Category Archives: Sci-fi

Avengers: Infinity War – Movie Review

Now that I’ve finally seen it, I am happy to say that Avengers: Infinity War pays off as the climax to a decade of movies that have built up the Marvel Cinematic Universe. There’s been jokes made (by the actors themselves) about how bringing together so many stars and characters should render them each with trivial parts, but on the contrary, the movie actually gives most characters significant screen time and meaningful scenes (though some, like Black Widow and Winter Soldier, only show up for the action scenes). As well, there’s lots of good dialogue (especially lots of great one-liners — not just from Rocket Raccoon or Drax, either). So, to close off 10 years of stories, Marvel brings together the Avengers with the Guardians of the Galaxy, and recent additions like Dr. Strange, Spider-man, and Black Panther, all to stop the mad Titan Thanos (who has already appeared in several post-credit scenes) from bringing together six all-powerful cosmic artifacts known as the “Infinity Stones” and becoming a death-dealing god. It’s a relatively straightforward plot line, so there’s room for a lot of fun and action.

One of the best parts of a super-hero cross-over story is when characters who don’t normally interact, end up forming some interesting temporary teams. This device always brings out some fun, new dynamics. It was delightful to see Starlord Peter Quill get all insecure when everyone else in the crew could barely contain their admiration for Thor. As you might expect, sparks fly when two egotistical alpha males like Tony Stark and Stephen Strange begrudgingly team up. There’s even a kind of warrior sisterhood forged between Wakanda’s Okoye, Black Widow, and Scarlet Witch when they face armies of baddies together. Only after investing in all the precursor movies could these new combinations have even been possible — score one for Marvel Studios.

The other major aspect to super-hero cross-overs (or even any super-team stories) in the comic books is the coordinated attack. I don’t know if it’s because of the constraints of the visual effects budgets, the lack of variety of super-powers, or simply deficiency of imagination, but so far the top super-team battles (Captain America: Civil War was probably the best so far) have been only mediocre from this perspective. They mostly find new ways to punch and kick each other, in teams. This time, when they face a big bad behemoth like Thanos (the guy’s like 10 feet tall!) or even his pretty bad minions (who aren’t really named in the movie but are known as The Black Order), the supers have to cooperate and use their powers in new and interesting ways. (As a Dr. Strange fan, I was gleeful to see a classic spell known as the Crimson Bands of Cyttorak used to bind Thanos while Spidey blocked his eyes with webbing and allowed the others to gang up on him.)

MCU has already made a reputation for doing some pretty good action sequences and this movie has these scenes in spades. From New York City, to Edinburgh, to Wakanda, to alien planets, battle after battle was awesome to watch. I know a lot of it was CGI, but it didn’t really feel like it. Even Thanos, who was all CGI over motion-capture, was really lifelike — especially his face and his expressions, which were actually more soulful than what I’ve seen from the real face of actor Josh Brolin, who plays him.

I don’t want to spoil, so I’ve been careful to avoid any real plot points here, but there’s a lot of big things happening in this movie. I even impressed myself by staying in my seat for the entire 160 minute run — there’s not a good time to leave. I think this is a landmark movie simply because Marvel Studios was able to bring together ten years of almost 20 movies into a thrilling quasi-finale, and that’s never been done before. For fans like me, it’s a huge reward for all the time and emotion spent with these characters on screen (and I even just rewatched the whole series prior to seeing this movie). To top it all off, they were able to conclude the story but not close off the future — in fact there’s many aspects for which I am dying to see what’s next. (4.5 out of 5)

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Star Wars: The Last Jedi – Movie Review

I rewatched The Force Awakens on Netflix before going to see Star Wars: The Last Jedi, and so I went into the theatre pumped for some storm trooper firefights, some lightsabre clashes, some new alien creatures (both cute and gruesome) and some answers to the many questions left behind by the first movie. Some answers I got, but what I realized more was that Star Wars movies don’t really service well-written stories. They love to build up their universe with a new kind of planet, or a new aspect to The Force that we didn’t know about before, but in the end they throw a bunch of cool-looking ships and characters together, with some good vs evil themes and we enjoy the heck out of them. I know I do.

A big part of this movie focuses on Rey and how she set out to find the mysteriously missing Luke Skywalker (the first movie’s main plot point was trying to get a map that showed where Luke was hiding). From battles with baddie Kylo Ren in the first movie, it became obvious that she could also wield the Force, so it makes sense that Luke would also be able to train her to become a Jedi. Meanwhile, the new Empire, now known as the First Order, is hunting down the remaining Resistance forces. Princess (I mean General) Leia, and the other Resistence are pinning all their hopes on a last-minute save by Luke (though surely that’s not a very good strategy).

