jeroen-106 Reviews

Sugar (2024– )

Silly

[6/10 · 23 May 2024]

The Apple TV+ series "Sugar," starring Colin Farrell, promises an engaging detective drama but ultimately disappoints with its unexpected sci-fi twist in episode six. The reveal of an alien plot feels jarring and poorly integrated, undermining the detective story built over the first five episodes. This abrupt genre shift frustrates rather than intrigues, highlighting a lack of cohesive storytelling.

Farrell's performance is a notable draw, yet it can't salvage the weak screenplay and clunky dialogue that persist throughout the series. The recurring homage to old movies, likely a nod from the director's personal interests, feels out of place and forced, failing to enhance the narrative or character depth.

The series' climax falls flat with predictable tropes such as the "friend-turned-villain" twist and implausible plot devices like the conveniently hidden dress. These elements contribute to an ending that feels contrived and unsatisfying.

Overall, "Sugar" struggles to blend its ambitious elements into a coherent and compelling story, leaving viewers more perplexed than pleased.

Fallout (2024– )

Pretty good

[7/10 · 22 May 2024]

(Note: I completed the Fallout 3 game but do not consider myself to be a fan, per se).

The TV adaptation of the beloved video game "Fallout" has finally hit the screens, and while it brings the iconic post-apocalyptic world to life with impressive art direction and set design, it struggles in some critical areas, particularly storytelling.

First and foremost, the representation of the game's world is superb. The art direction is amazing, capturing the essence of Fallout's retro-futuristic aesthetic with incredible attention to detail. The sets are beautifully crafted, showcasing the passion and dedication of the production team. However, while the CGI is generally good, there are moments where it could have used a bit more polish.

The show's gore is in line with the Fallout IP, and while it is integral to the universe, it can occasionally feel a bit distracting. This, however, is a minor gripe and largely forgivable given the context of the series.

Despite these strong points, the show's storytelling is not perfect. One of the main issues is the improbable frequency with which characters run into each other in the vast wasteland. This constant string of coincidences strains credulity and detracts from the otherwise immersive experience.

Character comparisons also fall a bit flat. Maximus, for instance, feels like a clone of Finn from Star Wars, lacking a unique identity. Similarly, the Ghoul character comes across as a rehashed version of William from Westworld. These similarities diminish the originality that fans expect from a Fallout adaptation.

Moreover, character consistency is another area where the show falters. Lucy, for example, is portrayed as naive due to her upbringing, yet she demonstrates formidable combat skills. This juxtaposition of naivety and adeptness in fighting creates a disconnect, as her level of training should realistically come with a better understanding of the dangers of the wasteland. While her moments of comedy are relatable, they sometimes translate into frustration when she fails to recognize obvious threats.

Overall, "Fallout" is not a bad show. I was entertained and I will be watching season 2. It offers a visually stunning experience with high production values. However, it falls short of brilliance due to its storytelling flaws and character inconsistencies. It's an enjoyable watch, but it doesn't quite reach the heights of shows like "Succession" or "Severance."

Argylle (2024)

A $200M insult to indie filmmakers.

[1/10 · 28 April 2024]

Despite its promising plot and stellar cast, "Argylle," directed by Matthew Vaughn and written by Jason Fuchs, stands as a colossal misstep in the spy-comedy genre. The film, which boasts an intriguing premise involving a novelist whose fictional work mirrors real espionage activities, unfortunately, squanders its creative potential through a series of unforgivable cinematic blunders.

The film's special effects are its first notable downfall. In an age where viewers have grown accustomed to high-quality, believable visuals, the effects in "Argylle" are jarringly unrealistic, detracting from the immersion and overall experience. Such a flaw is especially glaring given the movie's substantial $200 million budget, which, one might argue, could have been allocated more judiciously.

The acting, too, leaves much to be desired. With a cast that includes the likes of Bryce Dallas Howard, Henry Cavill, and Samuel L. Jackson, my expectations were high. However, the performances delivered are surprisingly wooden. This could be attributed to the film's poor direction and a script that fails to capitalize on the actors' capabilities, instead rendering their talents almost unrecognizable amidst the awkward attempts at humor and stilted dialogue.

