Autodidact: self-taught

Aug
11
2015

Grace and Frankie

by V. L. Craven

Grace and Frankie

Grace Hanson (Jane Fonda) and Frankie Bergstein (Lily Tomlin) have been married to their husbands, Robert (Martin Sheen) and Sol (Sam Waterston), for forty years.

The husbands in question have been partners in the same law firm for that length of time, as well, and the women are ready for them to retire. They hope the men in their lives are going to announce their retirement (finally) at the fancy schmancy dinner they’ve invited them out to.

Or they could announce they both want divorces because they’d like to marry one another…because they’ve been having an affair for the previous twenty years.

That’s the other thing that could happen.

Like Transparent , Grace and Frankie is about what happens when an older person decides to start living their life honestly. The fallout, as it were, in regard to their family–their spouses, kids, lifelong friends, etc.

There are some very honest moments. There are also some rather contrived moments. Overall, though, the show is entertaining. It’s certainly nice to see people over 40 dealing with life (and technology) and sex and dating in a realistic way. More of that, please.

Netflix is on a roll with excellent shows. Last week I reviewed one and now this. (I promise I’ll return to films soon.) And they already have Orange is the New Black and I understand House of Cards is rather all right–no I haven’t seen it, give me a break.

Grace and Frankie can be a little uneven at times–the dialogue can go from laugh out loud funny to bad sitcom–but the cast makes it worth the watch.

4/5

Jul
21
2015

Higher Learning

by V. L. Craven

Higher Learning

Malik (Omar Epps) is a young, black, incoming freshman track star. A little cocky–all right, more than a little.

Kristen (Kristy Swanson) is a white, naive freshman with no clue who she is or what she wants.

Remy (Michael Rappaport) is also white and a freshman but he’s odd. A loner. He can’t seem to fit in anywhere.

Out of their hometowns for the first time in their lives–and for some of them, having to deal with people who aren’t the same race, for the first time as well–they scramble to make sense of the new world they’re meant to fit in to.

Malik ends up with a group of guys led by Ice Cube (another guy in the group is Busta Rhymes). Some of their scenes are excellent examples of the way racism is alive and well (the film is twenty years old, but it remains accurate) on campuses. Malik also begins romancing Deja (Tyra Banks).

Kristen starts off hanging out with two friends from back home but after a traumatic experience she finds solace and solidarity with Taryn (Jennifer Connelly).

Then there’s Remy. Remy’s the sort of person the average human gets the urge to inch away from so of course the campus skinheads think he’s just swell and the feeling is mutual.

All of these characters; stories collide in one way or another and no one comes out untouched by the repercussions.

One of the professors is played by Laurence Fishburne and, in case I need to say it, he’s amazing.

John Singleton knows how to handle an ensemble cast and tell several stories at once whilst making a larger point.

I was reminded of this film after watching Dear White People last week. Mostly because the average film about American university life is about parties and hooking up and other things I could not care less about. Just in case you were wondering why this one seemed to be getting dragged out of the mothballs.

Do yourself a favour and watch this one. 5/5

Jul
14
2015

Dear White People

by V. L. Craven

Dear White People

Winchester is an ivy-league university with a minority number of minorities. One recent Halloween a very white dorm sent out invitations to their very racist themed party.

Dear White People is the ‘re-enactment’ of the five week lead up to that party.

Okay, it’s all fiction, but barely. We’ve seen the photos of the racist costumes–the black-face and brown-face; the Native American headdresses and sombreros. As though white is a blank canvas of normal humanity and everyone else is putting on a costume every day and pretending to be ethnic.

The invitation in the film is a near-verbatim copy of an actual invitation to a 2010 party at the University of California, San Diego. The party in the film is based on an actual event, as well, though it didn’t turn into a riot. And over the closing credits are photographs of real life university students doing the same things satirized in the film. (That must have been an uncomfortable day on the set. Hoo boy.)

The supposed ‘re-enactment’ starts with Lionel Higgins (Tyler James Williams) at the beginning of his sophomore year. He’s been moved from house to house (people live in large, gorgeous houses rather than prison-cell-like dorms at Winchester) as he doesn’t seem to fit in anywhere. Uncomfortable with his sexuality–he doesn’t like labels–and unsure what to do with his hair (he tells fellow black students he’s growing it out and they laugh and say it’s gaining sentience) he doesn’t know what he wants or who he is. He doesn’t even have a major anymore.

Then there’s Sam White (Tessa Thompson) revolutionary media arts major with a radio show called Dear White People. She wants people to pay attention. She wants to make a difference. But Sam has her own struggles with race to deal with.

