What I'm Watching: Agatha Christie

The ABC Murders (2018, Amazon Prime): John Malkovitch is a fine actor. Sadly, he is 30cm too tall, very not Belgian, his accent fades in and out even in the same scene, and wouldn't shave down to a moustache, instead keeping a slightly scruffy Van Dyke which he ridiculously dyes in the first ep. Perhaps they should have done an animated Hercule Poirot show, and got him a Belgian voice coach.

Inspector Japp dies after a brief cameo (spoilers for plot-irrelevant elements, oh no), the new guy is awful and hostile, and there's no Arthur Hastings at all, so too many scenes are literally Malko-Poirot sitting alone silently waiting for the mail, instead of explaining his reasoning. No mention of his little grey cells, and even his background as gendarme is questioned with a ludicrously melodramatic new backstory which adds nothing to the plot. ABC is quite well played by Eamon Farren, the rest of the cast is forgettable.

I like the original story, and wish I'd just reread it instead of seeing this farcical reimagining.
★★☆☆☆

Ordeal By Innocence (2018, Amazon): A non-detective murder mystery. First it has to get over a big hurdle with me: It's about a rich English family, and I loathe everything about that. The father's the epitome of what most disgusts me about Humans, but there's also the thug son, the asshole son-in-law, the simpering daughter, the utterly forgettable daughter, the meek black daughter (for they are all adopted, it turns out), the gold-digging secretary, and the maid (who is apparently also an orphan, but not adopted? Well, English need someone to do the dirty work; and what you expect in an English manor is what goes on in an English manor), and the mother who was a harpy, until someone killed her.

Jack, the son accused of murder, seems like the only half decent one, but he's not around. And then an alibi shows up to distress everyone. Casting's pretty generic, tho they had to reshoot every scene of the original thug son with a new actor after the first was accused of sexual assault; but that doesn't matter much since almost every scene is two assholes leaning in doors or sitting straight in uncomfortable chairs sniping at each other.

The dead mother is increasingly shown to be worse than a harpy. You know Harry Harlow's monkey experiments with the wire mother and terrycloth mother? This woman's a wire mother. Functional but unloveable. I know the feeling.

There's a theme of fear of nuclear war, but until quite late it's never discussed, only mentioned in passing. This would've greatly enhanced the show if it was. And John Wyndham's book The Chrysalids, which is of course about nuclear war, family secrets and betrayal, rejection of the outsider and mutant.

This presentation has the awful habit of showing spoilers for the next episode over the credits, so skip forward as soon as one ends.

I don't recall this book at all, so it's somewhat of a mystery to me, but I also don't feel sympathy for any living character so don't care if they all did it.

The final scene's a little ridiculous, out of character, and unnecessary after the actual finale a minute before. Some producer had to piss in the soup to say he contributed, I expect.
★★★½☆ — I complain a lot, but I watched it in one sitting. Still hate everyone except dead Jack.

What I'm Watching: Goliath S3

S1 and S2 were great scrappy lawyers vs giant foe shows, with some treachery and Billy's shitty personal life (and incidentally, he should very obviously have been named "David" instead, the writers really dropped the sling stone there). Fantastic work. Billy Bob Thornton and Nina Arianda are fantastic in these seasons.

S3 has Billy, inexplicably scruffy despite the millions he must've made in S1-S2, wandering in a daze through a shitty Indian casino, drinking and talking to a barfly, occasional hookups with "Applebees" from last season, vague yet menacing subplots that go nowhere. See, the California drought is being taken advantage of by a nefarious almond farmer Wade Blackwood (so the writers are on point with that naming; played by Dennis Quaid), borderline incestuous sister Diane, her two adopted black sons who are cuckoo, Littlecrow (Graham Greene, aka Malachi from Longmire) the casino operator, Stephanie Littlecrow (Julia Jones) as a stuntwoman who is one of the few competent, interesting characters, and "Roy" (Beau Bridges) as the sorta sympathetic conspirator.

And why not, they bring back Cooperman (William Hurt) and Marisol Silva (Ana de la Reguera) from past seasons even though they have nothing to do with the plot. The daughter and the hooker are in college, and at least they have some hope of escaping from this clusterfuck of a show. Patty just gets dicked around and keeps forgetting to bring comfortable shoes for wilderness treks.

Sherilyn Fenn shows up in flashbacks as the cause of this case, and… she does not look good. Like, she's a couple years older than me, and she looks 20 years older. Props for showing adult women on TV, but jeers for letting her on camera looking like this.