Speaking of humor, the film attempts to adopt a tongue-in-cheek tone but fails miserably. The jokes are flat, and the comedic timing is off, making the film feel more tedious than entertaining.

Plot-wise, "Argylle" is a tangle of implausible scenarios that seem more focused on convoluted twists than coherent storytelling. The narrative leaps from one improbable situation to another, relying on contrived developments rather than genuine intrigue to propel the story forward. This not only challenges the viewer's suspension of disbelief but also makes the storyline feel forced and uninspired.

Moreover, when considering the extravagant budget, it's disheartening to reflect on what could have been achieved. The financial resources poured into "Argylle" could have supported numerous indie films, potentially offering fresh voices and innovative ideas to the cinema landscape-opportunities lost to this underwhelming production.

In conclusion, "Argylle" is an unfortunate example of a film that, despite its ambitious concept and A-list cast, fails to deliver. It is a stark reminder that a big budget and big names do not necessarily equate to quality filmmaking. For those in search of a compelling spy comedy, this film, unfortunately, misses the mark by a significant margin.

Barry (2018–2023)

From Brilliant to Baffling: Barry's Downward Spiral

[4/10 · 23 April 2024]

Rating season 1 & 2: 4 out of 5 stars.

Rating season 3 & 4: 2 out of 5 stars.

"Barry" started as a beacon of innovative storytelling and dark humor, masterfully blending the absurdity of an assassin-turned-actor with sharp, engaging writing. Bill Hader shone brightly, delivering comedy and pathos in equal measure, supported by a compelling cast and fresh narrative twists.

However, the transition into later seasons marked a stark and disappointing shift. The series dove into a darker abyss, losing its comedic edge and narrative clarity. It felt as though the writers abandoned the original charm and wit of the show for a tone that neither matched the brilliance of its beginnings nor offered something equally substantial in return.

The elimination of pivotal elements, like Barry's acting classes and his professional escapades, stripped the show of its unique flair. Instead, we were left with a convoluted soap opera that lacked the original's clever punch. The series finale tried to recapture some magic with a meta-twist, presenting a show within a show based on Barry's life. While conceptually interesting, it landed on an already weakened foundation, making it hard to appreciate or care for the direction the characters and story had taken.

By the end, the frustration was palpable. It felt as though the creative team lost their narrative compass, leaving us with a shell of the show that once was. What started as a brilliant hybrid of comedy and drama ended as a bewildering disappointment, a sentiment echoed by many fans who had high hopes for Barry's journey.

Sugar: Shibuya Crossing (2024) Season 1, Episode 3

Sugar Hits a Sour Note

[4/10 · 19 April 2024]

Colin Farrell's "Sugar" unfortunately stumbles into the pitfalls of many TV dramas; it's grasping for a unique voice but ends up sounding all too familiar. Episode 4 epitomizes this struggle, leaving much to be desired in terms of character development and originality.

A significant issue in this episode is the blatant disregard for realistic tech portrayals, a common thread in many shows but painfully obvious here. The scene where a character receives an "unauthorized access!" alert on her computer in bright red is particularly grating. Not only does it defy basic understanding of how cybersecurity and access protocols work, but it also assumes viewers will accept this lack of authenticity. The question of why she, presumably not an admin, receives real-time alerts about file accesses is left unanswered. More realistic would be a scenario where breaches are discovered through routine checks, not flashy, real-time warnings.

This kind of creative oversight reflects a broader problem in "Sugar": a deficiency in clever, thoughtful writing. The show seems content to recycle familiar elements of the detective genre without injecting the nuanced character study or sharp dialogue that elevates a series from ordinary to exceptional.

For those of us yearning for the gripping narratives and rich character arcs seen in shows like "Severance" and "Succession," "Sugar" feels like a missed opportunity. It tries to dress up in noir trappings but lacks the substance needed to make its identity crisis compelling.