Next up is Coco Conners (Teyonah Parris). She wants people to pay attention, too. To her. She wants to be famous. So when a producer shows up at the university looking for a certain sort of person she tries to get his attention by being provocative.

And finally we have Troy Fairbanks (Brandon P Bell). His father is the Dean and he has aspirations for law school and, eventually, his own firm one day. He’s currently head of the house he lives in and is one of those All-American types. He’s Barack Obama, basically.

He has a white girlfriend, though, and that goes over just as well as you’d expect with his cohort. His girlfriend is the sister of the son of the President of Winchester. Who is also the man who beat out his father for that position. The long-term political fallout of this cause all kinds of problems.

Dear White People is funny as hell–there are exchanges and one-liners galore. But it also holds a mirror up to our society and shows how much further we have to go in terms of racial equality. It is accurate and perceptive while being witty.

This one is a must-see. Watch it. 5/5

We all know this guy, right? We know him and we hate him. Don't be this guy.

We all know this guy, right? We know him and we hate him. Don’t be this guy.

Jun
09
2015

Penny Dreadful

by V. L. Craven

Penny Dreadful

Dorian Gray, Victor Frankenstein and Abraham van Helsing walk into a pub in Victorian England. Everyone’s got consumption and there’s an ancient evil or three afoot.

Stop me if you’ve heard this one.

Penny Dreadful is a Gothic drama, fantasy nightmare concoction.

Don’t get me wrong–it’s great fun. Just difficult to categorize.

There’s the main character Vanessa Ives (Eva Green, who should win all the awards) who has a bit of a possession problem. As in, she’s been possessed by … something. Who knows. But it’s a hell of a thing. Then there’s Mr Gray and Dr Frankenstein (his projects have been going swimmingly by the time we meet him) and Sir Malcolm Murray played by Timothy Dalton.

Sir Malcolm is one of those explorers the Victorians were drowning in at the the time. He’s on a quest to find his kidnapped daughter, Mina. Yes, that Mina. Harker. The Dracula one. We’re hitting all the Gothic greatest hits.

There’s the obligatory prostitute with a heart of gold with harsh backstory (Billie Piper) and an American gunslinger from the Wild West played by Josh Hartnett.

The plot can be a little…meandering at times in a Dickensian sort of way. The show is more about characters, though, and the casting is superb. As are the costumes and sets and everything else.

Though the overall plot tends to take its own path, each episode rips right along, generally, and one never knows what’s going to happen or who it’s going to happen to.

There was one episode in the first series that was slow and it featured Anna Chancellor. They managed to make an episode with Her Gloriousness drag. That alone is noteworthy. (The episode had a load of useful but dull exposition and she played Eva Green’s mother–a role she also played in the quite excellent The Dreamers.)

Basically, there are vampires, werewolves, Frankenstein’s monster (played brilliantly by Rory Kinnear)…and tuberculosis but that makes it sound like Buffy with consumption. I loved Buffy, but… Ugh. This is hard . Do you like American Horror Story? Do you like Buffy the Vampire Slayer? Do you like corsets and velvet? You’ll like this. Probably. I’m giving it 4/5.

Apr
28
2015

The Duke of Burgundy

by V. L. Craven

DoB Three Panel Maroon

This review is free of spoilers, though in some ways this film is better if you know nothing about it going in. It may sound odd, but I recommend not reading this review, or any review. Just watch the film—it’s incredible.

A young woman, Evelyn (Chiara D’Anna) arrives at her employer’s house—Cynthia (Sidse Babett Knudsen)—a cold, demanding woman who makes her stay late at work and punishes her severely when she makes mistakes.

In the next scene we find out the women are lovers who play sadomasochistic sorts of games. This isn’t a spoiler—we learn this in the second scene of the film.

The women go through their normal lives—the older one is a lepidopterist—and they attend talks at the library, as well as do scenes at home.

But all is not well in kinky-land.

And then the end happened and I was: Whaaaaaa?

I know that seems like a short plot synopsis but it really is better to know less rather than more. Also, the film is more of a character-study than plot-based.

DoB Venus in Furs

The Duke of Burgundy was written and directed by Peter Strickland in the 20-teens, but feels like it was based on a 1970s novel. In an interview Strickland says it was an homage to 70s films, and that’s apparent in both look and feel. The cinematography (by Nicholas D. Knowland) is lush and luxurious.

The setting is somewhere non-specific in Europe and the time could be any time after the 70s. (It was filmed in Hungary and Budapest). The soundtrack is by Cat’s Eyes and compliments the film perfectly.

The Duke of Burgundy is about what happens when Dommes and subs don’t negotiate what they both want. (And something called topping from the bottom.)

