Couple Erasmus and Paul: lavish lifestyle; in cable channel’s employ.
Things are interrupted by to arrival of a nameless boy
(Armed with just a bible and a bit of money).
Beautifully written, incredibly funny,
With genuine drama and great performances. A real joy!
An (alleged!) well-intentioned message is botched by poor execution
And an inherently worrisome/hypocritical premise (the ‘head knock’ solution).
The tone: conflicted and confused.
Well-worn trope: Even the Model Feels Bruised.
The only plusses: a few random laughs and Williams’ brilliant contribution.
Marlo’s under enormous pressure. Offered help by her bro (Mr Success).
She initially declines, but will eventually acquiesce.
Though one plot development falls flat
There’s the gift of two central performances that
Shine - in this truly humane look at complex maternal stress.
Though he has supportive friends, and his family’s loving and warm,
Simon’s afraid that living his truth would cause a storm.
An excessively charming cast.
Rothwell’s Albright: what a blast!
Refreshing change (popular genre, with bonus: added reform).
Those on the murderous leader’s list couldn’t duck it.
(Including Maria’s fam) So a note: she stuck it
In his record sleeve.
Iannucci and team achieve
Hilarious results (after old Joe kicks the bucket).
Biting satire. Much to ponder: the absurd; the grave
(Disturbing live exhibit with the power to enslave).
Societal responsibility: well explored.
Some spot-on humour struck a chord.
Running time: could’ve really done with a shave.
Demise of their nemesis McGregor (grumpy sod)
Spells momentary freedom for this animal squad.
Creature effects: beautifully-rendered.
But various tonal shifts tended
To feel somewhat awkward (and came across as odd).
Gerwig brings us Lady Bird’s world so skillfully, assuredly and roundly.
A teenage girl navigating growth (and things not going soundly).
So well cast: every part!
One of many who stole my heart
Was Henderson, with a portrayal so utterly moving (profoundly).
A special mission to keep a precious book out of harm.
A delicious film. Beautiful colours. Full of charm.
Grant: fab in those guises.
Many joyous surprises.
Genuinely warm and sweet. No hint of saccharine smarm.
Nebraskan Safraneks (Audrey and Paul)
Are slated for a new life as Small.
Interesting concepts, but executed
In a way that often diluted
Potential depth. Plot ideas: too much sprawl.
Three moms visit (one in particular: disapproving),
But Amy and co. want to go about removing
High expectations. Overall: it's ridic,
(And many jokes wear off quick)
Though Baranski brings some moments that are moving.
George and Harold: cheeky pranksters (it's in their genes).
Crabby Krupp wants to catch them by any means.
It drags at times, but at its best
When subversive jokes are expressed.
I'd certainly have welcomed some more Edith scenes.
While twin sister Amy's career's really soaring,
Polly's in a work rut, and her daily life's boring.
She hopes things can flip.
Cue: her ill-advised trip.
Some terrific jokes had me absolutely roaring.
As this 'based on a true' story is told,
It's a big-hearted joy to behold.
Family pressure to wed,
An existential health dread,
And an abundance of comedy gold.
As before: big laughs, majestic scenery, lots to eat.
New: added melancholy for Steve (kept discreet).
Highlight: the guys out-swaggering
Each other when Jagger-ing.
Only letdown: dubious end scene (an odd conceit).
Some intermittent laughs here, but not enough to sustain Its feature length - so it feels the strain Of many lulls and bumps. And like that corpse it slumps. Cast members bring some charisma, but it's weak in the main.
...
Unlucky thirteen, so Anne coerces Maria to pass As a member of the Spanish noble class. De Palma's work here is fearless. Fab Collette's nostril-flaring: peerless. Much fun to be had. Oh, the dinner table farce!
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