The Gentlemen (2024)

A Tale of Style Over Substance

[5/10 · 3 April 2024]

Guy Ritchie's venture from the big screen to the streaming platform with "The Gentlemen" (2024) offers a visual spectacle, true to his trademark style, yet leaves a void where the essence of its story should reside. Filmed across iconic locations including London, Badminton House, and the historical Longcross Studios, the series is nothing short of a feast for the eyes, enveloping viewers in a world that's as stylish as it's meticulously curated.

With a reception that teeters on the edge of general favorability (71% on Rotten Tomatoes and a Metacritic score of 67), the series embodies Ritchie's penchant for slick, polished narratives that, while entertaining, skate on the surface of its characters' depths. The performances, especially by Kaya Scodelario, inject a much-needed vitality into the series, portraying a character with a semblance of arc and complexity amidst a sea of underdeveloped personas.

However, the central figure, played by Theo James, becomes emblematic of the series' struggle - a protagonist lost in a narrative that dazzles without depth, where the allure of coolness overshadows the potential for character growth and emotional resonance.

"The Gentlemen" manages to be both engaging and monotonous; it's a paradox of entertainment that captures Ritchie's cinematic flair but falters in delivering a compelling narrative. As viewers traverse through the series, the excitement of the crime-laden plot gives way to a realization of its superficiality, leaving one to ponder the potential of its untapped depths.

In sum, while "The Gentlemen" succeeds in being a visual treat and a testament to Ritchie's distinctive style, it underscores the quintessential challenge of balancing form with substance. The series stands as a reminder that in the realm of storytelling, the sheen of style, however appealing, cannot fully compensate for the lack of a substantive core.

Resident Alien: Pilot (2021) Season 1, Episode 1

Dumb and cliche.

[4/10 · 2 March 2024]

Managed to slightly smile at some point, but it's not that smart and funny. The premise is a bit lame too. A terrible bar scene where a woman shows a lot of interest in the 'alien' based on interactions that normally scare away women. And then the absolutely childish dancing scene on auto-tune GenZ music that apparently is liked by the two women. A bar lady saying she likes "bad boys" and drinks like she's a customer. It's all so unrealistic and out of place, American cliche class-C writers room crap. And then the alien kinda wants to dance because of, instinct I guess? What is this, a children's show?

Can believe the ratings for this crappy pilot.

Glass Onion (2022)

Doesn't Quite Cut as Deep

[6/10 · 28 February 2024]

"Glass Onion" attempts to replicate the sharp wit and intricate plotting that made "Knives Out" a standout, but it loses some edge in the process. Where "Knives Out" deftly combined the cozy trappings of a classic whodunit with timely social commentary, "Glass Onion" veers towards the fantastical, stretching the bounds of plausibility.

In "Knives Out," the Thrombey family felt like a believable, if dysfunctional, unit, each member with motives that were relatable. The film's setting, a stately mansion filled with secrets, provided a perfect backdrop for the detective work of Benoit Blanc, played with charismatic flair by Daniel Craig. His performance was one of the keystones of the film, alongside a tightly woven plot that delivered satisfying twists and a poignant social message.

On the other hand, "Glass Onion" trades this groundedness for a more flamboyant and far-fetched tale. Set on a private Greek island, the film's eccentric billionaire Miles Bron invites a group for a murder mystery party that becomes all too real. The stakes feel artificially inflated, and the characters lack the depth of the first film's ensemble. For example, the murder mystery party setup feels contrived and the 'onion' layers of the story, while ambitious, often come off as convoluted rather than clever.

The charm of "Knives Out" lay in its ability to surprise us within the confines of reality, whereas "Glass Onion" sometimes feels like it's trying too hard to outdo its predecessor's inventiveness. The twists seem more for shock value rather than serving the story.

Despite these criticisms, "Glass Onion" is not without its merits. The production design is stunning, and the ensemble cast brings a vibrant energy to the screen. However, I found myself yearning for the more understated and shrewd storytelling of "Knives Out."

As we anticipate "Knives Out 3," my hope is for a return to the roots of what made the original so engaging: a clever, tightly plotted mystery that feels as sharp as a blade and as cozy as a worn leather armchair. A return to form would be a welcome sight, indeed.