There are some trippy sex scenes and music cues that are very 70s. And there’s an entire sequence roughly three-quarters of the way through that’s that sort of LSD weird-out sort of thing you’d see in the 70s.

Even though it’s surreal and artistic, it’s a more realistic depiction of a BDSM relationship than Secretary, as it shows how far the fantasy is from the—often boring or hilarious—reality.

Basically it’s my favourite film now. 5/5

[The images in this post are by Julian House. More are available here .]

Bonus: some behind-the-scenes photos of the film.

Apr
21
2015

Quills

by V. L. Craven

Quills

The Marquis de Sade (Geoffrey Rush) has got himself locked up in the lunatic asylum at Charenton.

The Abbe (Joaquin Phoenix) has prescribed writing about his deviant fantasies in order to rid himself of the thoughts.

What he doesn’t prescribe, but the Marquis does anyway, is to publish the writings. This is done with the help of the laundress Maddie (Kate Winslet), who smuggles the scribblings out to a man on horseback.

This is how Justine is published. Napoleon is less-than-pleased with the work and orders all copies to be burned and for the Marquis to be killed. He is talked around to sending Dr Royer-Collard (Michael Caine) to the asylum to ‘work’ with the artist.

The good doctor is a pioneer of curing mental illness. Unfortunately this is the early 1800s, so that mostly involves torture.

Before taking up permanent residency at Charenton, Dr Royer-Collard swings by a Paris convent, where he collects his underage, orphan bride-to-be. They’re wed in very short order. She’s so much his junior and the wedding happens so quickly, everyone begins to gossip and the information makes its way back to the Marquis…who writes a little play.

Which the performers of the asylum put on for the doctor (they’ve been doing plays for some time, always to good turn out) but this one is rather bawdier than usual and, of course, more true-to-life than the typical fare.

This enrages the doctor, who does the worst thing he can think of to a writer–he removes his every ability to put pen to paper. No more pens, no more ink, no more paper.

The Marquis gets creative and then things go a bit south…

This would be creative mode. You don't want to see 'south'.

This would be creative mode. You don’t want to see ‘south’.

The cast is A+, as is the writing and direction. And cinematography and costumes. It’s all grand. Historically correct, not so much. It’s funny and dramatic and a little bit gross, just like the Marquis.

5/5 just don’t consider it to be a history lesson.

Non sequitur bit of info: I went to see this in the cinema in 2000 and it was sparsely attended, but the other film-goers were a random bunch. There was a young couple with a baby in a stroller a couple of rows away and the person I was with and I were: Do they *know* what this film is about?

Mar
10
2015

Transparent

by V. L. Craven

Transparent

Morton Pfefferman (Jeffrey Tambor) is a retired professor of political science, a father of three, and an ex-husband. He’s also actually a woman, Maura.

How Maura’s dysfunctional family (understatement warning) is going to take this news is anyone’s guess, but after knowing for years she’s finally ready to make the announcement and begin being true to herself 24/7.

About this family. Oy. They are so Jewish. In the most realistic way, which isn’t something audiences get to see on television very often so that alone was refreshing. Also, the characters are very real, meaning they’re not all that likable. (This has nothing to do with them being Jewish and everything with them being like actual human beings with actual human feelings and unattractive traits.)

There’s the eldest daughter, Sarah Pfefferman (Amy Landecker). Her marriage is in trouble (understatement) and she gets involved with an ex who happens to be a woman ( Melora Hardin who played Jan Levinson on the US version of The Office and the transformation blows my mind.) [That character is unlikable, as well. Everyone is obnoxious on this show, but I couldn’t stop watching.] Those two getting together wrecks two households but also kicks off Maura’s coming out process albeit unintentionally.

Then there’s the only son, Josh, who has a  lot of sex on this show. I don’t know what he’s looking for–new sex or new love or both or something else, but he’s doing his level best in trying to find it. Or trying to wreck his life. Perhaps that’s what he’s trying to do.

The third child is Ali, Gaby Hoffman, unable to settle on anything in life, perpetually jobless and dependent on Morton/Maura for money, Ali is also trying to work out who and what she is.

The matriarch of this bunch is the ever luminous Judith Light, who can do no wrong. She plays Shelly, Maura’s ex, and she’s remarried to a man named Ed with whom she lives in a retirement community. He’s lost the ability to speak by the time we meet him, he’s still quite the personality.

There are lots of flashbacks to the 90s when Morton was just becoming Maura, so we get to see her first, tentative steps into finding her true self. Her guide is a cross-dresser named Marcy (Bradley Whitford). It’s Whitford like you’ve never seen him before and it’s  amazing .

