Reviews

Uu

Here is a review I wrote of the pilot:

Tim Robinson, comedic element, is unhinged, again.

Robinson is kind enough to twist off the top of his brain and show us its best, most chaotic tale.

The Chair Company, Robinson’s latest project, a “Comedy/Thriller” series for HBO, follows William “Ronald” Trosper (Robinson), a middle aged father and husband up for a very important promotion in the world of building malls.

Ron gets it. His kids and wife — who are way, way cooler than him — are proud of him. When a server at a celebratory dinner for Ron learns about his promotion, she congratulates him but politely acknowledges it’s been a long time since she’s been in a mall. He suggests she’s likely been in a mall recently, she just didn’t realise it. She’s certain she hasn’t been in one since she was 14. He knows she thinks she hasn’t but that’s just evidence of how much malls have changed, and it’s likely she has. “They’re more naturalistic. In fact, even this restaurant is kind of like a mall.” It goes from there.

Anyone familiar with I Think You Should Leave with Tim Robinson, Detroiters, or Friendship will understand how Robinson plays the above scene, and how it is funny.

Later, at a consequential presentation in front of a big crowd, as well as his boss, Ron’s chair breaks under him. As he’s lying face up on the ground, he happens to see up a co-workers skirt. She makes a face. He makes a face. Elliott Smith’s “Between the Bars” soon plays. He thinks on the day’s multiple embarrassments as he attempts to sleep next to his wife. Eventually, he resolves to get in touch with the company that manufactures the chair that broke under him, in an attempt to right a wrong. Someone could die from these poorly manufactured chairs. At the same time his obsession with the chair company reaches fever pitch, his boss makes him promise not to get distracted. The promotion he just received is in jeopardy.

Everything in The Chair Company is turned up to 15. 10 is a regular comedy. 20 is I Think You Should Leave-ridiculousness. The plot itself is that of a modern day psychological thriller. The way it’s played, edited, and scored is like an I Think You Should Leave… sketch. He’s sad? Play Elliott Smith’s saddest song. He’s frustrated with his co-worker? We’re going to see his face all scrunched up at varying levels of zoom. Side characters care a weird amount about totally innocuous things (wheelbarrows are inside only).

After the conversation with his boss, Ron makes the tough decision to give up the chair company mystery. He deletes a picture he took of the manufacturing information (that’s what amounts to an emotional moment in The Chair Company, and it’s played big). As he walks to his car, alone, a man appears behind him, big and angry. He wields a pipe. Ron eyes him and attempts to run to his car, but the man catches him. He whacks him over the head with the pipe and warns, “Stop looking into the chair company.” He skulks away.

Instead of continuing to cower, Ron becomes overwhelmed with a confident if foolish feeling, and starts to chase the man back. After a jog that seems to last forever based on a trick in the editing, Ron grasps the man’s shirt and wrenches it, only to find the man had unbuttoned it from the front, ready for it to be ripped off. He runs, bare-chested, into the forest. Ron stares in disbelief.

I stare in disbelief.

This particular comedic “…what?” style is tried and tested. A mystery as an engine for a television plot is tried and tested. It’s clear this mix works well enough for one 30 minute episode. It’s possibly it will outstay its welcome after eight episodes, but for now, let’s enjoy it.

An incredible first and second episode. Gilligan steps for the first time out of the Breaking Bad universe and into something more akin to the 90s film Contact. It stars Rhea Seehorn as Carol, as disaffected Romance novelist, who is one of the few on planet earth not infected with some sort of... Life Force unleashed upon the population when a small group of scientists discover communication from outer space via some sort of pattern (I am not a scientist)...

Seehorn proves here she is capable of leading a show without an equal partner. As the second billed on Better Call Saul, she was fantastic, but here, with her as the audience surrogate in many ways, Seehorn's acting is on full display, at length.

As thrilling as Seehorn's acting is, it's the story and the writing that make the series most compelling. There are new flavours added to the Gilligan mix, as well. "Goofy" isn't the first descriptor one would offer to Gilligan's work, but it's not out of the question as an eventual adjective. With Pluribus, that goofiness is moved to the fore, with elements being reminiscent of a more heady Good Place. Luckily, that goofiness (I find it rich, even in small quantities), is only one of the strong tones at play. Others include those more in his wheelhouse; mystery, crime, the intricacies of processes.

If you like Gilligan's work in general, you will like this.

"Guys, I've got this. I know Glen Powell from Top Gun."

Okay, some thoughts:
- Joe looks and sounds amazing
- Nick and Kevin calling their wives and cutting to Joe at the bar was hilarious
- The subtle Camp Rock moves in the dance choreography was a nice touch
- The mini coffee station Joe and Kevin on the train?! What???
- The EGOT Home Alone bit had me cackling
- KJ APA???!!!! MR. FANTASY???!!!
- This movie is so quotable?!
- Kevin playing guitar rather than singing was such a good bit
- KEVIN SOLO?!

Del Toro's modern reinterpretation of "Frankenstein".

Right from the start, the prelude sets the tone for the rest of the film, immersing us completely in that fantasy universe. Whether through the presentation of visions far removed from reality or even through the characteristic visuals. Especially that of the ship's captain, who seems to have stepped straight out of a Júlio Verne novel.

However, what I really didn't like was the first part. I mean, not entirely. And at the end of it, I found myself thinking, "Okay, everything's been great so far, but nothing I hadn't already imagined". And besides this narrative factor, which is not very compelling, I also couldn't connect with any of Mia Goth's romantic subplots, even though I love the actress. And I believe that if she hadn't been the actress, my reaction would have been even more indifferent. The bigger issue is that Elizabeth, here, is not properly developed so that she, on her own, or her relationship with the creature, gets the prominence that the film would like it to have. The same goes for Oscar Isaac's performance as Victor, which is uninteresting and monochromatic. What really keeps this first part from being boring is del Toro's ability to use the entire screen composition to his advantage. From framing that highlights the photography to the meticulous attention to production design. Just like in "Crimson Peak", by the same director. And finally, although I was excited at various moments, this merit comes much more from how the scene was made than from what was being told. After all, I missed a more epic tone.

Finally, we arrive at the second half of the film, where the director's creativity reinvents itself and fills in all the gaps left by Victor's narrative. In addition to being bold, I found this second part to be innovative in a very intelligent way and extremely well executed, from its objectives to its conclusion. I really liked the dramatic content and the existential charge that not only works, but also raises the bar for the film and makes the whole thing worthwhile, ultimately, for the parts. I also like the changes to the usual narrative because, first, I think it fits with the universe in which the film is presented to us, and second, because Guillermo del Toro has an incredible sensitivity in narrating atypical perspectives, as he does in "The Shape of Water". The text works very well. In this second part, even the dialogues are captivating. Towards the end, I felt so connected to the creature that I hoped it would come out unscathed, even if it meant the end of everyone else. And the soundtrack accompanies all of this in an unusually beautiful way. And although I admit that patience in part one was necessary for such conclusions, I still believe that some of the script's choices regarding the characters left something to be desired. Oh, I almost forgot, but Jacob Elordi's performance as the creature is so, so complete that it's formidable to watch.

"I like my bacon EXTRA CRISPY!"

The Running Man was good, but not great. Michael Cera and Colman Domingo were fabulous. I loved Michael Cera's musical sequence and his crazy mom. Colman was so dynamic and hilarious. Lee Pace...I love that man. Him in the mask? Yes, please. Glen Powell was good, but I didn't feel that he was angry enough? Especially at the end? Despite all the action, I didn't really feel that excited by it. (Other than the naked window crawl...that was fun.) Also, the Liquid Death ad killed me. What a great brand to include.