larshermans Reviews

Persuasion (I) (2022)

My fellow millennials: Stop trying to appeal to Gen Z

[2/10 · 17 July 2022]

It's clear as day: 30-something year old writers thought the source material couldn't possibly be relateable, so they twisted the script into what can only be described as the most embarrassing clownshow of an adaptation. This is already outdated and terrible - nobody asked for terrible dialogue and "how do you do, fellow kids"-isms. I am begging you, as a millennial: We're not young anymore and these godawful Netflix originals you keep churning out makes us all look like cringe inducing boomers.

When even the race swapping takes a backseat due to the writing, you know you're in for the worst ride of your life.

The Northman (2022)

As a Scandinavian, I loved it

[9/10 · 23 April 2022]

This is probably the only Viking-related entertainment I have ever watched to thoroughly respect and appreciate our heritage. What a fantastic cast, cinematography and blend of realism and the supernatural. Absolutely masterfully crafted.

Netflix and Marvel can try their best to ruin the image of my ancestors. All I can say is thank god for Eggers and The Northman.

Vikings: Valhalla (2022– )

Disrespectful and offensive to Scandinavians

[1/10 · 28 February 2022]

Scandinavia 1000 years ago should not reflect America in 2022. I'm Norwegian and this does nothing for anybody. I refuse to believe any black person gets more enjoyment watching a show about THE VIKING AGE now that you gender- and race swapped an actual historical figure. Similarly, Scandinavians can only roll our eyes and groan at US cultural imperialism poisoning our heritage.

Hollywood (2020)

Now THIS is how you make a progressive show

[9/10 · 4 May 2020]

I've criticised Netflix previously for adding very forced political points and jarring dialogue to raise issues of minority rights and diversity. Their heart is in the right place, but their efforts never felt organic on screen - it came off as pandering at the expense of the story.

However, Hollywood is fantastic. It's refreshing. The acting is superb and the writing is both nostalgic for the 1940s and not overly cheesy. The context is a time period in which minorities absolutely fought an uphill battle for their rights, and the men and women in power struggled to accept that. It's an important and extremely well made story of how much has and is still sacrificed to achieve equal representation. Hopefully Netflix keeps this level of quality up.

Future Man (2017–2020)

I'm surprised at how much I like this

[8/10 · 30 April 2020]

No, it's not very complex or deep or anything like that. But I'll say this: I've watched several time travel shows like "Travellers" that keep making the same two mistakes: 1) Having future time travellers hanging out in present day without ever showing any future tech or what their time looks like, and 2) Taking themselves FAR too seriously.

Future Man is actually hilarious, gross, unapologetic and silly. The serious moments which I tend to roll my eyes at are used sparingly. This is a very enjoyable show that knows it's dumb entertainment and not some melodrama with a lesson. It even shows us what the future is like, which is more than I can say about other tv series. Go watch it, especially if you're quarantined with nothing to do.

Ozark (2017–2022)

Best Netflix Show

[10/10 · 29 April 2020]

Ozark is better than Breaking Bad. Especially the third season. Jason Bateman has created something truly great, and unlike Breaking Bad, I don't roll my eyes and groan at most side characters. I love the tension, the escalation, the dramatic buildups and the atmosphere. It's by far the best show on Netflix.

Penny Dreadful: City of Angels (2020)

Stop americanising every good show.

[4/10 · 29 April 2020]

Based on the premiere of course: Might change rating if I'm positively surprised.

I don't bother with the politics of the show. I'm not here with an agenda or to accuse the showrunners like many seem to be.

My main gripe is the same as with The Terror: Infamy, where a popular European/international concept for some reason has to be twisted and adjusted to become American. Why? Most shows on Earth are set in the US and revolve around American issues. Penny Dreadful the original was such a breath of fresh air with its Gothic London setting and supernatural themes. A main problem with Season 3 was specifically the American portion that felt out of place and just bad. Season 1 and 2 were perfectly created with some of the most atmospheric sets I've ever witnessed. London is its own character I'd say.

