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Someguyinparis
Reviews
S.W.A.T. (2017)
Started out strong, gradually became predictable
"SWAT" initially promised a compelling exploration of Los Angeles' social challenges through the lens of an elite police unit. Unfortunately, the series has since devolved into a mire of clichés and predictability, losing much of its original charm and relevance. The characters have become caricatures, and the plotlines now tread well-worn paths that offer little in the way of surprise or innovation.
The show's decline is such that it no longer warrants a recommendation for viewing, as it fails to deliver the depth and engagement it once did. In a landscape rich with groundbreaking television, "SWAT" has unfortunately become a shadow of its former self, and viewers looking for a meaningful and captivating experience would be advised to look elsewhere.
Mr. Malcolm's List (2022)
Plot predictable - lacking in depth
Mr. Malcolm's List is a period drama that takes viewers back to the early 19th century, where social standings and marital prospects were the talk of the town. The film revolves around Mr. Malcolm, a wealthy and eligible bachelor with a list of qualifications for his future wife. When he rejects a potential suitor for failing to meet his criteria, she seeks revenge by convincing her friend to play a role that meets all his expectations, only to entangle them in a web of deceit and emotions.
The movie is showcasing beautiful costumes and settings that represent the era. While "Mr. Malcolm's List" has its charm, I found the plot too predictable, even for a film that explores the classic romantic narrative.
The Morning Show (2019)
Great season 1 - downhill from there
The Morning Show began its journey as a fresh and unapologetically candid drama that offered viewers a behind-the-scenes look at the high-stakes world of morning television. Season one was praised for its sharp-witted and subversive take on the subject, particularly for its handling of sexual harassment in the workplace, anchored by what many considered to be one of Jennifer Aniston's best performances.
However, as the series progressed, it seemed to struggle with maintaining the originality and critical edge that set it apart initially. By its third season, "The Morning Show" appeared to have embraced its identity as a borderline camp workplace soap. Critics noted that it became highly watchable despite, or perhaps because of, its defiance of good sense. The show's narrative began to lean heavily on clichés and contemporary political trends, which some viewers felt detracted from the complexity and nuance that the first season promised.
In essence, while "The Morning Show" started off as a promising and thought-provoking series, it seems to have lost some of its initial luster, opting instead for a more formulaic approach that resonates less with the critical acclaim it once received.
Sugar (2024)
Delightful integration of hardboiled genre into a softball era
"Sugar" is a commendable series that skillfully incorporates elements of classic hardboiled detective stories into a contemporary setting. The show strikes a balance between paying homage to the genre's traditions and adapting them for today's audience.
The lead character, reminiscent of the archetypal private eye, brings a certain charm and authenticity to the role, making the series engaging for both aficionados of the genre and new viewers. The dialogue is sharp, and the plot is well-crafted, with enough twists to maintain interest without being overly complex.
The modern take on the genre is evident in the show's approach to character diversity and social issues, which adds depth and relevance to the narrative. The visual style nods to the noir roots while maintaining a current aesthetic that suits the show's tone.
Overall, "Sugar" is a solid series that offers a fresh take on the detective genre, and it's worth watching for its clever writing, strong performances, and thoughtful update of classic tropes.
Criminal Record (2024)
Yet another standardized plot
"Criminal Record" attempts to weave political intrigue into its narrative but ends up delivering a series riddled with overplayed political clichés. The show's portrayal of the justice system is heavy-handed, with characters like the idealistic prosecutor and the corrupt politician coming across as caricatures rather than complex individuals.
The series tries to tackle contemporary political issues but does so with little subtlety, often resorting to black-and-white moralizing that leaves no room for shades of grey. This simplistic approach not only fails to challenge the audience but also detracts from the potential richness of the storyline.
In its effort to be politically relevant, "Criminal Record" loses the opportunity to explore its characters in meaningful ways, instead using them as mere vessels to deliver its overt political message. The result is a show that feels preachy and out of touch, rather than a gripping and insightful crime drama.
Constellation (2024)
Rapace excellent - trying her best to carry the show on her own
Constellation emerges as a celestial enigma, one that orbits the talents of Noomi Rapace, whose performance shines with the intensity of a supernova. Rapace, as always, brings a depth and complexity to her character that is utterly captivating, ensuring that viewers are glued to their screens, eager to witness the next facet of her multifaceted portrayal.