So after declaring that Star Wars movies don’t need storylines, what do I think makes them fun? Well, this movie’s got all of those elements too. There are lots of space battles — one of the first scenes has pilot Poe Dameron leading a risky bombing run to take out a large “dreadnought” ship, and I was on the edge of my seat wondering if the last ship would be able to release its payload in time to save them all. There are alien planets which seem oddly familiar and Earth-like — a casino planet where Finn and newbie Rose go on a mission to seek out a “master code breaker” amongst the galactic one-percenters. I was drawn into the whole atmosphere and even the mini-story of the poor rabbit-horse creatures (along with their child jockeys) being mistreated and forced to run races for the wealthy clientele. There are new creatures, like the part-hamster, part-chicken porgs, which give the kids a chuckle for comic relief; and the crystalline foxes on the red salt planet which I thought were just cool. Then there’s the in-the-moment drama, when the Resistance forces might be sitting ducks at the mercy of the evil First Order bombardment if they don’t come up with an escape plan (and I was once again held breathless at the silent moment when it all comes to a head). Finally, there’s the internal and external struggles experienced by Rey and Kylo Ren, as they’re pulled between both good and evil. I was thrilled when Rey and Kylo Ren together faced Supreme baddie Snoke and tables turned from moment to moment. So while I may not remember all these set pieces and plot pieces a year from now, together they make for a fun-filled Star Wars movie that checks off all the boxes. (4 out of 5)

Despite my having enjoyed the movie (and I didn’t even mention an awesome Luke-Skywalker-centred climax that I loved), I also wish that these sequels could have taken Star Wars in a new direction. Much has been said about how much these new-trilogy movies resemble the original trilogy. Parallels between the new characters and the old are blatantly obvious, and the conflict between the Resistance and the First Order is so much the same as the one between the Rebellion and the Empire that both sides even use the same fighter planes as their antecedents. There was strong backlash against The Last Jedi in the fandom (even to the point of wanting it to be removed from canon and remade) because it was felt that characters (especially Luke Skywalker) had been changed too much from what they had become over the years. The changes didn’t bother me (though I did agree that Luke seemed a bit weak and forlorn at first) but they should have made more changes not to known characters, but to storylines altogether (Can we leave the Skywalker-Solo family out of the picture now?). Anyway, creativity doesn’t always bring in the ticket sales. I recognize that at the end of the day, Disney still wants to sell toy lightsabres and porg dolls, so I won’t begrudge. I enjoyed the movie thoroughly for what it is, and I look forward to more.

The Shape of Water – Movie Review

Writer/director Guillermo del Toro is known for his creepy creativity and imaginatively dark and gothic style, which I recently got to peek into at the “At Home With Monsters” exhibition at the Art Gallery of Ontario. His movies have ranged from character tales about individuals who are haunted (both emotionally by past tragedies, and actually by ghosts) to high-octane action adventures involving bizarre, monstrous creatures. Similar to the movie that put him on the map, Pan’s Labyrinth, The Shape of Water falls somewhere in the middle. It’s a character-driven romance, but it’s got clearly fantastical elements to it. Essentially it’s a cross between The Beauty and the Beast and The Creature from the Black Lagoon, with a dash of E.T. thrown into the mix. I enjoyed the character drama, but I really wish there had been a few more imaginary beasties.

The one beastie at the heart of this film is an amphibious man-creature (very similar to Black Lagoon‘s gill-man, or Abe Sapien from Hellboy — fun facts: del Toro also wrote and directed the Hellboy movies, and actor Doug Jones played both Abe and the creature in this film. This movie’s story (set in the 1950s) takes place after the creature is captured and taken to a government facility for study (aka every otherworldy creature’s worst nightmare). Eliza is a mute woman who works at the facility as a cleaning lady and she quickly connects with the creature’s pain and loneliness and starts to form a relationship with it. Other characters include Eliza’s co-worker and friend, Zelda (played by Oscar-winner Octavia Spencer); Eliza’s neighbour Giles (played by Richard Jenkins), an aging commercial artist and closeted homosexual, Strickland, the facility’s militant security chief and captor of the creature (played superbly by Michael Shannon); and Dr. Robert Hoffstetler, the scientist studying the creature. Because this is more of a character film, we get a pretty good look at each of these characters and really start to understand them and know them. That’s really the strength of this movie (more than the fantastical elements). The characters are quirky and unique and everyone gives a very good performance that drew me into their lives.

Once Eliza finds out the nasty fate in store for the creature, she sets out to liberate him and that’s when the movie kicks into high gear. As much as this is a story about how love can transcend outward differences, it’s also the classic theme of who the true monster really is. As Strickland feels driven to prevent his own failure in handling the creature, his obsession becomes maniacal as he tries to stop Eliza at all costs. These traditional fairy tale themes are given a more mature treatment in this movie, which has a grown-up sense of both sexuality and aggression/violence. Admittedly, by the end I was more sold on the good-guys vs. bad-guy theme than the romance and love theme of this movie. Eliza does mention how the creature was able to communicate with her, and she clearly felt a strong connection to his loneliness, but it just was not enough to convince me of a transcendent bond that they supposedly had. That’s why in the end, though I really liked this movie, I didn’t love it. All the style and imaginative flair that comes with del Toro’s creative touch goes a long way to making the movie special, but in the end it oversold and could not deliver on how magical it was supposed to be. (4 out of 5)