Barbie (I) (2023)

Preachy

[3/10 · 25 February 2024]

"Barbie" (2023), directed by Greta Gerwig, stands as a film that ignites conversation, not just about its spectacle but also its heavy-handed approach to delivering its message. At the heart of my experience was a sense of disillusionment, not with the film's ability to dazzle visually-because, in this aspect, it truly excels-but with its insistence on a sermonizing tone that detracts from the cinematic storytelling.

The Preachiness Problem: Gerwig's Barbie world is more than just a canvas of pink; it's a platform for preaching. The film, in its zeal to address gender norms and societal expectations, often crosses the line from showing to telling, leaving little room for viewers to engage with the narrative on their own terms. This didactic approach undermines the essence of "show, don't tell," a fundamental principle of filmmaking. As a result, it feels like enduring a lecture rather than being invited into a story.

Misguided Gender Dynamics: My discomfort extends to the portrayal of gender dynamics within the film.

Art Direction vs. Experience: It's undeniable that "Barbie" is a feast for the eyes. The art direction is nothing short of amazing, bringing to life the iconic doll's universe with a kaleidoscope of colors and imaginative design. However, this visual achievement feels hollow in the wake of a narrative that struggles to match its depth with substance. The beauty of the film's aesthetics becomes overshadowed by a viewing experience marred by its preachy tone and missed opportunities for nuanced storytelling.

In conclusion, while "Barbie" (2023) may be a landmark in visual storytelling, its reliance on overt messaging and a skewed portrayal of gender dynamics detracts from its potential as a film. The brilliance of its art direction is unfortunately not enough to save the viewer from a less-than-stellar experience. A movie, regardless of its good intentions or bad, must first and foremost captivate its audience through the art of storytelling, something that "Barbie" struggles to achieve amidst its preachy narrative and controversial themes.

Acapulco (2021– )

I changed my mind.

[8/10 · 4 February 2024]

Acapulco, the 2021 1st season, is a vibrant splash of color and energy, encapsulating the spirit of the famed Mexican resort city with an art direction that can only be described as beautiful. The series does an impressive job of bringing the 1980s to life through its meticulous set designs, costumes, and overall visual storytelling, making it a feast for the eyes. The energy radiating from the screen is palpable, with every frame bursting with the kind of zest and vivacity that matches the show's picturesque setting.

At first I rated this a 6 out of 10. I felt actors lean heavily into a comedic portrayal that often felt out of place. The morale was a bit too much on the nose for me. However, I just had to get used to the format and actually over time the show demonstrated a lot of heart and some of the more serious notes compensated for what I found to be lacking earlier.

I realized we are watching a sweet fairy tale.

We should be more grateful that finally there's something more positive, innocent, and less cynical on streaming media. We all can use that these days.

So, consider my previous review erased, and replaced with more appreciation.

Foundation: King and Commoner (2023) Season 2, Episode 3

Time to Jump Ship

[3/10 · 19 January 2024]

Alright, folks, I've hit my limit with "Foundation" Season 2, Episode 3. Let's dive into why I'm calling it quits on this space saga.

Season 1 was decent, right? It had its moments, but oh boy, Season 2 has taken a nosedive into the abyss of fantasy gibberish. I mean, I'm all for a good space opera, but this? It's like they're just tossing in random elements without any rhyme or reason. The dialogue? It's like they're pulling it out of a hat.

This episode just highlighted all the flaws. The plot's wandering and the characters - they're just there, like extras who forgot they could leave the set. And let's talk world-building - or the lack thereof. In sci-fi, you've got to have a world that makes sense, even if it's a crazy, out-there kind of sense. But here? It's like they're winging it with every scene.

Honestly, Apple needs to take a hard look at this show. It feels like they just gave up and everyone's going through the motions. And while they're at it, might as well reevaluate "Invasion" too. Maybe take some notes from "Silo" Season 1 - that was a breath of fresh sci-fi air.

So, I'm out. If you're still hanging on, hoping for a miracle turnaround, I admire your optimism. But for me, "Foundation" has lost its foundation. Time to find a new space adventure.

Foundation (2021– )

Anything goes, and I hate that.

