Reviews

A crisply edited, easy to follow documentary tracing the inception, initial years, popular explosion and subsequent implosion of an innovative business model within the film industry ecosystem. Candid interviews with almost all of the key personalities make for a very interesting story that tells the all-too-familiar saga of how a single business proposition can evolve in all manner of unexpected directions based on the individual goals and ideas of whoever is at the helm of a business at any given point in its evolution. Those interested in general business practices and/or movies in general are likely to be highly engaged.

Though the script makes some changes from the story Mr. Wolfe penned, at its essence, this series is still very much about being "a man in full." The female characters are interesting and well-played, but they are incidental to the men they surround. What's really being examined here is how a wide variety of men -- some big and bold, some meek and mild, some white, some black, some moral, some corrput -- are ALL trying to reconcile their own and/or the culture's evolving idea of manliness (Charlie himself acknowledges that he may be "a dinosaur") with the reality of their daily lives -- and how that shared challenge brings them all into one another's orbit through a series of different events and circumstances.

The acting (accents notwithstanding) is solid, the writing is tart and rings true, the editing is crisp and the production values appropriately glamorous. This can be enjoyed as a simple entertainment, but there's a lot to chew on for those who are intrigued with the trouble guys create for themselves when striving to be "a man in full."

So interesting to compare the two versions, each quite outstanding. Would highly recommend the film to those who enjoyed the streaming series .... there are notable but not unenjoyable differences. To wit, you may find that ...

1. The film is considerably more "verbal" .... though not overwritten and consistently tonally pitch-perfect.

2. Ripley in the film comes across as a more multi-dimensional character .... more cultured, more self-aware, more charming and thus better able to deceive.

3. There is more explicitly sexual text and subtext in the film and even more romanticism.

The film is one of the most exquisitely cast I've ever viewed, and each and every player is at the top of his or her game. The same can be said for all of the craftsmen: glorious cintematography, sharp editing (even at an over two hour duration), remarkable art direction and costuming that is atmospherically perfect without ever coming across as studied.

Enjoy!

So much to admire and enjoy about this series!

1. Much has already been written about the cinematography, and it is, to be sure, one of the most gorgeous works of cinema to appear in years. Significantly, the black and white approach is not only artistic, but it also powerfully reinforces a sense of a time (early 1960's) many decades removed from our present so it serves the story very well in that regard by conveying the sense of a clearly period piece.

2. The acting is remarkably disciplined, and while the dialogue is beautifully crafted to enhance the sense of uneasiness and mistrust among the characters, it is sparse, so that the actors portray as much if not more with their unspoken expressions as they do with their lines. Very skillful performances from all.

3. Direction and editing is refreshingly unhurried and is perfectly suited to the leisurely existence of people who have very little with which to occupy themselves. Lonliness and isolation make for slow times, and the pacing here reflects that reality, even though the series doesn't drag... it remains suspenseful and maintains one's interest as a result of the great craftsmanship.

I'm not knowledgeable with regard to the actual fac ts of this docudrama, so can't/won't comment on its veracity or adherence to actual events.

But that said -- the recreation of the late 1970s/early 1980s Texan ethos around sport, family, ambition, masculinity, location, beliefs, and so on -- is recreated so evocatively and truthfully (and yet without being "studied") that one has to admire the director and his actors and artists for their extraordinarily unerring taste.

The tragedy of this family's life doesn't quite land with the impact that it might ..... but then again, perhaps that in itself truthful and in keeping with the mindset of the people involved ... a mindset that is saddened by misfortune, but too beaten up in the ring to be stunned into shock by the cruelties of life.

This is the art of cinema practiced by very skilled and talented pros, all around, and can be appreciated whether one is a wrestling enthusiast or not.

In today's age as the value and satisfactions to be derived from child rearing and belonging to an in person (versus virtual) community are increasginly devalued in favor of experiencing the pleasures of a more self-focused existence, this tale seems more timely than ever, as this issue is explored through the struggles of a married couple in 1950s suburban America debating whether to abandon their comfortable and predictable lifestyle (which they find false and oppressive) and instead, relocate to Paris for a more glamorous, intense, and hoped-for more self-actualizing existence.

