Reviews

I like trans jokes as much as the next normal person, which is as much as any other joke, so long as it is funny. This special, much like all Chappelle's recent work is not really funny. The jokes aren't good enough. He is too sure that he is funny and has an audience that would laugh at him sleeping on stage. He even tells them when to laugh by banging the microphone on his leg and stumbling. Which is just as well because you wouldn't figure it out on your own. The most tiresome part of all the recent shows is that he feels compelled to tell his flock some big moral truism that has become apparent to only him. This one came straight from MLKjr. "I have a dream". It's all too on the nose. But they'll keep coming.

A delusional Italian mother cannot entertain the idea that her cameraman son ever heard of cocaine and autoerotic asphyxiation. That he told her every thought he ever had, and a mother just knows. She forces the rest of her family the adopt the same position and spend the next 10 years ignoring autopsy results, judgements and countless investigations ruling that their son clearly died from autoerotic asphyxiation while on cocaine. Instead they harass his widow with countless baseless theories on her involvement in the "murder".

There are numerous cliff hanger revelations promised in the series, all turn out to be red herrings. Not one official ever saw one item of evidence of foul play.

The victims in this case are clearly the widow and the father and siblings of the deceased.

So this is a mini series about overbearing, controlling and blindfolded mothers.

We all know more than one.

It's not all that surprising that the first biographical film (kinda) of M. M. took 60 years. You can pretend she could act, you can pretend that she lurked in deep waters, you can pretend that she was the victim... OR She was the first Playboy nude centrefold, who was handed a studio contract when credible acting wasn't required. I couldn't be bothered step by stepping this dope. Suffice it to say, had she not died relatively young at best she would have achieved Elizabeth Taylor level of lush but more likely Zsa Zsa Gabor level of somewhat known husbands and burnt out wreck.

If you can be bothered watching to the end of this creation that is stylish despite the task undertaken, it's not completely a waste of time. In so far as it took some one as blind and as desperate as Netflix to actually tell this none story. Actually... hold on...nope. This is based on a novel, forget all that has come before. They just made most of it up, and other than at least three bimbos that everyone knows, no one, with any sense gives a damn about what didn't actually probably happen to this playboy model.

All that being said... what really sticks out here is that Ana de Aramis is wasting her shiny self trying to illuminate this dull manifestation of myth.

I don't know how a film makes it out of editing in such a state, how the corny bumper sticker lines are all left in. It screams of someone with too much money to waste and little talent to spare. Made for tv styling, too bright, not gritty or visceral and full of huge plot holes and atrocious dialogue. Give it a miss.

This film says a lot about any adult that could sit through it without having to accompany a child. Broad frenetic humour leaves you wondering why they left the swearing in. I don't know how long it was but it felt like an eternity, in fact it might still be running and I have accepted my eternal punishment. I wonder if the roll called for it and it was done tastefully would Ryan Reynolds consider not playing Ryan Reynolds in a movie. Also ...why does nobody ever mention his overbite and crossed eyes?(dreamy). When I look at Ryan Reynolds I can only see a personal assistant secretly wearing a pink thong. Probably says more about me?!

You can't rate "horror" movies out of ten. (Except The Shining)Maybe zero to six and a half. Vampire movies zero to five.

This is a 3.5. Loads of bad vampires, one good vampire. It's not a question of how good these movies are it's how little awful have they managed. Why the hell am I reviewing this garbage.....

Why anyone wants to hear a word that comes out of this imbeciles face is beyond the moderately intelligent. Grotesque demonstration of populist fame culture. After she forced a mentally deficient billionaire musician to marry her she went on to corrupt all the rest of the globes morons with the help of her similarly moronic siblings. What a hideous country that produces the drivel that stains our screens, none more than the billionaire husband's political buddy and his dwindling capacity for reasoned thought.

Bill Burr does anti-woke far better than any other comedian around. His natural spite directed at the millennial snowflake and the privileged is balanced by his self awareness that he is a dinosaur. Coming straight after Dave Chapelle: sticks and stones Burr brings a far fresher, busier & funnier performance. I found nothing in Chapelle's show to be offensive, as it was reported to be,(being a Jackson denier will most likely come back to take a bite out of him) but found it all to be beige, low energy output.Chapelle's lower wattage performances are all good but a bit too prescribed for his audience. Burr's stuff is far more polished and punchy. The reason behind this is obvious to anyone that listens to his podcast... Burr puts himself on stage, maybe an exaggerated version, but still it all holds true. Stand Burr up beside a "comedian" like Joe Rogan who is not at all naturally funny off stage and accordingly has been trying for years to figure out the equation of comedy and has an audience that is massively subsidised by his enormous podcast audience and presence on the UFC. That no comedian calls him out on this is further evidence of his reach and not his comedic talent. Anyone can spend months honing a few good jokes but you cannot teach or therefore learn to be a funny guy. (Just look at girls) This instalment further cements Bill "the Natural" Burr as one of the all time best everyman comedians and shows no signs of the well running dry. ~Keep the bile flowing Bill you orange so an so.

My next guest needs no introduction...if you're her mother. For the rest of us an introduction was enough before skipping forward to Lewis Hamilton.