Thor: Raganarok – Movie Review

After Wonder Woman and Spider-man Homecoming, Thor: Ragnarok seems to prove that we’ve hit a good patch of superhero movies at the moment. Starting out with a tongue-in-cheek, fourth-wall-breaking monologue fakeout, I was having a good time with the charming humour right from the start — which didn’t let up all the way to the (more somber) end. Chris Hemsworth is now one of my new favourite movie stars (an honour he didn’t achieve in either of the two other Thor or Avengers movies). He’s got that action-hero-charm that has made stars out of Harrison Ford, Bruce Willis, and more recently Chris Pratt, and this movie lets him work it. As a prisoner of the fire demon Surtur, he never breaks a sweat as he cracks wise while defeating Asgard’s timeless enemy and returns to the cosmic home of his god-like people. Upon arriving, he finds things a bit out of whack (and his father Odin is missing) and we are treated to a humourous play within a film (featuring some great celebrity cameos). The light-hearted tone continues as Thor returns to Earth and meets up with Doctor Strange (another cool cameo with Benedict Cumberbatch reprising his MCU role). Within a short time, this movie has already featured appearances of some of my current favourite actors (Tom Hiddleston, Cumberbatch, etc.) and soon will feature cinema-queen herself, Cate Blanchett. She plays Hela, Norse goddess of death, and sister to Thor and Loki. When she’s unwittingly released from banishment, she quickly takes action to regain control over Asgard and begins by destroying Thor’s mighty hammer Mjolnir (simply by gripping it tightly).

Surprisingly, while the Hela storyline is the cause of the titular Ragnarok (the end of the world), it’s not the focus of a big part of the movie, putting it on the backburner for most of the middle half of the movie. Instead, in the course of trying to stop Hela, Thor and Loki get catapulted to some previously-unknown junk world called Sakaar. On Sakaar, Thor becomes a contestant in the gladiatorial games run by the Grandmaster (played by Jeff Goldblum in a trademark, weaselly peformance). Of course, by a huge galactic coincidence, anyone who’s seen the movie trailer knows who Thor faces in the arena as the Grandmaster’s current champion. Seeing the Hulk, Thor is surprisingly happy, stating that it’s OK because “He’s a friend from work”, right before getting slammed into the wall. As I mentioned, the humour is one of the best parts of this movie, and thankfully that is not the best joke in the film (far from it). The rest of the story has the characters working to escape from the planet in order to return to Asgard and end Hela’s reign of terror and possible destruction of everything. Sounds pretty packed, eh?

The other wonderful aspect about this movie was the fast-paced action. From scene to scene, it toggled between well-shot, space-action (similar to either of the Guardians of the Galaxy movies — in fact, this would have made a great Guardians 3); and some slower-paced funny dialogue and interaction between characters. Everyone seemed to be enjoying themselves making this movie and that enthusiasm comes through. New Zealander director Taika Waititi is a breath of fresh air for the Marvel cinematic universe, and I can’t wait to see what he does next.

With a high degree of Australia/New Zealand content in the cast and production roster, it’s certainly the crown jewel to have Blanchett playing Hela. The role is a walk in the park for her, but it’s great how she revels in Hela’s superiority complex and bitter resentment of everyone who wronged her even a little bit. Frankly, I think Blanchett needs to play more of these deliciously villainous roles. I only wish that more of the plot had involved her. As a movie villain, she didn’t really get to stretch her wings much beyond snarling a lot and tossing her endlessly conjured blades everywhere, like magicians’ scarves.

After the disaster that was Thor: The Dark World, it’s nice to see that all it took for the franchise to hit its groove was to loosen things up a bit. Let’s hope that we’re on a roll. (4 out of 5)

Fall TV 2017 – New Shows

After a pretty unexciting summer movie season, it would have been nice to come home to some exciting new shows this fall. Alas, so far some aren’t too promising despite a strong pedigree, and others are downright terrible. Good thing there are still a number of returning shows to keep us satisfied (I’ll get to those later.)

Young Sheldon

I don’t quite understand why this show got made. Compared to its parent-series, The Big Bang Theory, this prequel show about the childhood of its main character, Sheldon Cooper, is a lot more ordinary. From The Wonder Years, to Malcolm in the Middle, to Everybody Hates Chris, to Fresh Off the Boat, there are so many shows as flashbacks to the story of a boy growing up in a normal-yet-quirky family. The narration from older/future Sheldon (still voiced by Jim Parsons) reminds us that he’ll one day be a super-nerd, but for now, he’s just a regular dweeby kid who’s been bumped ahead a few grades. Sheldon doesn’t know how to behave around normal people even as an adult on Big Bang Theory, so obviously he’s hopeless as a child. Are we just going to see him get bullied and ostracized for the entire series of Young Sheldon? The first episode showed us Sheldon’s family, but the only one who seemed interesting was the younger version of Sheldon’s mom. There were some character moments between Sheldon and his father, but considering that we know he’s going to leave his family, every moment of connection between father and son is bittersweet. Even with that potential for drama, this show is not a dramedy. It’s pure sitcom, and (despite its already having received a full season order) so far it doesn’t seem like a very interesting one.