The show was created by Jill Soloway and was based on her own father’s coming out as transgender. Soloway also directed.

Everything about Transparent is excellent. Every character is fully-realised. The writing is top-notch and the actors are on top of their game. There’s humour and pathos and pain and joy. And every kind of sex you can imagine. No really.

This show is a must watch. 5/5

Mar
03
2015

Secretary

by V. L. Craven

Secretary

 

Shortly after Lee Holloway (Maggie Gyllenhaal) is released from a mental hospital following a self harm incident that accidentally went too far she attends a typing school.

With her certificate and very high marks she applies to be the secretary of an attorney, a Mr E. Edward Grey (James Spader, again playing a weirdo because the man can not play a well-adjusted human being).

After warning her the work will be boring and receiving the reply, ‘I want to be bored,’ Mr Grey offers her the job. This follows the most illegal set of interview questions imaginable.

Mr Grey notices his new secretary’s cuts. He catches her with her self harm travel kit one day and works out that she needs physical pain to help deal with emotional pain.

He recognises a submissive in this socially awkward individual who has been doing her best to please him. And he cares enough to not want her to hurt herself badly enough she may wind up in the mental ward again or worse.

Then one day she commits one typo too far.

Oh dear, oh dear. tsk tsk

Oh dear, oh dear. tsk tsk

And we’re off to the races. If races were kinky.

Their relationship changes then; while she’s still his secretary she also gets spanked on a regular basis (she’s clearly completely into this).

And he has informed her that she will no longer be injuring herself. She agrees to this because he is Dominant and she is submissive. He makes decisions about what she eats and where she walks, therefore it’s as though he’s with her all the time, which she’s fine with because she’s crazy about him. And she likes pain.

Then, like all romantic comedies (I promise that’s what this is), something goes wrong and they break up. Will they get back together? Well, it’s a romantic comedy so you guess.

But how it happens and what they go through to get there will surprise most people. Their relationship certainly isn’t what Hollywood generally serves up.

Secretary gif 1

Secretary gif 2

Secretary came out in 2002. And I loved it straightaway. It’s a damn sight better than that other BDSM film featuring a Mr Grey even though neither of them are entirely accurate in their portrayal of the lifestyle (there’s no pre-negotiation or aftercare in Secretary and …everything is terrible in the other film/books). A complete breakdown of the two films is here .

Back to the review at hand, though. It’s stylish and stylized. The soundtrack is by Angelo Badalamenti, who also did the music for Twin Peaks. E. Edward Grey’s office is gorgeous and bizarre in its own right, but so is everything in this film.

The writing is funny and real and unreal at the same time.

I recently re-watched it in order to write this review, showing it to a friend of mine who describes herself as a ‘vanilla weenie’. Around three quarters of the way through she asked, ‘What even is this film?’ Which I think is a good way of putting it. It’s not like anything most people have seen before.

It’s based on a short story by Mary Gaitskill included in the collection Bad Behavior, which I’ll be reviewing tomorrow. I give the film 5/5 and I’ll see you tomorrow for the book review.

Bonus: On the official Secretary website there’s a little typing game, as well as Lee’s CV that’s pretty funny.

Feb
17
2015

Hysteria

by V. L. Craven

Hysteria_Movie_Poster

It’s the 1880s in England and all of women’s emotional problems stem from their uteri. They must be brought back into alignment and this was done by inducing hysteria… which involved, um… manipulating the lady bits. You know .

[The filmmakers weren’t making any of this up–this was actual medical science of the day.]

After being fired from his job for believing in the clearly made-up germ theory–whoever heard of doctors changing bandages or washing hands, I mean, really–Mortimer Granville (Hugh Dancy) has a difficult time finding new employment.

That is, until he’s taken on by Dr. Robert Dalrymple (Jonathan Pryce), who is pioneering the new technique of digitally manipulation (see the first paragraph) in order to restore women’s uteri to their proper position. (People used to believe they moved around and cause all sorts of trouble. I swear to you.)

He calls this work ‘tedious’.

Granville would call it debilitating–he winds up with something akin to carpal tunnel, poor, giving soul.

Luckily, he happens upon an invention his great friend Edmund St-John-Smyth (Rupert Everett) is working on to make housework easier for women. Granville quickly realised that, with a few adjustments, it will make something else far easier for women, as well.

And it ain’t dusting, ifyougetmydrift.

In the midst of all this is Dr. Dalrymple’s two daughters. The eldest, Charlotte, (Maggie Gyllenhaal) is a feminist trying to assist the down trodden in nineteenth-century England–so there’s no worry of her running out of people to help; the younger is obedient Emily (Felicity Jones) who will marry whomever her father says, including Mortimer, if he so wishes.

