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Friday, March 27, 2020

"Dickinson" Season 1

When Apple announced they were establishing a streaming service, I'm sure we all laughed. That's ridiculous! Why would a computer company be interested in competing with Netflix, Prime Video, and Hulu? Why would a computer company be interested in competing with J.P. Morgan? But that's another story. The point is Apple TV+ is here, and it's very serious. Their mission is to stream original content only, things only Apple Studios would produce. However, when I signed up I found Star Wars. So, it's not all original. But that's another story.
You know that boring reclusive poet we are supposed to read in English class? Well, what if she was a rebellious teen, speaking in 21st Century lingo, and dating Wiz Khlifa? While still set in the late 1840s, we witness Emily Dickinson argue with her old-fashioned parents about marriage and her place in the home, dream of the independence and the poems she'll never see published, and suffer as her secret girlfriend marries her brother.
The show is written for you to understand and feel Emily's predicaments, especially when she meets other accomplished authors of her era. We see Henry David Thoreau as a weirder shut-in than she is, and Louisa May Alcott is in it for the money. While it adds to the sympathy we have for Emily not being able to share her words, it stands to understand how she is more remembered than her counterparts. Let's face it: no one reads Thoreau or Alcott willingly, except for Greta Gerwig who wrote and directed Little Women last year. I'm sure no one reads Dickinson willingly either, but she is among the first to come to mind when you have to list American authors and poets.
Hiding behind Emily's ever-widening shadow is her sister, Lavinia, who is desperate to find a boy and get married. There is an episode in which she gives a bad boy, she was seeing, a nude sketch of herself that she drew, and he went and showed it to everyone. You'd think she'd hide in her room until she died, because that's what you would do if your nudes get leaked. But I think she took a page out of Emily's confidence book, and released the rest of her sketches showing she has nothing to hide. And there was nothing risque about the sketches, as far as TV-14 will allow, it was something she's proud of.
The part that annoys me the most, and I think it's the whole point of the series, is that Emily never truly runs away. Today, she would have struck out on her own, be an accomplished poet, and win all kinds of awards. But she's stuck living in her parents' home. Everyone around her puts her down saying she isn't an author, women shouldn't read, shouldn't write, shouldn't have a legacy. Well, that can't be true. Though possibly made up for the show, we see Emily's got quite the following in her lifetime from lovesick boy, George, to closeted gay man, Ben. And let's not forget about Sue. Her best friend growing up, and actually more than friends, we see the two struggle with their relationship as know they will never be legally together. What hurts more is that Sue marries Emily's brother, Austin, who is extremely jealous of their friendship. So jealous that Austin bans Emily from their wedding.
Emily Dickinson may have died alone, but her story, real or make believe, is an invigorating one, and I can't wait to see what season two has in store.

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I hope you liked this. Be sure to subscribe and leave a comment about what you thought or if you want to recommend a movie or TV show for me to review. Thank you for reading. I'll return next week with another movie. See you then.

Released on Apple TV+: November 1, 2019
Rating: TV-14
Stars: Hailee Steinfeld, Toby Huss, Anna Baryshnikov, Ellen Hunt, Adrian Enscoe, Jane Krakowski
Directors: David Gordon Green, Lynn Shelton, Silas Howard, Stacie Passon, Patrick Norris
Rotten Tomatoes Score: 74% Certified Fresh
IMDb Score: 8.5/10 (Average)