Can we have nothing to ourselves? Was it really necessary to use the Penny Dreadful name to make yet another show set in America? The tone is off, the acting is good but undercut by the jarring atmosphere. It's not the political statements that bother me as much as the fact that it takes place in LA at all. I'm sick and tired of americanising. It's just a boring profit-grab on a series that used to be unique and great.

Locke & Key (2020–2022)

Every Netflix original seems aimed at American teenagers

[2/10 · 8 February 2020]

I get it. It's a huge demographic. But as a non-American subscriber of a different age group I find myself bored and frustrated to death with all the high school and teenage-related drama series. Why do I even pay for a streaming service that provides so little beyond this?

I haven't read the novel but shouldn't have to in order to enjoy a tv series, so I'll judge Locke on its own merits. The main premise is fascinating but criminally underused. The actors are stilted and awful, with dialogue out of Riverdale-cringetopia. Perhaps it's the fault of the director or writers, who knows. So much of the story takes place in school hallways and empty classrooms, because apparently nobody has classes in America. Netflix has gems like "Maniac" and "Russian Doll" once in a while, but they drown in asinine high school nonsense series like this one. Why can't they be even a little more original or ambitious? I'm baffled at how even a show centred around literal magic still is insecure enough to not avoid stereotypical tropes and cheesiness.

Star Wars: The Rise Of Skywalker (2019)

Numbness is the worst feeling

[3/10 · 19 December 2019]

I don't detest this film, but I almost wish I did. Walking out of a Star Wars screening feeling nothing is soul sucking. At least the prequels made me angry about several things, but now I can't even bother to passionately discuss its flaws with others. It's my honest opinion that there was a lack of vision and overarching story, and this third installment felt rushed and disjointed. It's like Disney/JJ Abrams realised this is not a TV show, and had to cram 3 films into 1.

Some plot points were completely pulled out of nowhere with no explanation, and since this trilogy never did a good job developing its characters, I had no care for what would happen to them. Certain characters who looked promising in TFA were just wasted. There was such little weight to any scene, with no proper buildup. Stunning visuals and honest performances aside, Rise is the most uninspired film in the entire saga, and more focused on damage control and desperate fanservice than telling a good story. It baffles me that Disney can churn out Mandalorian, which is great, and this at the same time.

This Is Us (2016–2022)

This is a great, great series

[9/10 · 14 November 2019]

It's the kind of show I would scoff at and not wtch, yet somehow it makes me smile and cry like nothing else. I love this show and makes me feel my humanity. Please watch it. It's nutrition for your soul.

Castle Rock (2018–2019)

It's good, but season 2 is bogged down by politics.

[5/10 · 14 November 2019]

It's not the political subtext that bothers me, or the message. It's the fact that Castle Rock should be a refuge from real life politics in the first place. Season 1 did a great job, and Season 2 is actually really great in many ways when it focuses on Annie and the main mystery.

I don't mind the Somali actors, but rather their purpose. Partially making the story about immigration and societal problems does not work in this horror/mystery genre. It's like we have two very disjointed shows meshed together into one episode. The Somali actors could have been a proper part of the mystery, but I guess the writers felt like using Castle Rock to push a political message. Again, I don't even disagree with the message, but Hulu should have reserved the storyline for another series.

El Camino: A Breaking Bad Movie (2019)

This film was not needed

[2/10 · 16 October 2019]

I actually didn't have lots of expectations or hype for El Camino, but it still disappointed me. This is a very unnecessary film that adds almost nothing to the near perfect ending of the show. Did we really need this wrap-up, six years after the finale, with clearly aged actors and a lacklustre plot? If the film was in the works, they could at the very least had made it years ago when Aaron Paul could still pass for a teenager. He is 40 years old now and unfortunately there comes a time where "One day later" plots don't work. His acting is great as always, but he's outgrown Jesse as a character.

Without spoiling, nothing really happened, and a strange amount of time was spent on flashbacks. The film seemed both rushed and dragging simultaneously. The story, while realistic and logical, is supremely uninteresting and left me confused as to why it was made, let alone why it was made this year. It had no emotional impact, which is a shame because there is clearly lots of talent here. My recommendation is to leave this alone and stick with the show.

