip in Pixar’s quality either. The animation is truly wonderful and some of the references to more adult films are worked in very cleverly – but that final act; it’s just awful.
https://moviemetropolis.net/2016/08/01/is-it-a-return-to-form-for-pixar-finding-dory-review/
Then a few things caused the bubble to burst. Firstly, other companies upped their game, big time, with Dreamworks in particular being hot on the heels of their rival. Secondly, Pixar’s own partner, Disney started churning out great animated films with Zootropolis and Wreck-it Ralph worth a mention.
Finally, Pixar lost its way. Cars and its dreadful sequel, followed by an underwhelming prequel to Monsters Inc and the marketing disaster that was The Good Dinosaur all culminated in a studio damaged by its own high standards. Now, in 2016, we have a sequel to arguably Pixar’s best film, Finding Nemo, but does Finding Dory build on its predecessor or sink faster than a stone?
Dory (Ellen DeGeneres) is a wide-eyed, blue tang fish who suffers from memory loss. The one thing she can remember is she somehow became separated from her parents as a child. With help from Nemo and Marlin, Dory embarks on an epic adventure to find them. Her journey brings her to the Marine Life Institute, a rehabilitation centre for diverse ocean species and from there; she tries to reunite with her long-lost relatives.
Finding Dory opens with a neatly packaged throwback to its predecessor, providing an easy way of getting the audience up to speed with what came before it – after all, it’s been 13 years since the release of the first film. From then on, it’s full steam ahead with a story that lacks the subtlety of Finding Nemo, but is engaging nonetheless.
The animation is you guessed it, exceptional. Nemo was one of the best films to showcase Pixar’s talents and its sequel continues that trend. The vibrancy of the colour palette is breath-taking and each shimmering wave makes you feel part of the watery depths. The blacks feel endless and the diversity of marine life just adds to the sparkle.
For adults, there are some cracking references to other films. Would you believe me if I told you Pixar managed to shoehorn an Alien homage in there? Well, they did, and it works beautifully. Couple that with a surprise turn from Sigourney Weaver as a park announcer and it’s a recipe for laughs all around.
Ellen DeGeneres takes centre stage this time around and rightly so. Dory is a loveable character, especially in her wide-eyed youth, and a very well-written one, despite her constant forgetfulness. Elsewhere, Idris Elba provides some laughs as a lazy sea lion and Ed O’Neill steals the show as a grumpy octopus.
Unfortunately, the final act of the film delves into unnecessarily and uncharacteristically silly territory. The joy of Pixar’s other works is that, despite their often out-of-this-world themes, they still feel grounded in reality. Dory’s finale is so ridiculous that it spoils the effect of the plot.
Nevertheless, you’ll be reaching for your tissues more than once as director and scriptwriter Andrew Stanton combines that heart-warming story with some lovely dialogue that will resonate with all generations.
Overall, Finding Dory isn’t the outright success it could’ve been, but it doesn’t continue the slip in Pixar’s quality either. The animation is truly wonderful and some of the references to more adult films are worked in very cleverly – but that final act; it’s just awful.
https://moviemetropolis.net/2016/08/01/is-it-a-return-to-form-for-pixar-finding-dory-review/
BankofMarquis (1832 KP) rated The Laundromat (2019) in Movies
Aug 1, 2021
Fun and Interesting
Do remember the Oscar nominated film THE BIG SHORT from 2015, where Director Adam McKay would make sense out of a dry subject (the financial crisis of 2008) by breaking the 4th wall and speaking directly to the audience, while also wrapping in a very strong emotional drama?
Well…Director Steven Soderbergh (ERIN BROCKOVICH) has taken that recipe and attached it to another dry subject (this time money laundering through off-shore “Shell Companies”) and has turned in a very good and interesting (though not quite as intense) film that got lost in the shuffle in 2019.
Starring Meryl Streep as a widow who is trying to get her Insurance Company to pay off after the death of her husband, THE LAUNDROMAT follows the trail through shell company after shell company as the money is Laundered by 2 unscrupulous Bankers (Gary Oldman and Antonio Banderas) in a series of vignettes.
While THE LAUNDROMAT doesn’t pack the punch of THE BIG SHORT (where the real life consequences of what happened impacted many, many people throughout the world), THE LAUNDROMAT falls just short in that only Meryl Streep’s character really suffers the consequences (though many unscrupulous players do get theirs in the end).
Soderbergh is a Director who’s work I have really, really liked throughout his career as he has a tendency to focus on the people, rather than spectacle, when telling a story, and it works well in this film. He gets the audience to care about the victims of the scheming money men and root like crazy for the “bad guys” to get theirs.
As for the acting, Meryl Streep (of course) is marvelous as Ellen Martin, the widow who’s tragic experience (the death of her husband - played by the great James Cromwell) sets off the course of events in this film.