[3/10 · 12 January 2024]

"Foundation" (2021) seems less like a meticulously crafted sci-fi epic and more like a creative writing exercise where the motto is 'anything goes'. The writers, reveling in their unbridled freedom, appear to have tossed aside any semblance of narrative constraint, making it up as they go along.

The result? A universe where everything and anything is possible, which sounds cool until you realize it's basically plot armor masquerading as storytelling. Characters flip-flop between being inexplicably weak to ludicrously invincible, depending on what the plot demands at that moment.

This approach stands in stark contrast to a series like "The Expanse," where the rules of its universe add layers of tension and realism. "Foundation," on the other hand, opts for a more 'playground rules' approach, where the only rule is there are no rules. It's like watching a chess game where the pieces can move however the players feel like in the moment. The show might seem intelligent at a glance, a shiny veneer of sophistication, but scratch that surface and it's as hollow as a drum.

For those who value coherent world-building and consistent character development, "Foundation" is a hard pass. It demands a viewer who can switch off their brain and accept the narrative gymnastics without question. It's a show that only works if you're willing to consume it with the uncritical acceptance of a child watching a cartoon. Underneath its superficially intelligent exterior, it's a jumbled mess that feels like it's disrespecting both the audience and the art of storytelling.

But yes, the art direction and set pieces look good.

The Dark Knight Rises (2012)

Rated way too high; Nolan gets away with too much

[2/10 · 8 January 2024]

"The Dark Knight Rises," the supposed climax of Nolan's Batman trilogy, sadly plays out more like a prolonged, confused whimper than the bang it aimed for. Overstuffed with plot holes big enough to drive the Batmobile through, the film tries to juggle too many elements, ultimately dropping them all. Bane, while physically imposing, ends up as a villain who's more muffled voice than menace, making one long for the charisma of Ledger's Joker. And don't get me started on the 'twist' - it's as if the writers threw darts at a plot board and went with whatever disjointed scenario they hit. The film's length, which I assume was an attempt at an epic finale, instead feels like a marathon with no finish line in sight. It's a lumbering giant that forgets the sleekness and depth that made its predecessors shine. In trying to be grandiose, "The Dark Knight Rises" unfortunately stumbles and falls into the pit of mediocrity.

Invasion: Contact (2021) Season 1, Episode 8

Absurd and lazy writing. Snail's pace.

[1/10 · 21 December 2023]

"Invasion" Season 1, Episode 8, titled "Contact," takes a dive into the realm of science fiction that stretches beyond the bounds of plausibility, harking back to the days of '90s sci-fi extravaganzas like "Independence Day." However, unlike its predecessors, this episode fails to anchor its fantastical elements in a bedrock of believability, which becomes its Achilles' heel.

The episode's central plot revolves around a Japanese woman attempting to communicate with aliens, a premise that in itself invites intrigue. However, the execution of this idea quickly veers into the realm of the absurd. The methodology and technology employed for this alien communication are reminiscent of the far-fetched scenario in "Independence Day," where a human-made virus is used to infiltrate an alien mothership. This comparison is not flattering; it highlights a lack of originality and an over-reliance on outdated sci-fi tropes.

Moreover, the show's portrayal of technology is disappointingly superficial. In an era where the audience is more tech-savvy than ever, and when real-world scientists, language experts, and engineers are readily accessible for consultation, the writers of "Invasion" opt for a lazy approach. The use of techno-babble, accompanied by flashy but meaningless visualizations of nodes, 3D spaces, and lines of code, does little to mask the absence of genuine scientific grounding. This approach not only insults the intelligence of the viewer but also represents a missed opportunity to infuse the narrative with authenticity and depth.

This lack of commitment to realism in "Invasion" extends to its overall pacing and development throughout the season. With a narrative that meanders more than it progresses, the show struggles to maintain engagement. The recommendation to watch it at 1.25x speed is a telling comment on its sluggish pacing. In a time where television writing has reached new heights of sophistication and complexity, the lackluster execution of "Invasion" stands out as a glaring example of how not to approach science fiction storytelling.