Nothing happens for hours, days of basically b-roll pickup shooting pushed onto the screen. Once in a while you catch a glimpse of a plot. Finally they do a flashback which explains most of the start of the story, and the actors/writers/director all sober up enough to film some court scenes, get through some depositions—WOO! Most exciting thing in this very very slow season. And then in the last 1.5 eps they finally have everyone do crimes to cover up their previous crimes, and happy or sad endings are distributed like drunk, diarrhetic Bad Santa showed up on the set.

To say this was a pointless waste of time is an insult to pointless wastes of time. I would've been more rewarded by watching Real Horny Housewives of East LA or whatever the fuck is on broadcast TV.

★☆☆☆☆ pretty much solely for Julia Jones' couple of fight and chase scenes, which are literally from a movie within the show.

Halloween Countdown Sunday Music

Odd film, but I love it. Halloween I & II completed the Michael Myers story. Then III was a totally new thing. The intent was to make an anthology series, but no, dumb people just wanted more of Michael; I think all subsequent "Halloween" films are irrelevant and stupid (OK, I do like the Rob Zombie movies). I was a spooky monster kid, but still wasn't allowed to watch the first two at the time of their release, but somehow H3 at 12 was OK. The soundtrack is one of Carpenter's better mood pieces, not as iconic or repetitive as the first two; people sometimes forget Carpenter's as much a musician as a filmmaker.

Plot & characters of the film remind me strongly of The Stuff, Phantasm (especially II-III), and Killer Klowns From Outer Space; losers struggling to expose some terrible danger to Humanity, mostly failing and running. That's what Lovecraft was on about, and how every Call of Cthulhu game should be, not gangsters throwing dynamite at Shoggoths, but truck drivers and kids running for their lives and coming across as crazy people to the useless pigs.

"And don't forget to wear your masks. The clock is ticking, it's almost time! Happy happy Halloween, Silver Shamrock!"

Bonus:

What I'm Watching: El Camino

Don't be fooled by the title, the El Camino barely appears in this movie, and it teaches you nothing about the history and operation of the hybrid car-truck.

Instead, we have a lot of flashbacks and added scenes for a show called Breaking Bad which was a popular show about a science teacher like Mr Wizard and his little buddy Jessie.

OK, seriously, it's the final episode that the show gave Walter but didn't give Jessie. But since it's been a few years, it's all bottle episode with only a little new content. In between the flashbacks are Jessie continuing to be very stupid and revisit past haunts. There's brief cameos by people who obviously can't be present.

I call Jessie very stupid, but it's erratic. He'll make a very good decision, a cunning ruse, and then follow it up with completely idiotic unthinking reactions; he can't tell who's a cop and who isn't, can't figure out how much money he has, can't cut and run instead of taking revenge.

And it's slow. The flashback scenes are awful, just misery porn except too slow for me to feel any concern. Jessie wants to be a victim and always puts himself back in that position.

The one heroic, effective scene is then completely implausible, because everything goes right, no hilarious fuckups or bad side-effects. The writer just gave up on who Jessie Pinkman is for this scene.

★★½☆☆ – a whole extra episode of BB. Whoo.

What I'm Watching: In the Tall Grass

This might be the dumbest film I've ever seen. I've seen every real MST3K (up through Pearl, not the boring new loser), and even Red Zone Cuba or Beast of Yucca Flats aren't this dumb. Written by Stephen King & Joe Hill (his son), so I had some hope. But hours, years later, no, all hope is lost. Save yourself, don't come in.

Walking into this grass field by a vacant small country church gets you permanently lost. There's a steady flow of idiots walking off the road into this shitty midwestern Narnia/Blair Witch, but it's not corn so there's no He Who Walks Between the Rows. There's no sets, just a grass field with some paths stomped down, and a big rock, and a ruined Bowl-A-Drome (or "OWL-A-DME" as the sign says) makes the usual B movie filmed in the woods look like Ben Hur. I miss the variety of sets in Cube.

90% of the dialogue is just characters calling each others names. Beckay does tell a couple good dirty limericks but the wuss brother is useless, the drummer ex-boyfriend does think of marking a trail… not very well, like everything he does. Tobyn (the spirit guide, nice GB reference) is either part of the field or its first victim. His Ted Bundy-lookin' dad is exactly what he seems. His mom and dog appear when needed as props but have no plotline or role.

Of course there's a time travel thing going on, because all movies are time travel now apparently. Oh no I'm stuck in an endless loop of watching bad movies in my comfy chair.

The horrible ancient evil and time loop are trivially defeated by just helping someone out of the field. Every part of this was unnecessary.

★☆☆☆☆ and I'm glad I had a lot of beer.

What I'm Not Watching: American Horror Story: Apocalypse

About half the AHS seasons are good, the other half are total trash. Hotel was fun. Roanoke annoyed me with yet another haunted house story. Cult had two of the most pathetic protagonists ever—by the second ep I wanted both dead just to end the fucking series—clowns, and a political story I had no interest in. Apocalypse is a great premise: A post-nuclear bunker.