Oldman and Banderas are equally as good as the narrators and antagonists of this piece. They play their roles with a slight wink in their eyes and a “devil-may-care” attitude which makes them charming, but does take a notch (or so) off of the drama of the piece.
Soderbergh, as he is want to do, fills this film with many memorable actors/characters in what amounts to extended cameos - Jeffrey Wright, Robert Patrick, David Schwimmer, Will Forte, Chris Parnell, Larry Wilmore and even Sharon Stone stop by for a moment to bring other characters into play and they all work well.
To be fair, some of the vignettes work better than the others, but all-in-all Soderbergh has crafted an interesting, fun and IMPORTANT film that will teach it’s audience about the inner workings of a system that most of us have heard about but never really looked into.
Check out THE LAUNDROMAT the next time you are scrolling through Netflix looking for something good to watch.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Well…Director Steven Soderbergh (ERIN BROCKOVICH) has taken that recipe and attached it to another dry subject (this time money laundering through off-shore “Shell Companies”) and has turned in a very good and interesting (though not quite as intense) film that got lost in the shuffle in 2019.
Starring Meryl Streep as a widow who is trying to get her Insurance Company to pay off after the death of her husband, THE LAUNDROMAT follows the trail through shell company after shell company as the money is Laundered by 2 unscrupulous Bankers (Gary Oldman and Antonio Banderas) in a series of vignettes.
While THE LAUNDROMAT doesn’t pack the punch of THE BIG SHORT (where the real life consequences of what happened impacted many, many people throughout the world), THE LAUNDROMAT falls just short in that only Meryl Streep’s character really suffers the consequences (though many unscrupulous players do get theirs in the end).
Soderbergh is a Director who’s work I have really, really liked throughout his career as he has a tendency to focus on the people, rather than spectacle, when telling a story, and it works well in this film. He gets the audience to care about the victims of the scheming money men and root like crazy for the “bad guys” to get theirs.
As for the acting, Meryl Streep (of course) is marvelous as Ellen Martin, the widow who’s tragic experience (the death of her husband - played by the great James Cromwell) sets off the course of events in this film.
Oldman and Banderas are equally as good as the narrators and antagonists of this piece. They play their roles with a slight wink in their eyes and a “devil-may-care” attitude which makes them charming, but does take a notch (or so) off of the drama of the piece.
Soderbergh, as he is want to do, fills this film with many memorable actors/characters in what amounts to extended cameos - Jeffrey Wright, Robert Patrick, David Schwimmer, Will Forte, Chris Parnell, Larry Wilmore and even Sharon Stone stop by for a moment to bring other characters into play and they all work well.
To be fair, some of the vignettes work better than the others, but all-in-all Soderbergh has crafted an interesting, fun and IMPORTANT film that will teach it’s audience about the inner workings of a system that most of us have heard about but never really looked into.
Check out THE LAUNDROMAT the next time you are scrolling through Netflix looking for something good to watch.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Kirk Bage (1775 KP) rated I Am Not Okay With This in TV
Mar 3, 2020
Proof that Netflix can rule your life, in an OK way, I guess. Every time I have dropped in for the last two weeks, this is the show they went out of their way to push on me. I watched the trailer and thought hmm, I don’t get it… but after relentless publicity I ended up watching the entire first series within 36 hours of its release on February 26th. Which is easy enough to do, as the entire first series only lasts 2 1/2 hours, in 7 x 23 minute easy to swallow episodes. Another nice tactic for the attention deficient generation.
Based on the graphic novels of Charles Forsman, who also gave us The End of the F***ing World – an equally dark edged teen angst story, that has had 2 full seasons of similarly short episodes. It also continues the partnership of that series’ main director, British born Jonathon Entwistle, who seems happily stuck with this genre on his, as yet, limited CV. It stars the quirky charm of Sophia Lillis, best known from the It reboot movies, and Wyatt Oleff, also plucked from that franchise. And, oh yeah, it shares production credits with a small show called Stranger Things; so it has a pop culture pedigree 100% guaranteed to attract a young audience.
In terms of tone and direction, it does wobble at the beginning, but also shows a lot of promise, thanks largely to the watchability of Lillis, who is perfectly cast as a nervy, nerdy teen with a lot of smarts, but not too many friends. The humour is black, the satire subtle, and the delivery is disarmingly adult; on the surface this is a high school comedy, but underneath it is a fucked up, biting exploration of grief, paranoia and anger (mis)management – it pushes boundaries on content, visually and in use of language that only Netflix can endorse and get away with. Which of course is what audiences want!
The premise is that after the suicide of her father, 17 year old Sydney Novak is having some emotional issues beyond the normal teenage stuff of zits on your thighs. As she keeps a secret journal to document her worries and thoughts (heard in voice-over consistently, giving it a definite graphic novel thought bubble vibe) we are in from the start on the possibility she may have a dubious superpower linked to being pissed off.