In summary, "Invasion" S01E08 is a disappointment for viewers seeking intelligent, well-researched science fiction. Its reliance on outdated tropes, combined with a lack of scientific rigor and slow pacing, makes for a viewing experience that falls short of the standards expected by contemporary audiences. It serves as a reminder that even in the realm of fiction, credibility and attention to detail are paramount.

Invasion (2021–2024)

Season 1 review: better watch this at 1.25x speed!

[1/10 · 19 December 2023]

"Invasion" Season 1 is a show that certainly divides opinion, primarily due to its exceptionally slow pacing. In an unusual turn, I found myself watching it at 1.25x speed, something I've never done before, which surprisingly made the viewing experience more bearable. Despite the sluggish pace, the show isn't as underwhelming as some might suggest. The performances are notably strong, lending credibility to a series that otherwise struggles with its narrative coherence.

A recurrent issue in "Invasion" is the frustratingly illogical behavior of its characters. Characters often withhold information or make decisions that defy common sense, creating unnecessary conflicts and prolonging storylines that could have been resolved much quicker. This kind of storytelling, where characters are artificially ignorant or silent, undermines the otherwise intriguing plot and can be a source of irritation.

Particularly baffling is the "signal decoding" subplot involving a Japanese JASA employee. This aspect of the show comes across as entirely nonsensical, highlighting a common problem in sci-fi writing: the lack of input from subject matter experts such as engineers or scientists. This leads to scenarios that feel unconvincing and poorly researched, detracting from the show's overall believability.

Despite these criticisms, "Invasion" manages to retain interest, largely due to its ambitious scope and some likable characters. The show is a smorgasbord of ideas, some of which are more successful than others. It's passable as a sci-fi drama, but it's evident that the series could have benefited from tighter writing and more realistic character decisions.

In summary, "Invasion" is a mixed bag. It's a show that requires patience and a willingness to overlook its slower moments and narrative inconsistencies. For viewers seeking a sci-fi series that's easy to binge and filled with intriguing concepts, it might be worth a watch, albeit at an increased speed.

The Age of Adaline (2015)

She shouldn't be driving.

[4/10 · 12 December 2023]

"Age of Adaline" (2015) is a romantic drama that struggles to rise above its shallow premise. The story revolves around Adaline, a woman who ceases to age following a bizarre accident involving lightning and a car crash. This eternal youth becomes a curse, as Adaline spends decades fleeing relationships and connections to avoid revealing her secret. That feeling of loneliness works well - I felt it.

The plot thickens with a cliché romantic twist when she falls for a man whose father, in a twist of fate, turns out to be an old lover of hers. This revelation propels her into yet another car accident, ironically leading to her aging again due to defibrillator shocks. Wouldn't she be the best driver in the world at her age?

While the premise is intriguing, the execution falls flat, particularly in the romance department, which is tediously predictable. However, the film is somewhat redeemed by the performances of its cast. Harrison Ford delivers a remarkably nuanced performance, arguably outshining his younger self. Meanwhile, the actress playing Adaline is a vision of beauty, exuding grace and style that captivate the viewer. Despite these strengths, the film ultimately fails to delve deep into the potentially rich themes it brushes against, leaving the audience with a visually pleasing but emotionally unsatisfying experience.

Slow Horses (2022– )

A good show, but...

[7/10 · 2 December 2023]

It's a nice to show watch, but writers need to stop the "hacker cliche". There's this one dude in film or shows who's always the anti-social weirdo that listens to loud music, has a narcissist complex and wants to be paid cash or in crypto. And yes. Here we have another one!

It's even a dude that babbles about "malware" and "SQL injection" - loose terminology the writers must have heard of on TV, but not fully understanding what it means and in what context these things are actually relevant.

Hacking here once again seems to be rely fully on the digital equivalent of "plot armor". The world freely morphs around these characters to further the writer's desired storyline, ignoring any form of realism.

!!! Writers, when will you finally hire an actual computer expert to review your scripts? !!!

Geostorm (2017)

Brain freeze!