Friday, March 20, 2020

"The Handmaid's Tale" Seasons 1-3

It's amazing that this story was able to be adapted into one of the most talked about shows of the decade. I read the book, and I found it 85% world building and 15% actual plot. As I read it, I found it extremely teachable, something we'd be taught in school. My school was big on dystopian societies and rebuilding governments, Watership Down, Alas, Babylon, Lord of the Flies, A Tale of Two Cities, Les Misérables, The Scarlet Letter, 1984, and I thought why wasn't The Handmaid's Tale one of them? Especially in a time when it's scarily relevant? And it's now an award-winning series.
The first season follows the book, my guess they never intended to go beyond one season. It sets up this world where America has fallen and Christian radicals have taken over.
Offred serves as a Handmaid to a high ranking Commander. As she endures her living situation, she recalls past memories of the time before to keep her sane. She remembers her husband and their child, and she wonders where they'd be. She also recalls her suffragette mother, whom she's sure she's dead. Meanwhile, she engages in a dangerous relationship with Commander as well as the driver, who is also a secret Eye. With the Commander she is drawn to the time before when women had more freedom. She engages in luxuries that many, including her, took for granted: playing Scrabble, reading Cosmo, applying face cream. With Nick, the driver, she feels the companionship she once had with Luke. Every night she's with him, she wishes it would last forever, and when they weren't together, she longs for him at night.
Seasons two and three are more action based with many plot twists that often lead nowhere because the Handmaids' plans, to overthrow their leaders, get foiled by some nosy neighbor, or Serena Joy reminds Offred that she's in charge, or that Offred changes the plans last minute. It makes it frustrating that she is all about trying to sticking it out as a Handmaid, then she's given an opportunity to break out, but she can't leave without her daughter, but her daughter disappears, so she decides to break out the other children, but she stays behind for some God forsaken reason. It makes you rethink about staying committed to the show that can't stay committed to the plot.
I guess what keeps us committed is often Offred's flashbacks are filled with people who question her relationship with Luke as well as her mothering her daughter, like when she doses her up with Benedryl so June could send her to school sick. Aside from that, the characters established as evil robots in the show are given origin stories showing them once human, like Aunt Lydia. I think that may have to do with the publishing of The Testaments, which she plays a major role in.
Season four is coming soon, and producers believe they can go forever. Maybe not with Offred/June in the lead, but the world of Gilead is constantly building, so there are plenty of stories to be told. I don't know, you can do so much world-building before it starts becoming tiring. Ahem, Marvel. But, I anticipate Season four's arrival.

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I hope you liked this. Be sure to subscribe and leave a comment about what you thought or if you want to recommend a movie or TV show for me to review. Thank you for reading. I'll return next week with another movie. See you then.

Season 1

Released on Hulu: April 26 - June 14, 2017
Rating: TV-MA
Stars: Elisabeth Moss, Joseph Fiennes, Yvonne Strahovski, Alexis Bledel, Madeline Brewer, Ann Dowd, O. T. Fagbenie, Max Minghella, Samira Wiley
Directors: Reed Morano, Mike Barker, Floria Sigismondi, Kate Dennis, Kari Skogland
Rotten Tomatoes Score: 94% Certified Fresh
IMDb Score: 8.5/10 (Average)

Awards

Primetime Emmy Awards
  • Outstanding Drama Series - Winner
  • Outstanding Lead Actress in a Drama Series (Elisabeth Moss) - Winner
  • Outstanding Supporting Actress in a Drama Series (Ann Dowd) - Winner
  • Outstanding Supporting Actress in a Drama Series (Samira Wiley) - Nominated
  • Outstanding Directing for a Drama Series (Reed Morano) - Winner
  • Outstanding Directing for a Drama Series (Kate Dennis) - Nominated
  • Outstanding Writing for a Drama Series (Bruce Miller) - Winner
Creative Emmy Awards
  • Outstanding Guest Actress in a Drama Series (Alexis Bledel) - Winner
  • Outstanding Casting for a Drama Series (Russell Scott, Sharon Bialy & Sherry Thomas) - Nominated
  • Outstanding Cinematography for a Single-Camera Series (One Hour) (Colin Watkinson) - Winner
  • Outstanding Period/Fantasy Costumes for a Series, Limited Series, or Movie (Ane Crabtree & Sheena Wichary) - Nominated
  • Outstanding Production Design for a Narrative Contemporary or Fantasy Program (One Hour or More) (Julie Berghoff, Evan Webber & Sophie Neudorfer) - Winner
  • Outstanding Special Visual Effects in a Supporting Role (Brendan Taylor, Stephen Lebed, Leo Bovell, Martin O'Brien, Winston Lee, Kelly Knauff, Zach Dembinski, Mike Suta & Cameron Kerr) - Nominated
Golden Globe Awards
  • Best Television Series (Drama) - Winner
  • Best Actress (Television Series Drama) (Elisabeth Moss) - Winner
  • Best Supporting Actress (Series, Miniseries, or Television Film) (Ann Dowd) - Nominated

Season 2

Released on Hulu: April 25 - July 11, 2018
Rating: TV-MA
Stars: Elisabeth Moss, Joseph Fiennes, Yvonne Strahovski, Alexis Bledel, Madeline Brewer, Ann Dowd, O. T. Fagbenie, Max Minghella, Samira Wiley, Amanda Brugel
Directors: Mike Barker, Kari Skogland, Jeremy Podeswa, Daina Reid
Rotten Tomatoes Score: 89% Certified Fresh
IMDb Score: 8.5/10 (Average)