It takes a while for that aspect to kick in, however, so don’t expect big, showy, superhero set pieces; this is a comedy drama that borrows from every teenage trope available, and is focussed more on the troubles of high school, a single mom and general growing pains. It is funny – I laughed, and found it a charming mix of something really modern feeling, but with retro vibes; it is clearly 2020, but could be 1985, a trick Stranger Things has taught them well.
Really, it is almost all over before it gets started, with these brief episode times – which is smart; no time to waste, so it moves along, and is always endearingly entertaining. In essence, what we have here is a 2 1/2 hour pilot show, chopped into bite sized chunks and released as a tease for the main show, which will be series 2. Think of it as an origin story, if you will. Undoubtedly, that 2nd series is already on the way. Early critical response is solid, and in about another month you will be hearing everyone and their cat talking about it, for sure.
The lack of originality didn’t massively bother me, as you could see what they were trying to do with it, and the large appeal is to recreate a teen world that feels familiar and comfortable, and then play with those preconceptions, choosing the right moments to flip it upside down. Which eventually it does. The final episode of seven is an absolute doozy! Talk about teasing cliff-hangers! They really know how to keep us hooked!
The best thing about it, by a country mile, is the obvious star quality of Sophia Lillis, who must surely use this as a stepping-stone to a fine career, if she can master the emotional scenes as well as the charming quirky ones, at which she already excels. She reminds me a lot of Ellen Page, without the unlikely gravitas… yet. There is time to mature. I will be there for season 2 for sure, so it will be exciting to find out where it all goes next – this is a big opportunity for a BIG little show. I am only half sure they won’t fuck it up…
Based on the graphic novels of Charles Forsman, who also gave us The End of the F***ing World – an equally dark edged teen angst story, that has had 2 full seasons of similarly short episodes. It also continues the partnership of that series’ main director, British born Jonathon Entwistle, who seems happily stuck with this genre on his, as yet, limited CV. It stars the quirky charm of Sophia Lillis, best known from the It reboot movies, and Wyatt Oleff, also plucked from that franchise. And, oh yeah, it shares production credits with a small show called Stranger Things; so it has a pop culture pedigree 100% guaranteed to attract a young audience.
In terms of tone and direction, it does wobble at the beginning, but also shows a lot of promise, thanks largely to the watchability of Lillis, who is perfectly cast as a nervy, nerdy teen with a lot of smarts, but not too many friends. The humour is black, the satire subtle, and the delivery is disarmingly adult; on the surface this is a high school comedy, but underneath it is a fucked up, biting exploration of grief, paranoia and anger (mis)management – it pushes boundaries on content, visually and in use of language that only Netflix can endorse and get away with. Which of course is what audiences want!
The premise is that after the suicide of her father, 17 year old Sydney Novak is having some emotional issues beyond the normal teenage stuff of zits on your thighs. As she keeps a secret journal to document her worries and thoughts (heard in voice-over consistently, giving it a definite graphic novel thought bubble vibe) we are in from the start on the possibility she may have a dubious superpower linked to being pissed off.
It takes a while for that aspect to kick in, however, so don’t expect big, showy, superhero set pieces; this is a comedy drama that borrows from every teenage trope available, and is focussed more on the troubles of high school, a single mom and general growing pains. It is funny – I laughed, and found it a charming mix of something really modern feeling, but with retro vibes; it is clearly 2020, but could be 1985, a trick Stranger Things has taught them well.
Really, it is almost all over before it gets started, with these brief episode times – which is smart; no time to waste, so it moves along, and is always endearingly entertaining. In essence, what we have here is a 2 1/2 hour pilot show, chopped into bite sized chunks and released as a tease for the main show, which will be series 2. Think of it as an origin story, if you will. Undoubtedly, that 2nd series is already on the way. Early critical response is solid, and in about another month you will be hearing everyone and their cat talking about it, for sure.
The lack of originality didn’t massively bother me, as you could see what they were trying to do with it, and the large appeal is to recreate a teen world that feels familiar and comfortable, and then play with those preconceptions, choosing the right moments to flip it upside down. Which eventually it does. The final episode of seven is an absolute doozy! Talk about teasing cliff-hangers! They really know how to keep us hooked!
The best thing about it, by a country mile, is the obvious star quality of Sophia Lillis, who must surely use this as a stepping-stone to a fine career, if she can master the emotional scenes as well as the charming quirky ones, at which she already excels. She reminds me a lot of Ellen Page, without the unlikely gravitas… yet. There is time to mature. I will be there for season 2 for sure, so it will be exciting to find out where it all goes next – this is a big opportunity for a BIG little show. I am only half sure they won’t fuck it up…