[2/10 · 25 November 2023]

"Geostorm" hits the screen with the subtlety of a sledgehammer to the senses, a storm of clichés and preposterous narrative decisions that leave audiences adrift in a sea of lazy writing and underwhelming spectacle. The film attempts to weave together the high-stakes tension of a political thriller with the mass destruction of a disaster flick, but the script fizzles out like a failed rocket launch, plagued by dialogue so cliché it almost loops back to parody.

The special effects, a cornerstone of any disaster film, are a hit-and-miss affair; one moment you're watching a semi-convincing ISS, the next you're jolted back to reality by visuals of Dubai that wouldn't pass muster in early 2000s cinema. Gerard Butler's lead character, tasked with fixing a climate-controlling satellite system gone awry, is as unlikable as he is unrelatable, with heroics that feel more machismo-fueled than mission-critical.

Critics and audiences alike have pointed out the film's failure to capitalize on its budget, resulting in a product that feels more suited to a low-tier cable network than a blockbuster opening weekend. The plot is riddled with extraneous subplots that meander aimlessly, bloating the runtime without deepening the impact. It's a movie that aims for the stars but barely clears the stratosphere, with a villain whose motives are as thinly veiled as the film's attempt at a climate change narrative.

In essence, "Geostorm" is a storm in a teacup, promising a deluge but delivering only a drizzle. The forgettable experience is akin to watching paint dry during a hurricane - somehow both chaotic and utterly dull. As the credits roll, it becomes painfully clear that "Geostorm" is a meteorological miss, a tempest of tropes that will likely be relegated to the annals of 'movies to watch when there's nothing else on.'

Outlander: To Ransom a Man's Soul (2015) Season 1, Episode 16

Completely unnecessary

[2/10 · 23 November 2023]

The amount of abuse committed to Jamie in season 1 is absurd. It's like the crucifixion of Jesus, multiplied by 10. Why is this necessary? What is it contributing to when you helicopter and look at the story arch as a whole? Do we really need to see one guy being tortured in multiple episodes, raped, branded and 'made love to'?

This show is weird; it has the characteristics of a costume drama in how it's being setup, but then you add tons of gore and abuse. Can't the writers add more restraint to this all and instead focus on progressing the meta story arch, rather than creating a hurdle and resolving it in the same or the next episode?

The end result feels like we're supposed to find this, what? Kinky? Intense? A super weird show, that I keep "10 second skipping".

Outlander: The Search (2015) Season 1, Episode 14

My favorite "skip 10 seconds forward" serie

[6/10 · 22 November 2023]

The problem with this show is that it's stretched thin as the season progresses. Filler content over filler content. Scenes dat start and you know how they'll end. A lot of bloat. It's a shame because I was hoping to see more time traveling, or the past changing the present or some sort of communication between the past and the present. Perhaps more people who travelled. Instead each episode introduces a problem and resolves it at the end, with the main, overarching story only crawling forward just so slightly.

This is why most of the time I'm bashing the skip-10-second button and rewinding in case I suspect I missed something.

Not a great experience but I'll taggle along for now.

Outlander: The Wedding (2014) Season 1, Episode 7

Very boring.

[5/10 · 20 November 2023]

So far I can appreciate the show, but this episode was a stinker. Drawn out scenes with soft erotic content that was boring to watch. Nothing really happens except establishing a new relationship between Claire and what's-his-name. And obviously a stronger bond with the clan. But there was zero story progression or character development. At least not in relation to the running time.

Perhaps this show is more directed towards women who read a romantic novel they purchased at the airport? I'm not sure what it was trying to do.

Anyway, hoping for more and I'm happy to forget this waste of time episode.

Bodies (2023)

Fun story with good characters. Writers dodging hard questions.

[7/10 · 16 November 2023]

The problem with classic "Back to the future" time-traveling is that after the past has been altered, you end up with the famous problem: "well, the past episodes now wouldn't have happened to begin with, nor would anyone in the future remember what happened before the past was altered".

This show doesn't resolve any of that.

In fact, they don't bring up the issue of: who was first to time travel?

