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Reviews
Easter Under Wraps (2019)
EASTER UNDER WRAPS - *** out of *****
There's a delicious irony that a movie from Hallmark, a channel not necessarily known for originality in its output, would produce a film largely centered around assembly line production. And this one is no exception - overworked corporate female, hunky small-town single dad, fish out of water storyline, break-up to make-up last quarter... I'm learning that the main component of reviewing a Hallmark movie is your engagement with its lead characters. And I must say, Gubelmann and Penny (sounds like an accounting firm) are appealing if not overly memorable. I was getting major Kristin Chenoweth and Luke Wilson vibes from their performances here. Yes, it's as substantial as a Peeps Marshmallow bunny, and yes, you'll be able to predict everything that happens after the first 15 minutes. But I can't say I wasn't entertained, and there's lots of chocolate, which doesn't hurt. You'll forget its existence by Memorial Day, but you'll have a reasonably good time.
Blue Sky (1994)
BLUE SKY - ***1/2 out of *****
Lange's Best Actress win for this movie has not aged well for many of the movie reviewers and Oscar pundits I read and listen to regularly. It doesn't help that 1994 is arguably one of the worst years for actresses in recent history. That being said, I honestly find Lange pretty mesmerizing and hypnotically watchable here - she IS the movie. No one plays borderline mentally unstable and carnally sexual characters better than Lange, and if nothing else, this film touches on all her strengths as an actress. The film surrounding her is very good if not great, but it frankly dives whenever Lange is offscreen. Jones is always a reliable actor, but he feels a little on automatic pilot here. There are some nice supporting turns, including Carrie Snodgress as Boothe's wife, but Hurricane Jessica pretty much blows through this movie leaving no stone unturned. And I personally have no problem with her Best Actress victory. Interestingly, this film was made around four years before its release but remained on the shelf indefinitely due to financial problems with its studio. So, in many ways, it's a miracle that this film saw the light of day let alone became an Oscar winner.
Galaxy of Terror (1981)
GALAXY OF TERROR - 1/2* out of *****
I can honestly say without the slightest bit of artifice or exaggeration that there is not a single, solitary moment of this movie that makes any sense whatsoever. I didn't know who these people were, what their mission was, what they were trying to accomplish, who were the heroes and who were the villains... It is a series of clips strewn together without the slightest bit of cohesion. Truthfully, I wouldn't have given this turkey a second glance. But when I saw Erin Moran (Joanie from HAPPY DAYS) and neurotic astronaut mentioned in the first sentence of the description, I hit PLAY faster than you could say Where's Chachi?! And she is as bad as you would imagine - but then so is everyone else. The need to add a gratuitous scene of nudity is absolutely shameful and unnecessary. The special effects are on par with a Laser Cats skit on Saturday Night Live. The screenplay is filled with such witty repartee as:
"Aren't you frightened?"
"I'm too scared to be."
How this missed out on an Original Screenplay Oscar is incomprehensible. I am giving this half of a star solely for some of the scattered moments and performances here and there that have a fun camp quality. Otherwise, it's not even enjoyable on a bad-movie-lover level. Look for Robert Englund just a few years shy of beginning his life as Freddy Krueger.
We Need to Do Something (2021)
WE NEED TO DO SOMETHING - ** out of *****
I am in love with the concept of this movie, and when I heard the plot earlier in the year, I placed it among my most eagerly anticipated films of the year. Unfortunately, a plot line involving evil spells and spirits becomes increasingly more preposterous and ridiculous that the admittedly tension-filled early moments of the movie eventually succumb resulting in one of the most unsatisfying endings of a movie in recent memory. That is such a shame because a good deal of this motion picture has a lot of tension and unpredictability. Those who have a fear of snakes will particularly find this quite unsettling. The claustrophobic atmosphere is quite effecting, and I only wish the filmmakers had gone a different avenue - this could have been one of the most unsettling and disturbing movies of recent memory. And I would have been a lot more forgiving if the ending had been a bit more satisfying. It's one of the few times I audibly yelled at the screen when the ending credits rolled due to its lack of resolution. There are some really good tension-filled moments here, but it falls apart badly. And that's such a shame!
