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The Comey Rule (2020)
Good First Half - and then . . .
I can easily get past the fact that Daniels' portrayal is of Comey as Comey wants to think he is, not of Comey the way he is. The art of having made publishing hay before later revelations surfaced of the abominably flawed, see-nothing know-nothing detachment he inflicted on the most prominent, consequential investigation in any living memory, just the hubristic accomplishment of getting his story into wide circulation before subsequent revelatory reality checks could distill its favorable aroma, all this is to be admired. Early on this production does splendid subservient service to the image he wished to present to the world, that of the diligent honest cop who, having reached the pinnacle of success, keeps constantly reaching for the highest moral ground attainable.
Then, in Part 2, it goes very unserious via an absurdly cartoonish depiction of Trump as a short, fat, hunched, squinting, mumbling, spittle-projecting dwarf who passes all day every day mumbling repetitive phrases either boastful of his greatness or lamenting of his enemies' perfidy as he issues commands for their destruction. Managing to look about 20 years older than the true Trump, Gleeson actually would have made more sense cast as John Brennan, who in real life actually does the no-neck, bent-head, face-scrunching, waddly thing that here he seems to find the essence of Trump.
Production details seem very competent, and pace is good. But all in all, viewers with a more balanced approach to identifying heroes/villains than is employed here will probably give this a "one and done" look, whereas Trump will likely treat it to a quick "How could they ever think I'd be caught dead in such a cheap, sleazy suit?"
Prime Suspect 1973 (2017)
Sorry, but . . .
Ms. Martini's performance, though fine if considered as a standalone with no reference to the older character made so unforgettable by Helen Mirren, in no way seems to resemble or relate to that human subject before her later career. This actress's facial expressions are so bland, so empty of expression no matter what the moment in time brings her to react to, she seems to be playing a fashion model during a photo session rather than an impassioned, committed, intelligent, probing and ambitious woman entering a demanding and highly absorbing career completely dominated by men. I know it's hard for an actor to take on a prequel-type assignment and produce work that honors prior interpretations while establishing some sense of his or her own individuality, but this time the miss is just much too wide not to be lamented. Had this production not associated itself with such a top-quality prior TV venture, I'd have been able to dwell more on its good sense of period and overall high performance standards in supporting roles.
Never recorded comments at my first viewing but only now after a just-complete repeat on my PBS local station that confirms my first impression.
The Ticket (2016)
Cannot Recommend
Streamed this based on a general interest in following Dan Stevens's post-"Downton" career. Owing to this film's totally amateur sound editing, I could not learn critical information about what these characters were like before the health change that became a key trigger for the whole story. Did not know how and why the marriage seemed to work despite hurdles that many would find crushing, or whether the Dan character had ever before shown signs of an aggressive, competitive personality. I just went from one mumbling, whispering personal scene after another to the not only clear but blasting country songs at the dance venue and totally audible phone sales pitches in the workplace. It's only in the indispensable character-developing scenes that this film leaves us high and dry and totally frustrated.
From his IMDb bio page, it looks as if director Ido Fluk has only one 2011 feature-length film to his credit before 2016's "The Ticket," with short films and writing credits (including this film) and assistant directorships in his history. I cannot see how Dan's early (and awkward for everyone!!) departure from "Downton" has led him to projects this lacking in production professionalism and I hope he can right his ship very, very soon. His and Oliver Platt's work is excellent, but how many times can he afford to risk straight-to-DVD oblivion while groping for a long-lasting film career?
Madame Bovary (2014)
Oh Lord, This is Excruciatingly Bad . . .
Casting is totally off. Charles Bovary is supposed to be a large, good-natured, undemanding drudge of a man, hard-working and country bumpkin-ish without any slim, well-tailored glamour. Instead we get this svelte, firm, and resolute executive type with patent-leather hair. (Don't know if he ever did it, but the young Gerard Depardieu is the perfect physical type.) This is important because her spouse's rustic dullness as she perceives it has to be seen in the actor chosen. The Emma character has no obvious allure in this adaptation. Why are these men so attracted to her beyond an impression that she'd be "easy"?
The whole plot involving Leon's legitimate reasons for visiting the house is mangled, as is the genesis of the attempt by Charles to correct Hippolyte's medical issue and the surgery's outcome. Boneheaded decisions abound, such as the decision to change the sumptuous, romantic ball that quickened Emma's economic and sensual envy into a grubby, sweaty stag hunt. Worst of all its many bad decisions, this film totally eliminates the Bovarys' baby daughter Berthe, whose existence is essential to our understanding of how huge the final tragedy really is and its domino effects far beyond Emma and Charles.
I rarely write reviews but, when such violence is done to one of the great works of world literature, I do get annoyed. Apart from a bit of recognition for production values including cinematography, sets, location detail, costumes, I have to give this sloppy, bloodless and point-missing attempt the welcome it deserves.
Miss Fisher's Murder Mysteries (2012)
Terrific Series
I love the characters and their interplay. The writing is witty and engaging, the main characters very, very likable and the type we want good things for. Phryne manages to be rich and completely free to do as she likes without inspiring envy or resentment -- quite a tribute to the creators and their star. The Jack/Phryne back and forth is precious and makes us eager to see them together again on screen. Great feeling of 1920s Melbourne and clever and appropriate use of contemporary songs such as Cole Porter's delightful "Let's Misbehave" in Season 2. Haven't yet seen Season 3, but am eager to do so. For old-time movie buffs like me, it's great to see that supporting actor Hugo Johnstone-Burt (Constable Collins)is facially a dead ringer for the young Mickey Rooney.
All mystery series seem to be an exercise in copying plot lines from writer to writer and this is no exception, but this production gets top marks for making itself special in other ways.