In fact, the show essentially states that everything is deterministic and you essentially cannot make changes in the past because "the universe doesn't let you". Yet, that's basically what they do: someone goes back in time and makes a slight change. A seed is planted that ripples through time.

So...what is it? It's either deterministic, or it isn't. The universe doesn't cherry pick whether you go back in the past to kill someone, or to change their mind. A change is a change.

But, it has well rounded characters, the acting is great and it is smart enough to not overstay its welcome. I enjoyed it, even when it's ignoring causality and dodging tough questions.

Another fun fact: if the bad guy travelled back all the way into 1890 from 2053, that means another copy of him will appear naked on the floor somewhere in the year 2216 hahaha! So maybe a season 2 in the very distant future? :-)

The Fall of the House of Usher (2023)

A Numb Walk Through 'The House Of Usher'

[5/10 · 11 November 2023]

I approached the 2023 adaptation of "The Fall of the House of Usher" with a mix of anticipation and trepidation, intrigued by the promises of a modern spin on a classic tale. The direction was commendable, and the editing skillful, yet as the credits rolled, I found myself pondering, "What was the point?"

The characters, trapped in their vile, insecure existences, lacked any semblance of development. It was as if I was watching them get picked off one by one, casualties of a diabolical pact, with no emotional anchor to hold onto. Sadly, the show left no lasting impression; I'm certain its memory will fade from my mind within six months, leaving no trace or residue to ponder upon.

While the gory scenes, abundant jump-scares, and masterfully executed special effects were visually captivating, they couldn't compensate for the emotional disconnect I experienced. I often found myself hitting the "skip 10 seconds" button, an unmistakable sign of my waning interest. I appreciate slow-burning narratives, but only when they serve a purpose. Here, the extended scenes felt unnecessarily drawn out, adding to the tedium rather than the suspense.

The demise of the granddaughter, one of the few genuinely good characters alongside Auguste Dupin, was a disheartening moment. It highlighted the scarcity of relatable, human elements in a show overwhelmed by otherworldliness.

As I look forward to my next streaming venture, I yearn for a series grounded in reality, one rich in character development and human problems, a stark contrast to the spectral and superficial experience of "The Fall of the House of Usher." This show, albeit technically brilliant, was an emotional letdown, leaving me numb and detached, rather than moved or engaged.

Bosch: Legacy: I Miss Vin Scully (2023) Season 2, Episode 7

We shouldn't accept this as a viewer...

[4/10 · 4 November 2023]

Why do people accept weak and lazy writing and in fact award these episodes 8/10?

In the last episode we see the hacker dude open a safe with a knife because it "has a security flaw".

How could he identify the right make and model, and what are the chances of such a safe hitting the market? And since when does a hacker (which has time over time been used in this show to circumvent having to be creative in the writing department, him resorting to being some kind of Neo from the Matrix) extensive knowledge on safe brands, models and their flaws?

In the beginning of this episode we see the two evil dudes pushing Bosch And The Hacker Dude off a cliff with their car.

This results in plenty of potential evidence by investigating the vehicle damage on both cars, but okay let's assume they have back channels who can repair their car. Even more important is the fact they can't be sure they killed them. It's a hope. Since they just killed the two Asian dudes from the jewelry store in broad daylight without wearing masks (no cameras or witnesses?), why not wait for them at Bosch' place and shoot them? Perhaps this time with masks?

This has become a very weak show and it's all due to the abysmal writing. I haven't even started on the wooden dialogue in this show, but let's be fair; that has been an issue since season 1.

Bosch team: please hire writers who are more critical about their own output.

Bosch: Legacy: Dos Matadores (2023) Season 2, Episode 6

Poor writing again

[4/10 · 4 November 2023]

Why would the two bad guys kill the jewelry store owners when these stores are built around security and feature all kinds of cameras?

Robbing them in broad daylight without masks wouldn't lead to dozens of witnesses? Right.

The show is full of bad writing decisions an it's time the writers are replaced with a team that knows how to write engaging and authentic dialogue and realistic action.

This is getting unbearable.

Also it seems insane for a hacker to completely undermine a healthcare company that has on-premise IT. My guess is that the woman will screw him over and puts the hacker behind bars.