A contrived thing happens because it has to and we have a subplot.

Pictured: Anna Chancellor being underutilized

Pictured: Anna Chancellor being underutilized

The film starts off with Anna Chancellor’s voice. So I had high hopes. Then she has one other, very short scene. This did not bode well.

For something that was about female ‘paroxysm’ it certainly wasn’t sexy. The two scenes that showed women having their uteri replaced to their proper locations were played for laughs (because female pleasure is funny). Though I swear I want women to say that now. ‘Honey…I think my uterus is out of joint. Help me out?’

It also showed how things haven’t changed. Women are stilled called hysterical when expressing an opinion–something men are never called–and if a woman is being a bit too forthright, well. She needs a good seeing to.

Oh, and you’ll love this. The reason what the doctors were doing wasn’t considered sexual was because women couldn’t receive sexual pleasure without insertion of the penis. Le sigh. So the bit on the front of the ladies–That’s just there as a sort of mechanical part to bring inner bits back in line. It’s nothing to do with anything else. I knew this was the received wisdom of the time going into it, but still.

But I digress.

The costumes were great. The acting was fine. Everything was somewhat interesting and pretty to look at. I’ll just sit here and damn with faint phrase, shall I?

It was typical Hollywood fare with the ending obvious a mile off. Still fun enough. 3/5. 4/5 if you’re interested in the period.

I was a bigger fan of The Road to Wellville , even though that one was more about the early twentieth-century push to keep people from touching their naughty bits.  They prescribed cornflakes and vegetarianism. (Again, no joke.)

Feb
10
2015

Calvary

by V. L. Craven

Calvary

Father James (Brendan Gleeson) is hearing confession when a parishioner reveals he was sexually abused by a priest from the age of seven. He informs him he’s going to kill Father James a week from Sunday, as killing an innocent priest is more shocking than killing a bad one. (This isn’t a spoiler–it happens in the first two minutes.)

The priest then goes about his week as usual–meeting with people, comforting the sick, etc. He does take advice from the local bishop on the situation, though decides himself how to handle it. He settles his daughter (Kelly Reilly), who returns from London for a rest in Ireland after another suicide attempt into his house.

The Father has truly philosophical conversations with a local emergency room doctor (Aiden Gillen) when called in to perform last rites. And does his best to help an aged, possibly dying parishioner, who wishes to end his life on his own terms.

He tries to mediate the marital conflict between Jack Brennan (Chris O’Dowd) and his wife (Orla O’Rourke), after she arrives at church with a blackened eye. That situation is more complicated than at first glance; as is everything else in this film.

Another person in the picture is a wealthy new landowner played by Dylan Moran, whose role offers a bit of levity, but it’s the dark sort of levity at which the Irish excel. There are other moments of humour but the overall tone is a grim one.

Every male becomes suspect to the viewer (Father James says he knows who it is). He vacillates between saving himself and sacrificing himself.

The week carries on with its joys and woes–no one else the wiser. The person who’s threatened the Father ramps up his campaign of intimidation.

The denouement is tense and startling and satisfactory.

Calvary Moran

Between the scenes of emotional tension, philosophical conversations and everyday interactions, we are treated to breath-taking shots of beauty–the Irish country-side is nearly a character in itself. Which was useful. ‘I can’t take anymore! Oh look, a beautiful cliffside.’

Many of the characters were stand-ins for the ills of the day. There was the cynical atheist (my personal favourite character), the cynical businessman who cared for nothing but money and whose life now had no meaning, there was a Buddhist, and a woman who embodied the randomness of the universe. In a film about religion–about a man who was choosing to die for his religion, that’s pretty thought-provoking.

But perhaps the most important lesson I learned from this film is that, if you decide to watch something based on the cast alone always,  always read a synopsis anyway. I recognised the majority of the cast and, from that, assumed it was going to be a comedy.

Then it was over and it was 2am and I wasn’t sure what to do because a person can’t go to bed after watching something that heavy.

The Irish take the comedy and tragedy masks far too seriously. There’s a spectrum, my lovelies. Everything isn’t either hysterical, goofball comedy, or kill-yourself, lie-facedown-in-a-ditch-after drama.

Always read a synopsis.

Still 5/5. Just watch it during daylight hours.

Jan
27
2015

Wentworth

by V. L. Craven

Wentworth

Wentworth is a prison drama–as with all dramas (or shows in general)–we are introduced to the workings of this new world by way of a particular character. In Wentworth’s case it’s Bea Smith (Danielle Cormack). She’s on remand for the alleged attempted murder of her abusive husband.