The Good Doctor

This show kind of echoes some of the themes of Young Sheldon, but it’s about Freddie Highmore (last seen playing pre-psycho Norman on Bates Motel) as a young surgeon who’s also an autistic savant. Like Sheldon, Shaun Murphy knows way too much stuff (plus he has a super-human ability to diagnose a suffering person’s medical ailments), and people just don’t understand him. In the first episode he tries to save a young boy in the airport, but gets tackled by security when he grabs a knife from the confiscated-articles box. No one (except the audience) sees his genius. As much as I enjoy Highmore in the role, and he makes a good addition to the long line of medical miracle-workers celebrated on-screen, I don’t really know how this show is going to go. His character seems a bit like an alien who floats through the hospital intervening with his super-human medical abilities. Hopefully he will develop genuine relationships with his colleagues and become a more organic part of the hospital, but that has not happened yet.

The Orville

The Seth MacFarlane sci-fi show came into the mix with a confusing premise. It is meant to be a space-ship series with a positive, upbeat outlook, similar to the many Star Trek shows that have come before (especially Star Trek: The Next Generation). What was not clear was whether this show would be a parody of Star Trek, or a copy. The show got an early start, so now that we’ve seen four episodes, we know it’s the latter. While the involvement of MacFarlane (creator of Family Guy) means that there is bound to be some humour, it is clear that the show is meant to be a replica of Star Trek — from the uniforms, to the ships, to the crew, even the music — all make you feel like you’re watching Trek. Unfortunately two things make The Orville a pale copy: the writing is incredibly weak; and the humour is limp. If the show intended to follow in Trek’s footsteps, its writers needed to develop a much better understanding of sci-fi and what has gone on before. Most of the episodes so far have been variations on Trek (and even Stargate) stories, but not taking itself seriously enough to fully develop the ideas and themes of each. The worst example is an episode where a crew member from a single-sex race faces a storm of controversy when he tries to follow his culture by reassigning his female child to conform with his race’s male gender. Many of the characters rant about how barbaric this surgery is on an infant, and how women are just as good as men (and one scene even uses the stupidity of the ship’s male pilot as proof that males are not superior). The arguments are weak and poorly thought-out both as political discourse and as science fictional allegory. Similarly, the jokes also show ridiculous lack of thought. Almost every joke shows that MacFarlane’s character (Captain Ed Mercer) is really just a displaced 21st century guy in a show set 400 years in the future. No one would laugh at those comments: not then, and not even now. It’s as if a character on Big Bang Theory was making jokes that a Shakespearean audience would find funny. The humour is so anachronistic that it seems pasted on. This show is clearly MacFarlane’s vanity project and I don’t see how it can possibly survive, especially when compared to…

Star Trek: Discovery

Finally, after over a decade, Star Trek returns to the small screen, and not a moment too soon. Despite the fact that this series is set in a time before the original series (and despite the fact that I am tired of Trek creators going back to that period), everything looks and feels very modern and futuristic. The production values of the two-part opening episode is movie-quality stuff (complete with a few unwanted Abrams-style lens flares). The story features Michael Burnham, a first officer rather than a captain, as she tries to save her crew and captain from an encounter with the Klingons (remember, in this time period Klingons are enemies to the Federation). Rather than the episodic exploratory encounters of Star Trek and The Next Generation, so far this new series leans more towards action and the power politics of space (similar to Deep Space Nine, or even The Expanse). The premiere episode is very much like a movie and sets up Burnham’s story, rather than how episodes of the show will go. It’s definitely less traditional than previous Trek, but it could be a really exciting new direction for the franchise. I’m a little disappointed in how they’ve set up the Klingons again as a kind of enemy-race (It always seems unrealistic that an entire space-faring species would have the same motives and agendas). I hope things will become more nuanced and complex as the series progresses. Nevertheless, even out the gate, Discovery flies rings around The Orville.

Marvel’s The Inhumans

Oh, the (in)humanity! This is perhaps one of the most hyped sci-fi shows of the fall. Many people are already familiar with the Inhumans from recent comic book events and series featuring these characters. As well, this show’s pilot episodes were shot in IMAX format so they could premiere on the big big screen before its tv debut. I’m not sure why it seemed that Marvel Entertainment spent so little effort (and obviously not enough money) on the show, but it definitely shows. From inferior scripts, to second-rate acting, to ridiculous costumes and terrible CGI effects, this show has so much going wrong with it that it’s doomed to failure. The story of a race of super-humans living on the moon who are given fabulous mutations as they reach adolescence has a lot of sci-fi potential. Unfortunately this show does not yet live up to any of it. Black Bolt and Medusa are the king and queen of the Inhumans and when Black Bolt’s brother Maximus stages a coup (with only about a dozen soldiers), the rest of the royal family escape to Hawaii, where they are scattered as fishes out of water and need to make their way to each other. Much has already been written about the poor CGI effects, most notable being Medusa’s prehensile hair, which in comic books is huge and strong like gigantic tentacles that she uses to grip and fight enemies, but on the show they’re poorly animated strands that she wraps around Maximus’s throat or pushes him up against the wall. What makes it look worse is that her hair is so short that it everything she does with her hair could just as easily be done with her hands. Then as part of the coup they even shave her hair off (thus saving the CGI dollars)! There’s also a giant bulldog named Lockjaw, which is the royal family pet, that can teleport anyone anywhere. When he does, the CGI looks like he’s being sucked off the edge of the screen, or like when I minimize the apps on my Mac. However, all the poor production values would be liveable if the script and acting were good. Unfortunately they are not.