The Evening Star (1996)
THE EVENING STAR - *1/2 out of *****
This movie is an absolute textbook example of a sequel being inferior to its predecessor in literally every way possible. 1983's TERMS OF ENDEARMENT was a culture phenomenon that swept the Oscars. While I feel it was a tad bit overrated, it's still a beautiful showcase of blending comedy and drama featuring magnificent performances (especially Debra Winger) and memorable characters. This sequel feels like the sitcom from hell, with broad characterizations, comic scenarios that feel like a laugh track is missing, and maudlin moments of supposed drama that induce eye rolls rather than tears. In a movie full of unforgivable performances, the bottom of the barrel belongs to Juliette Lewis as granddaughter Melanie. When Lewis is on fire like in CAPE FEAR and HUSBANDS & WIVES, she is electrifyingly original - here she drowns under the mediocrity. Writer/director Harling is the man who created STEEL MAGNOLIAS, another movie that suffers under the lead balloon of cliche and manipulation, though not nearly bad as this one. Even a last-minute reunion of MacLaine and Jack Nicholson toward the end doesn't work. Marion Ross (Mrs. Cunningham from HAPPY DAYS) has a couple nice moments as Aurora's long-time housekeeper, but that's about it. If nothing else, this will surely make you appreciate the original TERMS OF ENDEARMENT a heckuva lot more.
Heaven Is for Real (2014)
HEAVEN IS FOR REAL - *** out of *****
I'm still waiting for a truly great faith-based movie to be made - one whose quality is as good as its intentions. This isn't it, but it's better than most and possesses just enough positive aspects to give it a slight recommendation. My theory is that filmmakers of this genre are afraid to do anything to antagonize their intended audience, so they play it way too safe. They don't feel like real life - even the bad times portrayed seem to have a sheen about them that doesn't feel true. This film is blessed to have a rather decent cast, even a couple Oscar nominees and Emmy winners, so they are able to do more with the material than actors of lesser caliber. And naturally your faith (or lack thereof) will play a big part in your acceptance of what happens here. I find the subject intrinsically interesting and wished they had delved more into the argument between those who believe what the boy says happened versus those who can give a number of scientific hypotheses to disprove him. But in the end, I was caught up in the story most of the time, and it did give me lots to think about afterwards. I just wish the filmmakers were willing to get their hands dirty a bit more and not be afraid to add a little more realism and grit to what they're doing. I understand the audience for this movie isn't necessarily interested in the quality of the film but rather the message; and I respect that. As a movie lover, though, I can't help but want at least a little bit more.
The Lost Daughter (2021)
THE LOST DAUGHTER - ****1/2 out of *****
Oscar-nominated actress Maggie Gyllenhaal makes a very impressive, highly self-assured debut behind the camera with this riveting adaptation of Elena Ferrante's novel that confronts the difficulties of being a parent with almost painful precision. This is coming from someone who is not a parent, but I can't ever remember seeing subject matter like this dealt with in such an honest approach. The filmmaking is of such a high caliber that the movie almost feels like some kind of suspense thriller in a way - it got to me in a way few films have this year. Over the last decade or so, Colman has proven herself to be one of the finest actors on the planet, and this could be her finest hour. She is riveting and unforgettable. Buckley, who appears in flashbacks as Colman's younger self, matches her step for step. And Johnson, an actress I haven't seen in that much, is rather hypnotic. This is an unusual, very deep motion picture that has the confidence to takes its time, introducing us to a myriad of characters we don't learn that much about but with whom we become compelled and fascinated. I'm so impressed with Gyllenhaal's work here as director and screenwriter, and I hope she is recognized at awards time. It's my favorite kind of movie - one in which you don't realize the full power of what's going on until after it's over and you have a chance to live with it for a while. This will be on my best of the year list, and I could see this possibly moving up to a 5-star movie after revisiting.