Upon her arrival we learn the rules of prison life and who the major players are on both sides of the bars. The main one to keep an eye on behind bars is sassy, inveterate lesbian Frankie Doyle (Nicole da Silva), who has been in control since mafia matriarch Jacs Holt (Kris McQuade) has been out of the picture. When Jacs returns Frankie’s status as top dog becomes tenuous. It’s turf war time, ladies.

The other side of the bars has Governor Davidson (Leeanna Walsman) and her complex relationship with Frankie Doyle. The spouse of one of the officers (who also worked at the prison) is murdered during a riot and the first series is partially about finding what prisoner–or other officer–did it.

Wentworth 1st Series

First series cast

The second series sees the arrival of the deliciously devious Joan ‘The Freak’ Ferguson (Pamela Rabe) and a couple of other cast changes. The characters that remain grow and the show improves, though the first season was entirely decent. Friction that began between prison officers in the first series continues in the second. Meanwhile, a milquetoast officer from the first season begins to grow a backbone under the sinister tutelage of Governor Ferguson.

One of the officers falls off the wagon, another is playing both sides of the bars and yet another is being stalked by …someone. And paranoid people make stupid decisions. The only thing that separates the screws from the inmates is that the officers haven’t been caught for what they get up to.

I don’t want to say more for spoiler reasons. The third series can roll on any time now.

Series Two Cast

Second series cast

As I was watching the show I kept thinking various story-lines were similar to ones on Bad Girls or Orange is the New Black, but then discovered Wentworth is a reimagining of Prisoner (Wentworth Prison or Prisoner: Cell Block H in other countries), which was itself inspired by a UK show called Within These Walls. The original Prisoner ran for 692 episodes from 1979 to 1986. So it’s more like the more recent shows are the copy-cats, though I suppose there are only so many plots you can have in a prison.

A friend of mine lives in Sydney and she wants to know why I don’t visit. I say it’s because she lives on the moon. Watching this show has proven to me just how distant the country is. Australia is so far away they’ve had to duplicate their own versions of people in the Northern Hemisphere, because I swear half the cast look like actors from up here in the Land of Correct Seasons.

My evidence:

From the first series we have Jacs Holt (Kris McQuade) standing in for Jane Atkinson.

Wentworth Kris McQuade

Australian actress Kris McQuade

 

English-American actress Jayne Atkinson

English-American actress Jayne Atkinson

For the life of me I cannot work out who Franky Doyle (Nicole da Silva) looks like, but she reminds me of someone. Help.

Out of character Nicole da Silva

Out of character Nicole da Silva

When she’s in character & makeup as Frankie/Shane she reminds me of Frankie from Lip Service.

Yeah, she knows it.

Yeah, she knows it.

 

Ruta Gedmintas, English actress, smirking it up

Ruta Gedmintas, English actress, smirking it up

Ditto to Doreen Anderson (Shareena Clanton)

Shareena Clanton, looking like...someone

Shareena Clanton, looking like…someone

Meg Jackson (Catherine McClements) isn’t around too very long, but she’s doing an excellent job of looking like Valerie Harper.

Antipodean Catherine McClements

Antipodean Catherine McClements

 

American, Valerie Harper

American, Valerie Harper

Special kudos goes to Erica Davidson (Leeanna Walsman) who manages to look like both Ellen Pompeo and Claire King, who played the Governor for some time on Bad Girls .

Double look-a-like winner, Leeanna Walsman. Well done.

Double look-a-like winner, Leeanna Walsman. Well done.

 

American Ellen Pompeo

American Ellen Pompeo

 

English actress Claire King

English actress Claire King

And, as I was looking up photos, I discovered Boomer (Katrina Milosevic) actually looks like Dawn French. They do a good job on the show of making her…not look like Dawn French.

Australian Katrina Milosevic

Australian Katrina Milosevic

 

English actress Dawn French

English actress Dawn French

The only person to whom this rule does not apply is Pamela Rabe, but that’s because she’s from Canada.

There is only one Pamela Rabe.

There is only one Pamela Rabe.

There are other secondary characters who are look-alikes, but I think I’ve proven my point. Leave a comment if you recognise other people.

Wentworth is like a Bad Girls in a soapy drama way, but the first series is like Orange is the New Black in that the audience gets to see the characters’ lives and choices that led them to prison.

Bonus: Once you’ve watched the first two series (and you absolutely should) I highly recommend the AfterEllen recaps , which are hilarious but spoil everything.

Bonus bonus: I’ve started watching the original Prisoner and ‘reimagining’ is a good word for it. I’m only a few episodes in, but it currently looks like they’ve taken the characters and plots, put them in a Yahtzee cup, given it a good shake and let them land where they may.