Awards

Primetime Emmy Awards
  • Outstanding Lead Actress in a Drama Series (Elisabeth Moss) - Nominated
  • Outstanding Supporting Actor in Drama Series (Joseph Fiennes) - Nominated
  • Outstanding Supporting Actress in a Drama Series (Alexis Bledel) - Nominated
  • Outstanding Supporting Actress in a Drama Series (Ann Dowd) - Nominated
  • Outstanding Supporting Actress in a Drama Series (Yvonne Strahovski) - Nominated
  • Outstanding Directing for a Drama Series (Kari Skogland) - Nominated
  • Outstanding Writing for a Drama Series (Bruce Miller) - Nominated
  • Outstanding Directing for a Drama Series (Daina Reid) - Nominated
  • Outstanding Writing for a Drama Series (Bruce Miller & Kira Snyder) - Nominated
Creative Emmy Awards
  • Outstanding Guest Actress in a Drama Series (Kelly Jenrette) - Nominated
  • Outstanding Guest Actress in a Drama Series (Samira Wiley) - Winner
  • Outstanding Guest Actress in a Drama Series (Cherry Jones) - Nominated
  • Outstanding Casting for a Drama Series (Sharon Bialy, Sherry Thomas, Russell Scott & Robin D. Cook) - Nominated
  • Outstanding Cinematography for a Single-Camera Series (One Hour) (Colin Watkinson) - Nominated
  • Outstanding Fantasy/Sci-Fi Costumes (Ane Crabtree & Natalie Bronfman) - Nominated
  • Outstanding Makeup for a Single-Camera Series (Non-Prosthetic) (Burton LeBlanc, Talia Reingold & Erika Caceres) - Nominated
  • Outstanding Production Design for a Narrative Contemporary Program (One Hour or More) (Mark White, Elisabeth Williams, Martha Sparrow and Caroline Gee) - Winner
  • Outstanding Production Design for a Narrative Contemporary Program (One Hour or More) (Elisabeth Williams, Martha Sparrow & Rob Hepburn) - Nominated
  • Outstanding Single-Camera Picture Editing for a Drama Series (Wendy Hallam Martin) - Winner
  • Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour) (Joe Morrow, Lou Solakofski & Sylvain Arseneault) - Nominated
  • Outstanding Special Visual Effects in a Supporting Role (Stephen Lebed, Brendan Taylor, Kelly Knauff, Kelly Weisz, Kevin McGeagh, Anderson Leo Bovell, Winston Lee, Xi Luo and Cameron Kerr) - Nominated
  • Outstanding Guest Actor in a Drama Series (Bradley Whitford) - Winner
  • Outstanding Guest Actress in a Drama Series (Cherry Jones) - Winner
  • Outstanding Cinematography for a Single-Camera Series (One Hour) (Colin Watkinson) - Nominated
  • Outstanding Cinematography for a Single-Camera Series (One Hour) (Zoë White) - Nominated
  • Outstanding Fantasy/Sci-Fi Costumes (Ane Crabtree & Natalie Bronfman) - Nominated
  • Outstanding Music Composition for a Series (Original Dramatic Score) (Adam Taylor) - Nominated
  • Outstanding Single-Camera Picture Editing for a Drama Series (Wendy Hallam Martin) - Nominated
  • Outstanding Production Design for a Narrative Contemporary Program (One Hour or More) (Elisabeth Williams, Martha Sparrow & Robert Hepburn) - Winner
  • Outstanding Sound Mixing for a Comedy or Drama Series (One Hour) (Joe Morrow, Lou Solakofski & Sylvain Arseneault) - Nominated
Golden Globe Awards
  • Best Actress (Television Series Drama) (Elisabeth Moss) - Nominated
  • Best Supporting Actress (Series, Miniseries or Television Film) (Yvonne Strahovski) - Nominated
Season 3

Released on Hulu: June 5 - August 14, 2019
Rating: TV-MA
Stars: Elisabeth Moss, Joseph Fiennes, Yvonne Strahovski, Alexis Bledel, Madeline Brewer, Ann Dowd, O. T. Fagbenie, Max Minghella, Samira Wiley, Amanda Brugel, Bradley Whitford
Directors: Mike Barker, Amma Asante, Colin Watkinson, Dearbhla Walsh, Daina Reid, Deniz Gamze Ergüven
Rotten Tomatoes Score: 81% Certified Fresh
IMDb Score: 8.1/10 (Average)