After Life is ridiculously heavy handed. Walking around, head hanging low with over sad despondent poor me face is not a profound insight into grief. Drug dealers, prostitutes and fellow grievers shoehorned in to a middle class village whenever the character needs to evolve a smidge at a time is crass at best. Like Gervais says everybody has had someone to grieve for, no-one that has grieved does it with a wide spectrum of colourful overwritten strangers. There were signs from the start of Gervais leaning towards cheap tears over laughs. It was indulged hugely in Derek, a show an unknown could not have made with their own money, nor should it have been, to this contrived point scoring for tears melodrama. Gervais is a comedy actor that knows he can wring no further mileage from Brentisms, but should not delude himself into thinking that moving the line towards his broad-stroke emotional drama makes him a credible dramatic actor. Try something subtle Mr Gervais with no prostitutes hanging around a common in the middle of the day, no quirky endearing smack dealers that will conveniently die for main character development, no second tier cast members with late on reveals of comparable hidden tear-jerking life problems. Brent was at his zenith when we first saw him, unexplainable how he ever got there, but as time proved was self deluded enough to not cling to the windfall that landed in his lap. After life is the dramatic next chapter of When the whistle blows.

It would seem that Amy Schumer is finding it increasingly harder to steal good jokes. A career built on political correctness in so far as you cannot say the "FAT UGLY WOMAN is not funny" even though she trades on these traits. Go away and get some other gender balanced job that doesn't have a camera or a microphone in the room.

This franchise has had a season and a bit to falter and fail to retrieve any of the promise of the first two seasons. To answer the question; where can we go with these characters? Gatiss, Moffet and co have come up with the answer; down the same old avenues but this time in clown shoes. Every character except the title character have become ridiculous caricatures of their former selves. How many times must ubber-earnest Dr. Watson profess his man-love through misty eyes and missed breaths? How often must Mycroft deny his man-love and brotherly concern? How did anyone think giving Mycroft Holmes the Kranks treatment or giving Molly Hooper a bad case of pantomime transvestitism was anything short of a death knell for a show which is very much rudderless in high seas? The best thing that ever happened in this series was the again pantomime baddie Moriarty shutting his own gaping face hole with a bullet. How short on ideas must you be to be forced to resurrect your most gratuitous over-actor to puff out a ver thin and inconsequential mystery. (Bobby Euing in the shower post-mortem.) It is absolutely certain that this initial gush of support for this installment comes from those who were told to expect clever and don't have the wit or courage to recognize that they didn't get it. This bandwagon support will soon be superseded by laments for the promise that was once apparent, but in the hands of this team was not realizable. "Look he just survived the Reichenbach Fall..deal with it." This is not cute or an inside joke, and has shown nothing but incompetence from the writers. Anyone can write a protagonist onto a ledge, miracling them down again is the price you pay. Cheats! Looking at Gatiss's credentials based on cooky spooky comedy, and seeing now that he has nowhere further to go with these characters except up in flames, he should do himself and everybody else a favor and stop. He makes fiction for teens and his ideas are restricted by his life's work. Just as he could not convincingly resurrect Sherlock in series three he has already, with a sad admission coped out of his promise at the end of the same season to resurrect his over-camp version of Moriarty. Very obviously to all that the writers had not the first clue how to do either and whats worse weren't going to try. Don't believe the ratings..blind fan support and watching in disbelief will be shown for what they are when the dust settles or in this case the ash. A good start achieves little that a bad ending won't blot out.

This franchise has had a season and a bit to falter and fail to retrieve any of the promise of the first two seasons. To answer the question; where can we go with these characters? Gatiss and co have come up with the answer; down the same old avenues but this time in clown shoes. Every character except the title character have become ridiculous caricatures of their former selves. How many times must ubber-earnest Dr. Watson profess his man-love through misty eyes and missed breaths? How often must Mycroft deny his man-love and brotherly concern? How did anyone think giving Mycroft Holmes the Kranks treatment or giving Molly Hooper a bad case of pantomime transvestitism was anything short of a death knell for a show which is very much rudderless in high seas? The best thing that ever happened in this series was the again pantomime baddie Moriarty shutting his own gaping face hole with a bullet. How short on ideas must you be to be forced to resurrect your most gratuitous over-actor to puff out a ver thin and inconsequential mystery. (Bobby Euing in the shower post-mortem.) It is absolutely certain that this initial gush of support for this installment comes from those who were told to expect clever and don't have the wit or courage to recognize that they didn't get it. This bandwagon support will soon be superseded by laments for the promise that was once apparent, but in the hands of this team was not realizable. "Look he just survived the Reichenbach Fall..deal with it." This is not cute or an inside joke, and has shown nothing but incompetence from the writers. Anyone can write a protagonist onto a ledge, miracling them down again is the price you pay. Cheats! Looking at Gatiss's credentials based on cooky spooky comedy, and seeing now that he has nowhere further to go with these characters except up in flames, he should do himself and everybody else a favor and stop. He makes fiction for teens and his ideas are restricted by his life's work. Just as he could not convincingly resurrect Sherlock in series three he has already, with a sad admission coped out of his promise at the end of the same season to resurrect his over-camp version of Moriarty. Very obviously to all that the writers had not the first clue how to do either and whats worse weren't going to try. Don't believe the ratings..blind fan support and watching in disbelief will be shown for what they are when the dust settles or in this case the ash. A good start achieves little that a bad ending won't blot out.