Jan
06
2015

Concussion (film)

by V. L. Craven

Concussion

Abby Ableman (Robin Weigert) is in a solid but boring relationship with Kate Ableman (Julie Fain Lawrence), with whom she has two children. After receiving a mild concussion–when her son hits her with a baseball–she begins to reevaluate her life and realises her life of domestic bliss may not be as blissful as she originally thought.

Kate is happy with their life and seemingly gives Abby permission to ‘go breathe’ and Abby does so in the form of hiring a lesbian prostitute. She meets this person through her business partner, Justin (Johnathan Tchaikovsky), whose ex-girlfriend runs an escort ring. Said prostitute says Abby could make her own money with women ‘who want an older experience.’

And she’s off and running. In a lying down and naked sort of way.

Some experiences are good, some are…not. And then one of her appointments is with a woman from her town (she’s been meeting people in Manhattan). The woman is straight and Abby has found her attractive for some time. Complications arise and clothes come off.

The Red Band trailer which is entirely NSFW:

There are some problems with this film. More than a few, yes. The trailer isn’t accurate. Well, yes, there’s quite a bit of sexy lady time, which is really well handled. That probably had something to do with Rose Troche’s involvement, who co-wrote and directed Go Fish and was a writer and director of three seasons of The L Word.

Weigert does an outstanding job, as do all of the actresses. Janel Moloney (who played Donna on The West Wing) is a secondary character and does a great job as pseudo-therapist, but that couple needed a real therapist. And Emily Kinney did what she could with what she was given in her role as The Girl (the runner of the prostitution ring). Apropos of nothing–she looked so much like Luna Lovegood it was distracting. Or as a friend said Luna LoveREALgood.

Tchaikovsky is particularly excellent as Justin, Abby’s business partner–they buy ‘shitholes’, fix them up and flip them.

The problems are with the script. While there are some excellent moments and laugh out loud lines (that are intentionally amusing) there are plot points that don’t hang together. It’s never clear how the titular concussion affects Ableman’s decision to become a prostitute–I was extrapolating earlier–which is something of an issue.

Then there’s the ending, which will depend on how the viewer feels about unresolved endings . It’s unclear where the plot is going and it certainly doesn’t go where the average cinema-goer will expect. In a way it’s realistic, which isn’t typical of American-made films. But nothing about Concussion is typical of American-made films, so that’s par for the course.

If you’re interested in dramas about the emotional lives of women that doesn’t treat females over forty like sexless eunuchs then this one is for you. But for god sake, don’t watch it with your parents. 4/5

Dec
16
2014

Last Tango in Halifax

by V. L. Craven

Last Tango in Halifax

Sixty years ago, Alan Buttershaw (Derek Jacobi) was madly in love with Celia Dawson (Anne Reid). The sentiment was mutual, but due to a misunderstanding neither knew of the other’s feelings.

In the present day, after being pressed to join Facebook by their grandchildren, they find one another again. The misunderstanding is cleared up–it’s something similar to the premise of As Time Goes By–and they quickly realise they feel just as strongly as they did over half a century before so they decide to get married. ‘Quickly’ in this case means the same day they met in person.

Their daughters Caroline (Sarah Lancashire) and Gillian (Nicola Walker) arrive at the pub to hear this news and to say they have a rough start of it would be an understatement. Chalk and cheese, as it were. Caroline, Celia’s daughter, is a headmistress at a private school and lives in a house large enough for five families while Gillian, Alan’s daughter, is a sheep farmer who lives, well, on a sheep farm.

Caroline is married to a once-successful author, though that union is falling apart due to his philandering. She’s found an uneasy happiness with a teacher at her school (Nina Sosanya). That relationship’s repercussions affect her sons, as well as her mother’s new love, in profound ways.

Gillian is widowed from an abusive husband. She has the darkest past of the group (though Celia’s first marriage wasn’t a grand one) and, as the show progresses we learn more about just how dark that past was.

Last Tango in Halifax was created and written by Sally Wainwright and it’s based on real-life circumstances–her mother really reconnected with a childhood friend on Friends Reunited and they married six months later. Wainwright has a gift for capturing the complicated way alliances are formed when new groups of people are thrown together, particularly when those people wouldn’t naturally get on. The evolving friendship between Caroline and Gillian is especially compelling to watch. The bond between these two women with nothing in common except thinking their parents have gone mad feels very real. Part of that is down to Lancashire and Walker’s phenomenal acting and the other part is Wainwright’s script.

Though the show could be all twee, happiness and light, there’s a great deal of darkness and drama, as well, particularly in Gillian’s storyline and Caroline confronting her sexuality, which is handled with a deftness and humanity not typical of television today. I highly recommend this one–it’s just excellent television.