However, the series itself does not quite match the pace set by its lead star. The script often meanders like a comet lost in space, taking its time to reach points that could have been arrived at with more alacrity. While the slow burn may be an intentional choice to build tension and develop characters, it occasionally feels more drawn-out than necessary, leaving audiences adrift in a sea of of drawn-out dialogue and slow takes.
In essence, Constellation is a mixed bag. It is a showcase of Rapace's stellar abilities but also a reminder that even stars can get lost in the vastness of space when the narrative propulsion fails to launch them forward with the necessary velocity.
Yellowstone (2018)
Part of the Western canon - in a double sense
"Yellowstone" stands out in the tv landscape with its fresh approach to storytelling and a clear departure from the contemporary Hollywood formula. The series, masterfully created by Taylor Sheridan and John Linson, is a testament to originality and a bold statement against conformity.
Kevin Costner's portrayal of John Dutton is not just a performance; it's a masterclass in character depth and complexity. The show's narrative is a breath of fresh air, offering a unique perspective on the American West that is rarely seen in contemporary media. It challenges the norms and presents a narrative that is unafraid to tackle difficult subjects head-on.
The show's lack of adherence to the expected tropes of Hollywood culture allows for a more genuine and unfiltered exploration of its themes. "Yellowstone" is a celebration of the untamed spirit of its setting, mirrored in its storytelling approach that respects the intelligence of its audience and refuses to dilute its message for broader appeal.
In essence, "Yellowstone" is not just a television series; it's a cultural phenomenon that redefines what a TV drama can be. Its commitment to authenticity and storytelling excellence makes it a standout show that resonates with audiences looking for substance over conformity.
Alaska Daily (2022)
Perfectly acceptable, though not memorable
"Alaska Daily" is a series that, while ambitious in its portrayal of investigative journalism, unfortunately falls into the trap of overused tropes and clichés. The show's attempt to capture the gritty reality of news reporting is overshadowed by predictable plotlines and stereotypical character arcs. The series seems to rely heavily on the formulaic 'outsider in a new town' narrative, which, although a tried-and-true premise, feels uninspired and lacks originality in this context.
The protagonist's journey, meant to be a profound tale of redemption and discovery, often comes across as contrived, with little to no subtlety in its execution. The dialogue can be on-the-nose, with characters spelling out their motivations and backstories in a way that underestimates the audience's intelligence. Moreover, the series misses opportunities to delve deeper into the unique cultural and political landscape of Alaska, opting instead for surface-level examinations that do not do justice to the setting's potential complexity.
In essence, "Alaska Daily" could have been a compelling watch with its critical eye on media ethics and the search for truth. However, it ends up being a lackluster series that doesn't quite manage to break free from the shackles of television clichés, leaving viewers wanting more substance and authenticity.
Deadloch (2023)
Yet another series where the only sensible person is a lesbian woman
Yet another series where the only sensible person is a lesbian woman, and every white man is a clueless idiot. "Deadloch," the latest series to hit the streaming scene, attempts to weave a tale of mystery and dark comedy set against the backdrop of a quaint Tasmanian town. However, despite its ambitions, the series falls prey to a myriad of clichés that leave viewers with a sense of déjà vu rather than intrigue.
The series opens with a scene that is all too familiar in the crime genre: a body discovered in an unexpected place, leading to the inevitable investigation. This trope, while a staple of the genre, is executed with little originality, failing to hook the audience from the get-go.
As the story unfolds, we are introduced to the detective duo, Dulcie Collins and Eddie Redcliffe, whose contrasting styles are meant to add depth to the narrative. Instead, their dynamic feels forced and predictable, with Dulcie's by-the-book approach clashing with Eddie's unconventional methods in a way that feels more like a checklist of buddy-cop stereotypes than a fresh take on the formula.
The series also tries to subvert expectations with its 'Winter Feastival' backdrop, aiming to blend local culture with the unfolding drama. Yet, this too feels like a missed opportunity, as the festival serves more as a superficial plot device rather than a meaningful setting that enriches the story.
Moreover, "Deadloch" doesn't shy away from using gendered tropes and caricatures, which, instead of providing commentary or satire, end up reinforcing the very stereotypes it seems to want to challenge. The result is a narrative that is neither progressive nor particularly insightful, but rather a collection of missed chances to say something new.
In conclusion, "Deadloch" is a series that had the potential to offer a unique twist on the crime genre but ultimately succumbs to the weight of its own clichés. It's a show that might provide some entertainment for those looking for a casual watch, but for viewers seeking innovation and depth, it's likely to disappoint.