The iPhone nuclear missile warning isn't bullshit this time, but somehow LA has an hour warning instead of 15-30 minutes like a real nuclear war would have (time from the DEW Line to continental US for a suborbital missile). A random bunch of idiots are spirited away to a bunker by a secret organization.

And for a while, the internal politics and weird Victorian rules of the bunker drive a good enough plot. Even when one of the secret masters shows up and starts testing the survivors with an obviously malevolent bent, it's on plot. Maybe they'll go all Masque of the Red Death, I think.

But then magic creeps in, because the writers just got bored and started recycling from Coven. Half the cast are discarded so this shitty old plot can be dumped on anyone dumb enough to still be watching. When the goody-goody blonde witches start calling the warlock Satan I check out.

Garbage and a wasted premise.

★★★★☆ for the initial premise, then ★☆☆☆☆ after the witches & warlocks take over.

What I'm Watching: Time Trap

Apparently this is the season of low-budget time travel movies, because I get another one. This was a much better ride.

An asshole archaeologist goes caving alone except for his dog, trying to find some hippies who went missing 40 years ago. He passes thru a weird wet invisible wall and never returns.

So then his two students go looking for him. They pick up a random girlfriend, younger sister, and "Furby" who is (as they point out) like Chunk from the Goonies but not as heroic or competent. They rappel down thru the wet invisible wall.

The cave areas are mostly classic Dr Who quality warehouse floors with dust and plaster stalagmites, but the centerpiece tower chamber looks OK.

SPOILERS ahoy

They get many clues that something's wrong with time, even if they can't read the title, but don't put it together for a long time. The wet field is of course condensation at the time barrier. The "Furby cut the rope!" hypothesis is kept up much longer than is plausible, but they do eventually figure out why ropes break.

It's great that they all have gopros, so we can see the same scenes multiple times on tiny phone screens (or a projector but with no silver screen in a cave) in lieu of anyone talking it over. The mythology is finally explained in some detail, but it's after much too long of everyone saying "what is happening?!"

Finally the random encounters start. The cavemen are ridiculous, scampering on all fours. There ought to be generation after generation of invaders, instead of just cavemen, conquistadors, lone gunslinger, hippies, archaeologists, and spacemen.

There's some unexamined bits. What do the cavemen eat? Where do they get wood for fires, leather for clothes? Cannibalism and healing in the spring? Where does the Fountain come from? Why is it able to do this? No idea.

[Update: I just realized. This is set in Texas. Where the hell did they get cavemen? Native Americans got here only 15-20KYA, and they're the same Homo sapiens as everyone else, not these sorta-Neanderthal/Homo habilis looking grimy monkey men. There have never been non-Sapiens hominids in North America, Bigfoot claims aside.]

The final scenes are a bit neat and tidy, and really could've used a freaky post-Human Martian coming in to say something, but it did fine for a limited cast.

Minor point against it: The dog is never seen again, even though he should've been hanging around the truck when the students arrived. Maybe he survived, but probably the coyotes got him. I want a happy ending for the dog, too.

This is an interesting time for indie films, because even cheap cameras look good, so if you have a decent script and the special effects are just Photoshop on a few frames, you can make a professional film on a shoestring budget.

★★★½☆

What I'm Watching: In the Shadow of the Moon

So, a perfectly fine premise, well-acted, somewhat wrecked by the writers not thinking things thru at all. First hour I was fully on board, then nothing added up, and by the end I was annoyed. As with so many films, the color has been shat on with the orange/cyan filter, except where day-for-night scenes are grey filtered.

SPOILER land

There are two hypotheses about time travel. A is that everything forward and back has already happened, and if you vanish in the future it's because you already appeared in the past; you may be the cause of events but they can't be changed. This is the only rational argument, really. We know time is just part of space-time; each tick moves things "ahead" in the next frame.

B is that time travel rewrites the future; you kill a fascist and fascism vanishes and everyone's singing Kumbaya. But then there's no need for a time machine and assassin, so the fascist isn't killed and fascism spreads. Now you need a time machine again. This is madness.

The movie seems to be doing hypothesis A, but then ends as if hypothesis B happened. But only after decades of the original timeline.

Second, somewhat worse, is that the method of killing is preposterously convoluted. Why does the assassin need to inject targets now so someone in the future can push a button? She could just shoot them or give them a drug OD and not provide weird clues to make a cop go all Zodiac case on it for decades. I am disappointed the cop doesn't have a clue & string board in his car.

Third, completely nonsensical stuff about the Super Moon being a bridge between worlds or some shit. Absolute astrology-class woo nonsense.