Me, Myself and I

Finally, I had not originally planned to watch this show, but the premise caught my eye. The triple title describes the format where we get to watch the story of the main character, inventor Alex Riley, in three periods of life: childhood, middle age, and retirement. It’s a dramedy starring SNL comedian Bobby Moynihan as the middle-aged Riley, John Laroquette as the elderly version, and newcomer Jack Dylan Grazer as the kid version. The formula seems to bring the three story parts together along a loose thematic thread, but even without that connection, the stories are nice little vignettes. So far, I can see how the show will be charming and uplifting. It’s like a lighter version of This Is Us, without the big-three-fold drama and the looming death of the father. If they keep drawing connections between the three time periods, things may start to seem too unnaturally parallel, but this is still a potentially enjoyable show until then.

That’s all the new shows that I’ve seen this season so far, but sadly there are only a handful more to come. This year the networks have concentrated their premieres all within a short period (which is how I like it), but that means I don’t have time to cover them all at once. I’ll be back tomorrow with Returning Shows, and then come back again to close out the remaining premieres that follow. Later!

2017 Summer of Sitcom Binge-watching

From my lack of reviews over the summer, it may be obvious that I, like critics and audiences everywhere, think this was the worst summer movie season ever. I only got out to a couple of movies in the theatre, so what have I been doing to satisfy my pop-cultural cravings over the summer? I’ve been couch-potatoing: binge-watching a number of sitcoms (many on Netflix). Some of them I never thought I’d like, or gave up the first time around. Giving them a second chance, they aren’t half bad. So now I’m going to provide a quick recap of ten (count’em, 10) of these shows, so you can decide whether or not to give these shows a viewing.

1. Grace and Frankie

This is probably the biggest surprise on the list. Jane Fonda and Lily Tomlin play two women in their 70s who become unlikely best friends after their husbands come-out and become lovers. I could not relate too much with the situation behind this comedy, but an excellent cast, some pretty good writing, and a funny-yet-heartfelt tone really won me over. Fonda plays Grace, a serious, sophisticated business woman who ran a cosmetics company and needs her life to be perfect. On the other side, Tomlin plays Frankie, an unpredictable free spirit and hippie who teaches art classes to convicts and named her sons Coyote and Nwabudike. At first, they were mortal enemies, forced to live together in a shared beach house after their husbands moved in together, but they eventually learned to tolerate and even depend on each other. To me, the show’s focus on their offbeat-yet-solid friendship is what got me hooked in spite of all the stuff about seniors and their sex-lives (which definitely did not). (4 out of 5)

2. The Ranch

Just like Grace and Frankie, I’d seen promotions for The Ranch all around Netflix, as one of its originals, but I had no intention of giving it a shot. Ashton Kutcher does not really headline my kind of entertainment. I thought he was pretty funny on That 70s Show as Kelso, but his stupid goofballs are not the kind of characters that I like. When he was joined by fellow 70s alum Danny Masterson on The Ranch in a show about rancher brothers who struggle with their family, and with relationships (often due to their inability to express their feelings). These elements were all warning flags for me to stay away. However, once I tried on Kutcher, as a pro footballer who returns to his family’s cattle ranch after his career ends, I actually found myself interested in what happened to him and his family. Masterson plays his brother and in true Prodigal Son fashion, Kutcher’s character’s return stirs up a tornado of resentment from Masterson’s character who stayed behind. Topping off the triangle of stolid masculinity is their father, played really well by Sam Shepherd, who can definitely work a stone-faced glare. Again, the actors do a pretty good job (Kutcher inhabits his character well), and the show is surprisingly heartfelt about finding humour despite the financial hardships that the family faces. One weak point is Debra Winger as the mom: she’s kind of stiff and as a character, she doesn’t fit too well into the ensemble. (3.5 out of 5)

3. Life In Pieces

When it first premiered (it’s not a Netflix original), I dismissed Life In Pieces as a Modern Family knock-off. It kind of is, but that doesn’t mean it can’t be enjoyable and diverting. Also about a family of adults (including grandparents, as well as grandchildren) who spend an unusually large amount of time together, there’s a very similar feel to this show. On Life In Pieces, there are three segments per episode (hence the title) and each segment brings together different members of this extended family in different situations. It’s taking the concept of “situation comedy” and putting an organized framework around it. The characters vary in likeability and quirkiness. I can’t say there are any that I am a total fan of (though maybe Colin Hanks as a hapless new dad comes close), which means I don’t have a character who anchors me to the show. It’s very take-or-leave for me, even after having watched the entire first season plus a bit of the second. (3 out of 5)