Boyhood (I) (2014)

It's life and it's pointless. That's the point.

[9/10 · 10 October 2019]

I get why this film isn't for everyone, but personally, I was exactly the gloomy 'boring' kid Mason portrays, and maybe that's why it worked so well. This film does a great job at showing life as it passes by, and I particularly love how the parents are included with their own struggles. I was left pondering life a lot, and that's an achievement. There are enough movies with exciting concrete plots, but not every movie benefits from it. The realism of the mundane in Boyhood is what makes it work. It's very relatable, and rarely feels scripted at all.

Yes Man (2008)

Despite genre tropes, this film is quite important

[6/10 · 18 September 2019]

I'll be honest; I can massively relate to Jim's character in this movie. I know too well the paralytic inability to let go of the past and come out of an antisocial shell. Or the guilt felt when turning down invitations due to a lack of motivation, watching friends slowly drift away as a result.

In this sense, Yes Man is a really important film. Carl might be a jerk for the first 20 minutes, but it's impossible to not relate or sympathise with him. He is massively understandable even if we don't approve of his behaviour, and many of us might need to watch this movie as a partial reflection on ourselves. His transformation from no-man to a yes-man is actually quite realistic for a rom-com, and the film sends a very important message about missing out on life and not being stuck in a dark hole. I actually felt a motivation to say yes more often, and surely that's a great achievement when a film stays with me in a profound alway after watching.

My main issue with the film are the tropes. Zooey Deschanel didn't really need to be there, and even then, I would've preferred if they stayed broken up. The comedic "run and get your girl" scenario is so overplayed and cheesy that it sucked out a lot of my enjoyment for the rest of the film. There are ways to portray the consequences of being a 100% yes man that doesn't involve a boring romance. I'd prefer if Carl, despite having had a setback in his love life, could still move forward with a lesson learned instead of "winning the girl". It would be more realistic and also send the message that trying to be positive and open is worth it even when times are tough.

Many American films are scared of having the main character be anything but 100% successful and redeemed. If the number was 80% or so, I would have rated this higher. But still, great message and important for everyone to watch, especially those of us who have a tendency to be 'busy' when out friends call.

22 July (2018)

Unnecessarily long and unfocused

[4/10 · 17 October 2018]

Firstly, I'm Norwegian and personally know people affected by the horrible terrorist attack on July 22nd 2011. It was an awful day and I am in no way trying to belittle or undermine the efforts by the people who made this movie. It must have been extremely emotional for everybody involved and I salute them wholeheartedly.

But with that being said, as a movie, I didn't enjoy it that much. The camerawork is handheld and shaking for almost two and a half hours, even during the more calm and quiet moments. I don't agree that this gives more realism to the work - in fact, it is extremely distracting and took me out of the experience many times. Scenes in hospitals and courtrooms really don't need this kind of cinematography, and it comes off as sloppy to me. Just because it is a real-life event doesn't mean it needs to be filmed like they couldn't afford a tripod.

The movie is too long. While I can understand the need to include all aspects of the event, I still think it could use some tightening. It would probably make it more emotionally effective too. If they really wanted to show everything in such detail, it would probably make more sense to do a miniseries. But as a movie, unfortunately it does drag a bit.

Many people have mentioned the language aspect, and I have to say it's very jarring to hear English spoken with occasionally heavy accents. If the goal of this movie is to depict all aspects of the terrorist attack, why on Earth couldn't they retain the language? It smells of marketing choices and trying to reach mass audiences, which is frankly a bit insulting to me when handling such a real and raw subject matter. A movie like this should not be treated with the goal of reaching large foreign audiences. People are not illiterate and can handle subtitles if they truly want to watch this movie and learn about that horrible day. I honestly would not care if they made this decision for any other type of movie, but this crosses a line. It's offensive to Norwegians and non-Norwegians alike.

I also think the actors would have done better if they were allowed to speak Norwegian instead. It's pretty obvious at times that their attempt to speak their lines fluently diminishes their overall acting. It doesn't affect everybody's performances, but certainly some.