Fourth, the idea that some newsletter about "real Americans" and a flag with 5 badly-placed stars is going to incite the Second Civil War, completely fails to understand our first Civil War, and the nature of populist movements. You'd have to kill millions to stop it.

Fifth, the idea that you'd use this to stop some bombings, no worse than what dozens of countries endure every day, including several at the hands of the US armed forces; rather than going back to stop Hitler, or Stalin, or Mao, or Pol Pot, or Nixon.

The writers previously worked together on Limitless, an equally vapid show about the "10% of your brain!" myth. I can't find their ages, but I'm pretty sure they're under 30, it has that earnest political certainty & lack of humor or irony. They've clearly never read a history book, especially none of the Presidential biographies they show.

★★☆☆☆ — definition of competent but unenjoyable.

What I'm Watching: The I-Land E4-7

Despite my contempt for the writing, I finished this off. I'm going straight to spoilers here; at least watch E1-3 cold.

So E4-E6 goes back to the I-Land, and there's a terribly-written argument of "you have to believe my incredible story!" "no you're a liar!" "waah, you bitch!" for half an hour or more; I barely exaggerate, it's a tale told by an idiot. Some light bondage but it's not very hot.

A couple claiming to be "Bonnie & Clyde" show up and deliver more preposterous threats and tell everyone remembering their past will make them sad. Then everyone splits up, has flashbacks, and yes they all suck IRL as well as on I-Land. The past is a land of crying people and shitty Instagram filters, and repeated scenes because they didn't film enough to pad the episode out. Now, serious SF moment here: I don't think any kind of memory suppression is plausible, the brain doesn't work like a database, something this targeted and reversible especially not, and it's completely contrary to the reformation attempt. So the main plot point technology is just nonsense fantasy.

Chase continues to be the only interesting character, so Cooper runs off after her to stay relevant and on-camera. We do eventually learn a whole sad backstory, except: It is implausible they would both be incarcerated together, both taken in the program, and hook up again despite memory wipe. It feels tacked on, or like Lost the soi-disant writers were just making up bullshit as they went along.

Taylor sails away to II-Land (second island, ha ha), which has the single dumbest plot element in the show; never drink free chicken soup! Bonnie & Clyde showing up to be shitty Rod Serlings is just salt in the wound. Said shitty plot element is never seen; is it another player or an NPC or just B&C?

Nothing at all is resolved, until KC and her bozo follower confront Chase & Cooper, violence ensues, B&C show up, and there's quite a good fight scene again. The fight choreography is quite good, someone competent was running that. But also here KC and her bozo just vanish when no longer relevant to the plot.

And finally in E7, back in "reality" more or less, Chase gets released because everyone believes a single thing Cooper says. Except we have to sit thru more of the Warden being an idiot, the doctor & academics being patronizing, everyone getting some kind of comeuppance which is very implausible; especially putting anyone new into the simulation.

The final twist about Chase isn't really shocking, since she didn't recognize any advanced tech in E3, it had to be some time ahead, but it's too far: A 50-year-old woman who's been in a sensory deprivation tank for 25 years cannot do the fighting we saw in E3.

The casual "Galveston is flooded" thing is cute, but a real post-Global Warming Galveston isn't going to be a temperature-habitable zone either.

They seem to think she's doomed, being discharged with pocket money & bus fare; that's stupid, she can go to any tabloid successor of Buzzfeed and make millions on the story, and any yellow rag journalist can write it better than these writers did.

The entire series is so terribly written it may as well have been improvised by the actors, except they did all the flashbacks, so it's actually scripted this badly. The same premise, if handled by a competent writer, director, and hiring more than one competent actor, and having more fight scenes, could've been much better.

★★½☆☆

What I'm Watching: The I-Land

10 very pretty people wake up with amnesia on a beach, on a deserted tropical island. As they wander, they find useful items for survival. If they go in the water… da-dum da-dum… They have some stupid interpersonal drama.

Then the very telegraphed "twist" happens; which given the staticky intro effect, and the unreal nature of many events, should be no surprise at all.

Up thru E2 it's a mediocre Lost with really terrible dialogue and deliberately no character development. Then E3 is the exposition ep, but the writing is even worse, with a fat moron not answering questions, then terrible caricatures of academics not answering questions. The only saving grace is one good action scene. But these supposed future police have no idea how to handle prisoners, they're like the idiot cops in Demolition Man trying to handle Wesley Snipes, but this isn't intended as dark comedy.

★★½☆☆ as of E3 out of 7 — If I hadn't seen Lost, The Cell, or Demolition Man, I'd think this was at least sort of creative. Probably some people will call out The Matrix, but that's a happier kind of prison.

The thing of casting only pretty people for the island and often ugly ones for outside is a shallow trick, and I find it kind of insulting.