4. No Tomorrow

Another show that I gave up on originally, this one features Joshua Sasse as Xavier, an eccentric, free-spirited guy who is convinced that the world will end in eight months so he wants to live what remains of his life to the full. He meets up with Evie, who falls for Xavier’s good looks as well as his cavalier spirit. He ignites the risk-taker in her own relatively buttoned-up life (as a middle-manager for a Costco-style chain store). The situations for comedy are triggered by the two working through their doomsday bucket lists, as well as from the odd ensemble of friends and co-workers in Evie’s life. This show was alright, and it actually had a bit of an interesting background story arc around Xavier trying to get the message out about the imminent disaster. However, I did not really fall for the side characters, who are just oddly-mediocre. As for the main couple, I believe their story would have played out completely differently if they weren’t both so attractive, which just makes this show even more ridiculous. I enjoyed the episodes well enough, but if the show had not been cancelled already after its first season, I probably would have stopped watching. (3 out of 5)

5. About A Boy

Do you know of the Nick Hornby book of the same name, which spawned the original Hugh Grant movie; or that the movie also got turned into a TV series? Well, it lasted two seasons from 2014 to 2015, and presented the story of Will Freeman, a songwriter and bachelor, living off royalties from a megahit single and a roguish charm with women. However, when a quirky, hippie mother (played by Minnie Driver) and her young son move in next door, their lives start to intrude on each other and eventually bond and blend. I did watch the first episode of this show back when it aired, but immature man-child characters are one type that I really don’t like, so I stopped watching. However, as I stuck with the show this time around, I got to see a really crazy-yet-healthy relationship grow between Will and the neighbour kid (Marcus). As a bro/surrogate dad to Marcus, Will’s character really developed over two seasons. I enjoyed how they brought out the best in each other. It eventually became a plot point how close the two guys became, but I’m glad that the show leaned into that kind of unique relationship. It’s a bit too bad that the show ended, because I think I might have continued to watch it. (3.5 out of 5)

6. The Unbreakable Kimmy Schmidt

I didn’t discover this series this summer. In fact, I had really enjoyed previous seasons when they first appeared on Netflix. Unfortunately, my interest and enjoyment of the series has decreased each season. The show about a young woman who had been rescued from a doomsday cult, trying to find a life for herself in New York, was an extreme and humourous fish-out-of-water story in season one, and I kind of enjoyed the over-the-top supporting characters, including her flamboyantly gay roommate, oddly crotchety landlady, and strangely clueless, rich boss. After two seasons, I now find Kimmy (played by Ellie Kemper) unbearably naive — though it was funny before. I’m finding it hard to stomach roommate Titus’s ridiculous melodrama, and the rest of the stories and characters are just getting broader and broader. As the situations get more soap-opera melodramatic (Can you believe there’s actually a “remove the bandages” reveal for one character, who ends up looking like a totally different person?) I don’t know what to laugh at anymore. (3 out of 5)

7. Master of None

As another acclaimed Netflix original sitcom, Azziz Ansari’s labour of love, has gone the opposite direction in my estimation from Kimmy Schmidt. I watched the first half of Master of None season one and gave up, feeling very little connection to Ansari’s character Dev (a struggling actor trying to find love and success in New York), and I didn’t like his friends much. (I did, however, love the acclaimed episode connecting a couple of the character to the stories of their immigrant parents.) Fortunately, good buzz caused me to retry the show, and I was really glad that I did. When Dev went to Italy to study pasta-making in season two, it transformed the show. The writing seemed to get a bump up in sophistication, while still remaining focused on Dev’s successes and failures in life. I enjoyed the characters much more in the second season, and the stories were richer and more satisfying (a high point was the Thanksgiving episode that not only traced Dev’s relationship with one of his best friends, Denise, since their childhood, it also showed Denise’s family come to terms with her being a lesbian). On top of all that, Alessandra Mastronardi is beautifully-flawed perfection as Dev’s friend/girlfriend Francesca; and the season ends with a subtle, nuanced, will-they-won’t-they cliffhanger. I can’t wait for the next season! (4.5 out of 5)

8. Friends From College

First off, this show looks like a comedy from the advertising, but it is not one. It’s a drama (with some humourous elements) about a group of friends and acquaintances from college whose group is potentially reforming when one couple moves back to New York. Keegan-Michael Key and Cobie Smulders play the pair in question, whose marriage is a bit shaky (wife does not know that husband has been having a long-distance affair with another one of their friends from college all these years, but now that they’re going to be co-located, it might just come up). I think the title of the series is meant to be ironic, or at least point a finger at the idea (which gets a lot of play on TV) that a group of friends from college will be friends forever. These characters act friendly and tease out the relationships that reach back into the past, but they are not very good to each other. The show reaches an extreme climax in the season finale as revelations lead to confrontations and a nice car is ruined. I didn’t find this show fun to watch, but I did want to see how these relationships all played out. Still haven’t decided on season 2 (3.5 out of 5)