Awards
Primetime Emmy Awards
  • Outstanding Drama Series - Nominated
  • Outstanding Supporting Actor in a Drama Series (Bradley Whitford) - Nominated
  • Outstanding Supporting Actress in a Drama Series (Samira Wiley) - Nominated
  • Outstanding Guest Actress in a Drama Series (Alexis Bledel) - Nominated
Creative Primetime Emmy Awards
  • Outstanding Casting for a Drama Series (Sharon Bialy, Sherry Thomas, Russell Scott and Robin D. Cook) - Nominated
  • Outstanding Fantasy/Sci-Fi Costumes (Natalie Bronfman, Helena Davis Perry and Christina Cattle) - Nominated
  • Outstanding Contemporary Hairstyling (Paul Elliot and Ewa Latak-Cynk) - Nominated
  • Outstanding Contemporary Makeup (Non-Prosthetic) (Burton LeBlanc and Alastair Muir) - Nominated
  • Outstanding Production Design for a Narrative Contemporary Program (One Hour or More) (Elisabeth Williams, Martha Sparrow and Robert Hepburn) - Winner
  • Outstanding Special Visual Effects in a Supporting Role (Stephen Lebed, Brendan Taylor, Leo Bovell, Rob Greb, Gwen Zhang, Marlis Coto, Stephen Wagner, Josh Clark and James Minett) - Nominated

(Click here to view more awards for "The Handmaid's Tale".)

Friday, March 13, 2020

"Crazy Rich Asians"


Are you ready for a stir fry of movie tropes set in a topical location and served with half a compelling plot? Because Crazy Rich Asians is the movie for you. Based on the best-selling novel, and Meet the Parents and The Proposal, Rachael stars as an economics professor who goes with her dashing boyfriend to his cousin’s wedding in Singapore. But before they even left the airport, they are escorted to first class, where she learns that her dashing boyfriend is heir to a titular wealthy family. Then she reunites with her friend from college, Awkwafina, and they head to the mansion. She gets invited to a bachelorette weekend where she gets ambushed with a gutted fish in her hotel room. Instead of running away knowing that the family doesn’t approve of her, she fights back by chatting up the royal princess about an economic article the princess wrote. Then comes the MOST! B*TCHING! WEDDING! EVER! I mean, HOLY SH*T! I stand, and I APPLAUD! They decorate the church with plants and grass, which was okay. A woman starts singing “I Can’t Help Falling in Love with You,” the flower children walk down the aisle, then the woman stops singing, and the aisle floods with water, and here comes the bride. Mind blown. Movie weddings are ruined forever. There is no way you an out do this. Well, I would have added a cello bit when the music resumed. Still great though.
Then Mother decides to play dirty and hire a private investigator to uncover Rachael’s dirty past that even she didn’t know about; her mother was married to another and had an affair, and Rachael was the fruit of that passion. Rachael runs away. Her mother comes to town to take her home. Rachael defeats the dashing boyfriend’s mother at mahjong and telling her that she’s leaving to give her dashing boyfriend the happiness he deserved, but the dashing boyfriend chases her down at the airport, proposes to her, and takes her back to his house where everyone is suddenly all besties with Rachael, including Dashing Boyfriend’s mother.
The only thing keeping this film from being hailed as super brilliant is the fact that they cast two of the most American Asians Hollywood has to offer, Awkwafina and Ken Jeong. With them in the movie, you’re getting a low rate comedy with cat fights, you know, like some Mean Girls sh*t, and we almost the got that. The trailer seemed like there was going to be. The girls did some bawk-bawking but hardly any walk-walking. Instead of a cat fight, we get a casual win at mahjong and Rachael walking away like a smart comedy. You can probably do both good and bad comedy, but this movie couldn’t do it. It needs to pick a lane and stay in it.
One thing that happens in the beginning, and never shows up again, is the communication thing inspired by an episode of Gossip Girl; I thought it was going to be a reoccurring thing throughout the movie, but it doesn’t, with the exception of the “Hook, line, and sink her” text. Instead it gets this perfect movie thrown out of proportion and it goes downhill from there. See the paragraph above.
“There are children in America that are starving” is the cheapest shot put to film since Parzival virtually kicking Sorrento in the groin. And it was only funny because Dr. Ken said it.
For hopes in the coming sequel, I expect the film to work out whether it’s going to be a high rate or low rate comedy, give us the plot where Rachael is pregnant before the wedding, since we’ve already met the Focker in this movie. Oh…I think I just wrote the next film. Credit me. XOXO!

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Rotten Tomatoes Score: 92% Certified Fresh
IMDb Score: 7.2/10

Awards
Golden Globes

  • Best Motion Picture Musical or Comedy - Nominated
  • Best Actress in a Motion Picture Musical or Comedy Constance Wu - Nominated

(Click here to view more awards for "Crazy Rich Asians".)