Still, I don't want to be overly harsh. It's a VERY powerful movie at times, and certainly managed to bring back both memories and emotions. This movie achieves true greatness during certain scenes. I'm very impressed with everyone involved in making this movie, and especially the actors portraying real life trauma and life changing events. Anders Breivik is eerily effective on screen, and the teenage actors all deserve a standing ovation for their bravery in taking on these difficult roles. I have the deepest of admiration for the cast.

But in the end, despite applauding the effort, I have to admit some filmmaking choices made the experience rather disappointing.

Legion (2017–2019)

Please support this mind bending and creative masterpiece

[10/10 · 14 June 2018]

I honestly don't want to write or explain too much. Legion showcases the power of television shows these days, and is a perfect example of how tv often outshines movies in terms of sheer entertainment. It deserves to be applauded for its imagination, cinematography, acting and philosophies. Please watch and experience this show. I don't want to say more. Legion is superb.

Ibiza (2018)

Laziest of low effort "comedies"

[1/10 · 28 May 2018]

With all their money, Netflix somehow always throws cash at the bottom of the barrel with their original movies.

It's just so, so lazy. I know the title is Ibiza, but does every scene have to be either 'sassy dialogue' or generic clubbing? The writing is awful and irritating, and there is so little going on visually that you might as well listen to an audio book. The whole lesson of this movie is to gamble with your career, take drugs and YOLO. No consequence. No depth. No comedic timing or even funny jokes. Not to mention, NO ROMANCE. The movie seems to think it's being more romantic than it is.

I'm not even sure they filmed this on Ibiza. Which would be super awkward given the title. They sure didn't capture the atmosphere or vibe of the island at all. The fact that most scenes are filmed indoors just makes it more suspicious.

I guess it just angers me that Netflix picks up the most uninspired, generic and badly made rubbish while ignoring projects that truly deserve support.

Kon-Tiki (2012)

All hats off to hard-boiled Nordics on a raft

[9/10 · 11 September 2012]

This movie is seriously good.

I'm not saying this just because I'm Norwegian and extremely proud that my country managed to produce this amazing adventure. Kon-Tiki is definitely one of the most original, well- written and fun films I've seen this year.

It's the 1940s. Without spoiling the story (which is real by the way), we are invited to follow Thor Heyerdahl as he gathers a crew of overly confident Scandinavians attempting to cross the Pacific on a balsa wood raft. All in the name of science and a boyish thirst for adventure! This attitude is understandable; after enduring the misery of WW2, little seemed more tempting than escaping to faraway exotic lands. Bravery or stupidity? In either case, viewers can look forward to one hell of a boat ride.

What I adore about Kon-Tiki is the presentation of the raft's surroundings. The Pacific Ocean is just as magnificent and beautiful as it is dangerous and merciless, and this dynamic is perfectly balanced. Peaceful waters and clear skies suddenly give way for dangerous sea- creatures and storms mighty enough to tear the old-fashioned raft apart. Kon-Tiki is simply grand. At times my adrenaline rose, my heart started pumping, and I started lusting for adventure myself - just by watching.

Another strong point is the cast. The actors do a brilliant job at depicting the slightly eccentric yet adventurous Scandinavians far away from their Nordic comfort zone. Thor Heyerdahl is particularly well portrayed with his dreamer-like attitude and awkward English skills. Although I would prefer more emphasis on character development, Kon-Tiki make them just interesting enough for viewers to care for them.

Kon-Tiki is such a delight to watch, because it's original, different and not your typical Hollywood adventure flick. No, the plot is not complex. It has no twists or turns, and Kon-Tiki certainly doesn't contain the amount of drama you'd expect. And this is what makes it good - the film is all about the sheer excitement of the adventure. Of course it isn't perfect, but for a Norwegian film, I'd say it holds its ground rather strongly.

I honestly haven't had this much fun with a film for a long while. If you're lucky, Kon-Tiki might show up on a festival or international cinema near you. In that case, do watch it.