9. Bajillion Dollar Propertie$

Coming from Seeso, a streaming channel that you’ve probably never heard of, this show lampoons the many real-estate based reality-TV shows. It focuses on a single top-end real estate firm in California, whose agents are all clawing their way to the top. While the characters are all pretty broad, they play pretty well (especially when paired with one of many comedic guest stars as clients, including Nick Kroll, Jack McBrayer, Patton Oswalt, Randall Park, Andy Richter, Casey Wilson, Weird Al Yankovic, Rhys Darby, Bret McKenzie, and Sarah Silverman). The scene that convinced me to give the whole series a shot was one where Dan Ahdoot (who plays Amir Yaghoob, a very driven agent) tried to wrangle The Walking Dead‘s Steven Yeun as a spoiled rich kid who has gotten high with his friends in a home that Amir is trying to sell. The writing and tone is uneven, but if you enjoy poking fun at the excess that this kind of tv normally promotes, then this is a fun cartoon of a show. (3.5 out of 5)

10. Rick and Morty

Last, but definitely not least, is an animated comedy that I should have discovered a long time ago. It is tailor-made for sci-fi geeks such as myself and, for my money, contains the highest concentration of sci-fi ideas of any series currently active. Think of it as a cross between Futurama and Doctor Who. The title characters are Rick Sanchez (a hard-drinking, hard-partying, vulgar super-genius who can invent virtually anything) and his grandson Morty Smith (a semi-naive 14 year old brought along as a companion for his grandpa’s crazy inter-dimensional adventures). Though it’s an animated show, it is not really for kids. There is a lot of profanity and some pretty perverse and deviant ideas are tossed around left and right (I confess, I would have enjoyed less of that element). Armed with a portal gun that takes them to other places in the universe as well as alternate versions of reality, this show has everything from robots, space creatures, shrinking down to microscopic, splintering of space-time, intergalactic talent competition, insectoid alien assassins, a planet of amazon women, and the list goes on ad infinitum. This show has so many details that fanboys (and fangirls) pore endlessly over them to form fan theories, etc. On top of all the science fictional goodness, there is also an intense family backdrop. The rest of the family consists of Rick’s daughter, who is Morty’s mother, Morty’s older sister Summer, and their father Jerry. The family is far from perfect and they struggle with lack of communication, lack of mutual respect, lack of affection, lack of acceptance, which may be typical in some family dramas that are trying to depict the challenges of actual family life, but on this show, it’s all part of a dark sense of humour that underlies the stories. I love that this show does not shy away from the tough stuff, and also that it does not hold back on the sci-fi. I’m currently rewatching the series (even as the third season has already begun) to try to catch as many of the details as I can. (4.5 out of 5)

2017 Fall TV Preview

Netflix and streaming keeps changing our idea of TV seasons, when they begin and end, still we recently concluded the 2016-17 network TV season. This is also the time when the networks give us a peek at their fall schedules. For myself, there weren’t any tough cancellations — even one show that I would have kind of missed, the time-travel drama Timeless, was miraculously saved for the fall. However, I will miss the Tim Allen sitcom Last Man Standing, which I got into by binge-watching on Netflix and has now been cancelled after six seasons. It’s the TV circle of life: cancelled shows make room for new shows. This coming fall season, I’m most excited for new shows on Fox and ABC, while NBC, CBS, and The CW are barely registering on my radar. Let’s get into the details:

Fox

I’m most excited about Fox because they are clearly having fun with genre shows. A new show that I don’t plan on checking out is The Resident: one more medical drama, this one features Matt Czuchry (from The Good Wife) as a hotshot resident who butts heads with Bruce Greenwood, the unethical “veteran” doctor. I don’t feel that Czuchry has much charisma, so I don’t know why they keep trying to make him into a young hotshot.

Another bad first impression is on LA to Vegas, a comedy about a plane cabin crew with Dylan McDermott as the captain (Why do they keep trying to make him funny? He isn’t.) The humour is the semi-lowbrow kind that I don’t like. Pass on both these shows.

The Gifted is a new series about some super-powered kids (don’t call them “X-Men” yet) who seem to be on the run. Amy Acker (yay!) and Stephen Moyer (meh!) star as the parents. This is supposedly set in the X-Universe, but I think none of the characters will be recognizable from the comics or films. In the trailer there’s a typically over-the-top bullying scene where a nerdy boy manifests his mutant powers, which makes me hope that this show will be a little more sophisticated. So far it looks like a cheap Heroes knock-off. Still, since it’s got that X pedigree, plus it’s produced by X-director Bryan Singer, I think there is some potential.

Most promising in my book are two genre-based comedies. The Orville is a terrible name, because it’s the name of a starship, for a show that is essentially Galaxy Quest: The Series. Seth MacFarlane gets in front of the camera to star as “The Orville”‘s hapless captain. Jon Favreau is one of the directors, along with other Star Trek notables like Brannon Braga, Robert D. MacNeill, and Jonathan Frakes. It looks pretty funny, and I’m a sucker for Trek humour, so I am looking forward to this one.

Ghosted is another sci-fi comedy, one that is more a send-up of The X-Files (which is itself returning for another season). Craig Robinson (from The Office) and Adam Scott (from Parks and Recreation) play an “odd couple” who get drafted by The Bureau Underground to investigate creepy supernatural phenomena. I am not sure what a weekly episode might look like (because like many trailers, this show plays a bit like a movie), nevertheless, they’ve got two great comedic leads, and Scott gets to be even more nerdy than usual. It’s going to be a riot.