Friday, March 6, 2020

"Parasite"

This is absolutely brilliant. It deserves the win. It has the wit of Ocean's Eleven with the tone of Bonnie and Clyde, a little hope of The Shawshank Redemption.
I heard about President Trump hating this movie because it's from South Korea, but my guess is he hates it because it's good. When you have a lower class family working to make ends meet, it may sound like a run of the mill poverty story. Then you kick it up a notch as they scheme their way into working for a rich family living in a beautiful architectural home.
It is guaranteed to keep you engaged with twists that probably would have been panned in a Western Culture film. If it were an American film, it probably wouldn't be as engaging. The characters would probably be seen as despicable people who would destroy a perfectly nice family and their livelihood just to make a few bucks. 
The biggest twist, I thought, was when it all falls apart, and the father splits "like a cockroach." You assume that they'd turn on each other, as the film suggests. Then the son discovers that he's living in the shelter in the basement, and he pledges to earn money honestly and to buy the house so that the father can come out.
The script was beautifully written, every little detail foreshadowed to something big in the end just to be undone to upset your expectations. The cinematography was outstanding; it made everything flow, not like 1917's "one-shot" technique. The music fit with every scenario. If it were a slient film, it would be just as entertaining, thanks to the score.
I discussed with my mother on a question I never have much thought to: who is the parasite? The obvious is the Kim family working their way into the Park's employment. But the Parks act as a parasite back. Without really meaning to, they got under their employees' skin. They have complete disregard for their well-being because they are rich enough to pay other people to do their dirty work for them. When it all goes to hell at the party, and "Jessica" gets stabbed, Mr. Park was more concerned about his son's seizure than Jessica bleeding on his front lawn. That appears to be the last straw for Mr. Kim. Throughout the course of the film, Mr. Park complains of a horrible smell that Mr. Kim appears to give off, "like an old turnip...a boiled rag."
It's an excellent example of class division that couldn't be easily portrayed in the Western World without looking racist. The Kim family weren't con artists, they were desperate people living in sh*t, quite literally at one point, that leapt at the opportunity of everyone getting hired by a rich family. I foolishly saw this at the theater for $7 when it was available on Prime Video for $5.99, but I noticed that people didn't really laugh much. When I watched it at home with my mother, she was having a ball. We concluded that you'd have to be poor to understand its message. It's a crisis in this world, especially in this country. Good people like the Kim family work hard for very little pay, and they are stuck with no way out. You see on the wall that Mr. Kim was an Olympic hammer-thrower, so you'd think he would've had it made with his medal and all. But if you listen to his resumé, he was a valet, and worked in a restaurant, that medal doesn't mean sh*t except that he was once something great. All they could really do at that point was dream of a better life. Even when the son pledges to earn enough money to buy the house and liberate his father, he's mearly dreaming. Where's he going to get enough money? How long will it be until Mr. Kim can walk up the stairs freely? How can he survive down there?
That's another thing. The first housekeeper was seen as a wonderful worker with a slight flaw of eating enough for two. Turns out, she's harboring her husband in the basement. He's stuck down there, secretly serving the Park family by serving as the light sensor for the entrance stairs. He pledges his allegiance to Mr. Park but he demands respect. He and the housekeeper are a third parasite in this story. When her husband went into serious debt and became a target for loan sharks, the housekeeper snuck him down there to keep him safe, and she worked hard for the Park family above. But it makes you think of how measly of a salary it was that she still can't pay off their debts despite working for a rich family.
Whether you hate it or love it, it is a truly one of a kind film. A friend of mine and I also discussed how this would be an amazing stage play. What do you think?
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I hope you liked this. Be sure to subscribe and leave a comment about what you thought or if you want to recommend a movie for me to review. Thank you for reading. I'll return next week with another movie. See you then.

Released On: May 30, 2019 (South Korea), October 11, 2019 (U.S.)
Rating: R
Stars: Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, Park So-dam, Lee Jung-eun, Jan Hye-jin
Director: Bong Joon-ho
Rotten Tomatoes Score: 99% Certified Fresh
IMDb Score: 8.6/10

Awards
Academy Awards

  • Best Picture - Winner
  • Best International Feature Film - Winner
  • Best Director Bong Joon-ho - Winner
  • Best Original Screenplay Bong Joon-ho & Han Jin-won - Winner
  • Best Production Design Lee Ha-jun & Cho Won-woo - Nominated
  • Best Film Editing Yang Jin-mo - Nominated

Cannes Film Festival

  • Palme d'Or - Winner

Golden Globe Awards

  • Best Foreign Language Film - Winner
  • Best Director Bong Joon-ho - Nominated
  • Best Screenplay Bong Joon-ho & Han Jin-won - Nominated

(Click here to view more awards for "Parasite".)