All the production values are wonderful, with the score being especially haunting, and the entire cast embraces the very meaty script wholeheartedly; that said, it is impossible to get past the movie star brilliance of the two leads (DeCaprio and Winslet). They are miscast (not because they aren't both talented actors), but they're just not believable as suburban parents toiling away in anonymity; lesser known personalities would have served this provocative story more faithfully.

I saw this for the first time about 50 years ago. Enjoyed it thoroughly, but was too unschooled to appreciate fully its artistry. Resaw it recently due to seeing its being mentioned in an excellent book on movies of the 1950's. To invoke a current phrase -- OMG! Everything about this film -- the writing, acting, direction, cinematography, special effects (incredibly effective and believeable and way, way, way before their time), music, are beyond excellent. The ultimate praise is that the story, itself, is as far-fetched as any tale of science fiction -- and yet, thanks to the extraordinary sensitivity, subtlety and skill of the participants, the viewer buys in and totally suspends disbelief. A genuine masterpiece that makes our current sci=fi/fantasy so-called spectaculars look all the more cheesy and shallow in comparison.

That line is spoken by one of the characters in the film and it not only describes the specific situation in which it is said, but is an excellent summary of the film itself. In other words, there really isn't a story here, and those looking for a plot and dramatic scenario will likely be frustrated. On the other hand, if one is interested in the use of cinema to reveal many of the paradoxes of day to day living, then this beautifully acted film has much to offer. Among the numerous complexities this film addresses with unfailing tonal accuracy are: . How a single personality can be alternatively fragile and steely.

. How "the past isn't over, the past isn't even the past." . How "mixed families" (siblings and half-siblings) navigate the often uncomfortable situations when everyone is in the same room.

. How some people can be amoral in their excessive manipulation of others.

If these concepts are of interest, check this fine film out; if not, it won't be your cup of tea.

The cinematic filming of this show doesn't actually mask what's problematic about the show itself (eg - inconsistent pacing, scenes that go on too long, perhaps one or two too many musical numbers, and occasionally clunky dialogue); but on the other hand, the enormously skillful camerawork and direction magnify the show's joys and pleasures and brings clarity and depth to the interrelationships of the characters and the endlessly interesting dynamic of the past echoing in on the present. This has always been Mr. Sondheim's show that lends itself most readily to a film -- after all, it is, at heart, a show biz tale -- but the ideal treatment would be to have the first twenty or so minutes of the movie actually take place at the time when the characters were their young selves so we could see, first hand, the dynamics in play ,.... and then fast forward to the reunion. (But then again, who asked me?! :-)

Interesting and provocative on many levels, not the least of which is the degree we do or don't remain the child/persona we were as children as the transition to adulthood progresses. But particularly effective in its portrayal of how challenging it is for both(!) spouses to navigate the challenge of an important relationship of the opposite sex resurfacing from years gone by. Acted by all with supreme discipline and nuance, exquisitely photographed, and surprisingly suspenseful given that this is not a plot-driven film. Kudos to all who contributed to this most commendable and original film..

Yes, the premise of a hard-boiled gal being hired by a nerdy teenager's wealthy parents to deflower him prior to college life sounds (and is) puerile and has the feel of being done a zillion times over. But in the hands of these talented filmmakers, the plot becomes relatively important and instead, the set up provides a surprisingly effective mechanism for an exteremly well-acted, believable character study showing the maturity of both lead characters as they come to ineract with one another. The film also provides an unusually well-informed eye on today's youthful culture: phone-obsessed, game-obsessed, in love with technology more than other people, and coddled by well meaning but overprotective parents. There are a handful of big laughs along the way, but this is really a thoughtfully conceived character study hiding under the cover of a teenage sex comedy. Many viewers may be as pleasantly surprised as I was.

The issue of how we, if not lie, fib to our loved ones in order to either spare their feelings or be supportive. And the consequences of that well-intentioned lack of honesty are thoughtfully dramatized, as are the family dynamics between spouses, parents and children, and siblings. But even at a short (by today's standards) 90 minutes, the movie feels overlong, and while there is an occasional laugh, the entertainment quotient is disappointingly low given the talents of the parties involved. Bottom line: a worthwhile watch if one's expectations are very measured. And much more of a family drama than a comedy.