ABC

So many new shows with potential on ABC this fall: The Crossing seems a few years too late to follow in Lost‘s footsteps, but it still tries to make a go at a high-concept premise with sci-fi overtones. The show seems to be about a group of about 50 people who wash ashore at a small coastal town. These people are not only from the future, but they have superhuman abilities as well. This show also reminds me of another series: The 4400. That series had a very challenging run. I hope this series ends up being something fresh and cool.

Deception takes a stage-magic-based storyline (like the movie Now You See Me) and combines it with the recent trend of “special guest” consultants for law enforcement (think Castle on the good end, or the more recent APB on the bad). A popular stage magician gets involved with the FBI to help them track down bad guys who are also using stage magic for heists and other crimes. I think this could be really fun, but unfortunately I don’t think the lead, played by Jack Cutmore-Scott (I don’t know him either), has even one-tenth of Nathan Fillion’s Castle charisma.

The Good Doctor is kind of a lame title (especially after The Good Wife was a much more meaningful title) for a series about a savant/brilliant young doctor (played by the wonderful Freddy Highmore) who also has some serious socio-psychological issues. I doubt I’ll watch this “House Jr.” series for long, but it could be good. I just hope the show doesn’t spend all its time justifying how a quirky genius is worth his weight in miracles, and that outsiders should be accepted.

The Gospel of Kevin is an odd show, starring Jason Ritter as a reformed screw-up who encounters a meteorite that allows him to see and talk to his guardian angel who helps him make his life meaningful (whew!). Ironically, Ritter got his start on the similarly themed series Joan of Arcadia a decade ago. I don’t think this show looks too interesting, but I might give it a chance.

Alex Inc. features Zach Braff (from Scrubs) as basically another version of all his characters: bungling-yet-lovable-and-well-meaning guy ends up starting a for-profit podcast about his own way to success in life (with his family). I’m a bit tired of Braff’s character, but I do like the inter-racial family (his wife is of East Indian descent).

For The People seems a bit cliche: another pretty young lawyer show, this time focusing on newbies to both the prosecution and the defense sides of the law. It doesn’t break new ground, but I’m a sucker for a good lawyer show.

Last but not least, the trend of reviving long-cancelled shows continues with Roseanne‘s return to the airwaves. All of these have potential, so we’ll see.

The CW

The network renewed almost all their shows, so there’s not much room on The CW’s schedule for new ones. Life Sentence, starring the always-cute Lucy Hale (from Pretty Little Liars) as a young woman reinventing her life after finding out she is no longer dying of cancer, is not startlingly original (I feel like it’s looking for some of that This Is Us drama-love), but it has potential. A lot depends on whether the other characters and storylines engage with the viewers.

There’s Valor, which involves a cover-up and pretty characters making melodrama decisions against a military backdrop — it seems inspired by Quantico. The whole story seems to be told in the trailer — not sure how this will become an actual series.

Another new DC superhero show (in addition to the other four) called Black Lightning. Seems pretty similar to the other shows, except it’s got a bit more of that local-neighbourhood vibe (similar to Marvel’s Daredevil). Unfortunately I’m a bit burnt out on superhero shows, so I don’t think I’ll watch it.

Finally, The CW seems to be heading for an epic fail with the reboot of seminal 80s soap Dynasty. I was a late-coming fan of the original, but this version seems ridiculous. Grant Show is super-miscast as patriarch Blake Carrington, not only lacking John Forsythe’s sense of masculine elegance but also lacking any believability as a powerful billionaire. This just seems like one of many CW soaps and squanders the Dynasty brand in a big way.

NBC

On one hand, NBC deserves kudos for resurrecting Will and Grace, one of my favourite sitcoms, with the original cast intact. On the other hand, there are virtually no new shows of note. The Brave is another of many military shows which follows Quantico so much that it actually cast one of the actors from that show. Whatever.

CBS

Last and least, CBS tries to catch ten-season-old lightning in a bottle by spinning off the character of Big Bang Theory‘s Sheldon Cooper into his own show — but as a child living in Texas. The trailer has the feel of a Malcolm in the Middle, with all its white-trash caricatures. Unfortunately, the writing and acting both seem terrible and the characters seem incredibly flat. It’s a bad sign if the best part is the voiceover narration from Jim Parsons as adult Sheldon. Mark Feuerstein has a new sitcom called 9JKL about living next door to his parents and his brother. I don’t know if it looks any good, but the parents are played by Elliott Gould and Linda Lavin, so at least there’s that. Oh, and David Boreanaz stars in another military show called Seal Team. (I would say more about the CBS shows, but ridiculously they block the trailers from being viewed in other countries, such as Canada. Nice!)

Bonus: CBS All Access

I don’t want to jinx anything, since I previewed this series in last year’s post, but Star Trek: Discovery is coming some time within the next year — they’ve released a trailer and everything! Given the degree to which it’s already been delayed, I don’t doubt that it might be delayed further, but we Trekkers still hold out hope. Let’s also hope that the show is something special — can’t quite tell from the trailer.