There are currently two series with a third that’s been filmed, but no air date announced yet.

I’d give the entire series 5/5, though, as with any television show, some episodes are better than others.

Bonus grumpy note: Because Americans can’t leave anything alone, Diane Keaton (I love her, but really) has acquired the rights to remake the show for U.S. audiences who, apparently, can’t understand a Yorkshire accent.

Dec
09
2014

Ripper Street

by V. L. Craven

Ripper Street transparent

It’s London. 1889. Jack the Ripper hasn’t struck in a few months and Detective Inspector Edmund Reid (Matthew Macfadyen) is certain he’s gone for good. Members of the public need a bit more convincing when a the body of a woman bearing marks similar to those left by the Ripper is found in Whitechapel–his old haunt.

That’s where the series gets its name, though Jack doesn’t come up again. Rather, each episode is a self-contained one-hour mystery solved by Reid, his Sergeant Bennet Drake (Jerome Flynn) and his American police doctor–the Victorian version of  medical examiner–Captain Homer Jackson (Adam Rothenberg).

Each of the main characters (and some of the secondary characters) have their own back stories–tragic, of course–and get their own episode to be tragic at us. While they have their problems, the crime du jour is more interesting, given the means and motives of the day.

Speaking of the day, the show will be of interest to fans of Victorian history, as there are the women’s libbers, the arguments over the superiority of AC or DC current and a rather heavy-handed episode about the sodomy laws. Joseph Merrick (the Elephant Man, brilliantly portrayed by Joseph Drake) plays an important role in an episode of the second series.

The Tube was being built in one episode and, my, how it was going to change things. But the show isn’t as pleased with itself about emerging technologies as Murdoch Mysteries . Rather, we get to see the scheming and backstabbing that went into making our present lives convenient.

It’s a good show for people who like to say, ‘Everyone was so much nicer back then.’ Yes, those slums and the way people who lived there were treated was the picture of politeness. And the police! If you were being taken to the police station, you were getting the piss kicked out of you. Everyone was so much nicer back then.

Though the main characters are tragic in their own way they’re both likable and unlikable. They’re human that way. Reid is interesting in that he’s a detective without a crippling vice. He has problems, he’s just not constantly crawling out of a bottle or from under a pile of women for once.

The show does a good job with the guest stars–particularly in the first series. Including two of Jerome Flynn’s Game of Throne’s castmates Kristian Nairn (if you want to see Hodor in a suit saying words, here’s your chance) and Iain Glen (Jorah Mormont).

I’d recommend Ripper Street for Victorian history fans–the sets and clothes and whatnot are lovely. Beyond that, it’s fairly standard in terms of crime shows.

The third series is currently airing. This review is for the first two series, which I’d rate 4/5.

Aug
21
2014

Wonder Boys

by V. L. Craven

Wonder Boys

Based on the novel of the same name by Michael Chabon, Wonder Boys is one of my all-time favourite films. I’ve seen it close to a dozen times and it makes me laugh every time. The screenplay captures the feel of the book, I think, and that’s something, because I really loved the book.

And how could I not? It’s about a professor, it’s about writing. It’s about a writing prodigy. And many mad-cap adventures of a rag-tag bunch that’s throw together of a weekend. The book is profound and lovely and funny and human and the film handles all of that beautifully.

Wonder Boys is about middle-aged professor Grady Tripp (Michael Douglas) whose wife has left him, again, though this time it looks like it’s going to take. His previous novel was a smashing success, but that was several years ago, and his editor, Crabtree, (Robert Downey Jr fresh out of rehab, this was 2000) really wants his follow-up novel. Luckily, it’s the weekend of Word Fest, where visiting authors and literary types descend on the Pittsburgh university, giving him all the reason he needs to show up. It’s also the weekend that Tripp’s most gifted but morose student, James Leer, (Tobey Maguire) decides he’d rather hang around his professor than go home. Crabtree is all right with this, as he takes rather a shine to Mr Leer.

During all of this Tripp is trying to deal with his crumbling marriage, as well as the fact that the student who rents a room from him (Katie Holmes) has a bit of a thing for him, all the while fending off his editor’s questions about the next book. And then Tripp gets some news from his girlfriend that probably isn’t going to go over so well with her husband… And the weekend just keeps on getting better.

And, as if going for some sort of trifecta–the film also has one of my all-time favourite soundtracks . Including two of my favourite songs by Dylan.

When I was doing research for this review I came across this review that compares Wonder Boys to another professor-has-midlife-crisis-in-Pittsburgh film Smart People. It’s a good review–give it a look.

 

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