I very much enjoyed season six ... well acted, suspenseful, and thought provoking as all previous seasons. But whereas the first five seasons demonstrated the dystopian and dispiriting impact of technology ... the eposode of season six, "Beyond The Sea" was dispiriting to an extent unlike any other episode .... in that it illustrated, albeit successfully and dramatically, the capacity for human beings to be deceitful, and indeed, evil. This happened to be the last episode of the season I watched, and it was a profoundly depressing experience. As I mentioned in my headline, let the buyer beware. A very spirit crushing conclusion to this most creative of series.

Very well acted, though a rather unappealing film to look at with unnecessarily drab colors and art direction, even for a documentary-feel. The film has been criticized by former RIM employees as playing far too fast and loose with the truth and portrayal of the key personalities involved. The result is an entertaining but unreliable telling of a paradigm shift in how business is conducted and how people approach their professional and personal communications. An actual documentary would likely be very engrossing as the story behind Blackberry is remarkable enough that it doesn't need to be "punched up" to maintain viewer interest. But that's a movie for another day, if ever.

Kudos to all involved for crafting a wildly entertaining, albeit far-fetched mystery, but thanks to the very skillful acting, sharply written dialogue, and very realistic cinematography, it's easy to willingly suspend one's disbelief and go with the flow. Things move very quickly, so it is incumbent upon the viewer to pay close attention and concentrate, and even as one pedals quickly to keep up, it's hard not to feel one step behind what's unfolding; but that mirrors the quandry of the protagonist as well, so all to the good. So far, this is an excellently done addition to the genre of "people who find themselves in over their head." Let's hope subsequent episodes maintain the same degree of delight.

There's not a single false note in this brilliantly edited film that portrays (with warmth but not phony sentimentality) the stresses associated with being a single parent trying to balance the demands of motherhood while earning a decent living. The acting is top caliber, the direction and cinematography similarly so, and the pulsating musical score reinforces and heightens the dramatic tension and manages to create quite a bit of suspense in what is essentially a family drama. This is film-making where everyone involved is operating at the height of his or her craft. Very gratifying! Check it out.

This picture could accurately be described as a "comedy - drama." As a comedy, it's a failure -- it's easy to discern what's intended to be funny, but those scenes and lines are forced, low brow, uninspired, and utterly lacking in wit. On the other hand, happily enough, the dramatic interactions among the characters are smartly written and the cast makes the most of these exchanges. Fans of Jason Bateman will find him once again doing his typical cynical line readings, which he does just fine, but it's getting kind of boring at this point (granted, this picture was made close to a decade ago, so this type of performance hadn't become quite so predictable). Jane Fonda slums along in a trite, uninteresting role that is beneath her dignity as one of the screen's greatest actresses. But the other cast members acquit themselves admirably, and for that reason, fans of family-oriented dramas are likely to enjoy this.

The expression "LOL" is often overused and/or serves as an exaggeration as to how funny something may actually be; but not in this instance -- for viewers can count on genuinely laughing out loud multiple times over the course of each briskly paced episode -- and that's in addition to the countless smiles this exceptionally well written, well acted, and beautifully produced series evokes with uncommon consistency. Much of the humor comes from the lead character's utter lack of self-awareness (magnificently portrayed by Diane Morgan), but the series is even funnier in its occasional, razor sharp swipes at the banality and/or idiocy of today's culture.

A no-holds-barred script that unsparingly and unsentimentally shows how black and white relations have deteriorated and soured over the last decade, as well as the resulting struggle to bridge this gap that people are contending with in today's culture. There are many scenes and portrayals that are acutely uncomfortable to the point of not being comedic, though, to be sure, there are some occasional laughs, and those that do occur are hilarious, indeed. Very well acted with a cast unafraid of portraying often unlikable -- but believable -- personalities.

The cynical tone is sustained all the way until the final five minutes; unfortunately, those final scenes ring completely false and dishonor the penetratingly honest look at how fraught our racial climate has become.

This is not a comedy, but rather, a satirical drama punctuated by some very big laughs. Check it out.

Other reviewers have decried (albeit, legitimately) the premise as preposterous. Fair enough; but who cares?! The acting is so uniformly superb, the writing so smart and adult, and the satire so sharp, it's a fool's errand to not willingly suspend one's disbelief and just enjoy this series on its own terms. Mr. Stallone has never been better as a world-weary, rough around the edges individual with a mind and wit both wise and incisive. The supporting players have been cast with extraordinary skill (kudos to the casting director) -- each and every one absolutely nails the exceptionally well-written dialogue they've been given. This is a frequently violent series that respects the conventions of the gangster genre, but at the same time, satirizes same with a contemporary sensibility that is very funny and quite original. So engrossing and enjoyable that newcomers may find it hard not to binge. :-)

If you're looking for a film that's long on action and/or story, skip this, neither of those attributes are to be found.

Rather, this is an unusually thoughtful and original examination on the enormous challenges humans face in connecting with others and/or maintaining those connections. Among other issues, the viewer is asked to think about:

. What loyalty do we owe a friend who has since become tiresome?

. How is it that seemingly unbreakable bonds become broken?

. What does it say about people that we often prefer the company of animals versus other humans to avoid the demands imposed by relationships?

. Why do we sometimes deliberately "cut ourselves off" to avoid others?

. How is it that one's craft/hobby, e.g.- music, art, etc., can provide more companionship than spending time with other people?

If these concepts are of interest, you will find them examined and portrayed with magnificent skill in this film. The cinematography takes full advantage of the breathtaking Irish landscape, and it is no accident that the story unfolds on an island off the Ireland mainland; this is consistent with the overall premise that we are all, ultimately, islands unto ourselves, with a gulf between us and the rest of humanity that is often deeply difficult to cross.

A final note: while the themes examined here are arguably timeless, the film feels especially relevant today as the current cultural warfare and political environment has resulted in the shattering of many friendships.

Somewhat typical/predictable in that the slew of notables interviewed are generally fawning in their praise; but less typical in that there is quite a bit of first-person commentary from Ms. Warwick herself on the various stages of her career, and an added bonus is that her commentary is notably objective. There are a nice number of clips showing her performing many hits from over the years, though not much footage from the recording studio showing the "making of the sausage." Some detail is shared about the recording of a few numbers, but that welcome, back-story perspective of specific songs is relatively sparse.

The understated nature of this film is, overall, an asset, though at the same time, it undermines the clarity and impact of the overall story. Still, this is a clear eyed look at the trauma that a parent's disapproval can wreak, and the courage and determination of the protagonist to find an accepting "family" is both admirable and inspirational. Very fine, believable performances from all the cast, and the script never strikes any false or sentimentally objectionable notes. The crisp, ninety or so minute length is also a wise decision, the story doesn't need any more than that to be told convincingly. Good (if not brilliant) job!

Full disclosure here ... I had to stop watching after half an hour. The situations and dialogue were so consistently stilted and lacking in authenticity that after enduring this artificiality for as long as I did, I harbored no hope or expectation that things were going to improve. Perhaps they did -- but I nonetheless surrendered. Look, going in, I was certainly not expecting a "gritty" film; some degree of sentimentality and/or nostalgia was clearly the point. But I've seen sentimentality handled much more credibly than it is here. Given the other ratings and general enthusiasm that's been expressed for this film, I seem to be in the minority. But if in general you find Mr. Spielberg to be a good (indeed, great) story-teller, but not the most authentic of artists, then this is not going to be your cup of tea.

A skillful blend of comedy and drama and even suspense, performed with beautiful production values. But in the third season, the two leads are saddled with a script and direction that careens wildly between shriekingly shrill melodrama and close to intolerable sentimentality. Unfortunately, the supporting performers, all of whom were so persuasive in the first two seasons, have also been obligated to over-act unconvincingly in this final season. Sad to see such an excellent initial effort lose its way in its final episodes; but this syndrome is certainly not unique to this commendable program.