Crimes of the Heart (1986)
CRIMES OF THE HEART - ***1/2 out of *****
This is a movie most to be appreciated as a rare opportunity to watch three actresses at the top of their game share the silver screen with one another. It's based on a Pulitzer Prize winning play by Beth Henley, and it does admittedly feel somewhat stagey. It's filled with monologues and dialogue that feels better suited for the stage than the screen. That being said, I still find it a highly entertaining piece that showcases the fine talents of two of the three leading ladies. Unfortunately, Keaton tends to go over the top and doesn't seem on the same wavelength as her co-stars. Lange and Spacek feel more at home with the Southern feel of the picture and create a true feeling of sisterhood. Watching it 35 years later, I admit it feels a bit dated, particularly a subplot involving Spacek's affair with a young African American man. I'm not sure it would fly in today's political atmosphere. But there's lots to appreciate here and an ending that will undoubtedly put a smile on your face. Those who appreciate movies about the eccentricities of the South will probably enjoy this more than others.
The Humans (2021)
THE HUMANS - **** out of *****
One of the strangest and most peculiar motion pictures I've seen in a very long time, I imagine this is going to be a love it or hate it movie - I don't foresee a lot of in-between reactions. It elicited in me feelings I got while watching 1981's MY DINNER WITH ANDRE. Both films center around conversation, in this case at a family's Thanksgiving Day celebration. The vast majority of the movie is a family just talking - talking about the mundane and ordinary things families do, talking about their jobs and gossip about the neighbors, nothing seemingly out of the ordinary. As the conversations continue, however, a growing sense of unrest begins to set in, and the film becomes almost a thriller as strange noises and occurrences take place within the apartment they've convened for the holiday. This was based on a play, and not a lot has been done to open it up for the silver screen, but in a way that works here because it adds to a sense of claustrophobia. The interactions between the characters, collectively and individually, become almost hypnotic after a while. Performances down the line are great - it's especially interesting watching comic Amy Schumer in a dramatic role. If you're in the mood for something challenging, you might want to give this a shot.
Revenge of the Nerds IV: Nerds in Love (1994)
REVENGE OF THE NERDS IV: NERDS IN LOVE - *** out of *****
I had a very long couple weeks, and one evening I was just drained in every conceivable way and just needed an hour or two of mindlessness. And then I saw this movie come up on the DirecTV guide, and the movie gods led me to click on it. I'm a fan of the original but never took the time to see parts two or three. It didn't matter. For 90 minutes or so, it kept me occupied without making me think, and for that I will always be grateful. I'm not going to spend any time justifying this response or singing its praises. It's what I needed at the time, and sometimes that's enough. Long live the nerds!
This Is the End (2013)
THIS IS THE END - **1/2 out of *****
I am totally not the audience for this movie - I don't pretend to understand Alpha Male and/or stoner humor. In fact, it grates on my nerves unlike anything else I can think of. I am not giving this movie a recommendation, but it was close. In spite of the misogynistic, homophobic and sexist humor, it is so outrageous and completely bonkers that it becomes strangely compelling after awhile. It boggles the mind to think of how many drugs were most likely consumed in the conception and execution of this film - it truly is like watching a car crash in slow motion. You simply can't turn away. I've never seen a Cheech & Chong movie - they were a hair bit before my time - but I imagine it would be something like this. And having watched this and DON'T LOOK NOW within a short time span of each other, I have learned that I am fascinated by movies about the end of the world. And it is admittedly fun to see the number of cameos from stars such as Kevin Hart, Rihanna and Mindy Kaling - not to mention a quick moment with Channing Tatum that just blows the mind. And the special effects aren't half bad. Those who appreciate this kind of humor will undoubtedly have a blast with this movie - and I came very close.
Viva Las Vegas (1964)
VIVA LAS VEGAS - *** out of *****
I had never seen an Elvis Presley movie before this one. While I'm certainly not a hater, I wouldn't necessarily call myself an Elvis fan. I was born a little late to fully appreciate his music and understand his cultural significance. It's not just him - I feel the same way about The Beatles and Marilyn Monroe. This slight but undeniably entertaining musical comedy is pretty much what I imagined an Elvis movie to be - light on plot, heavy on charisma and a few great musical numbers thrown in for good measure. What I didn't expect was that the star wattage of Ann-Margret would totally obliterate Presley into thin air. She lights up the screen, and you can't take your eyes off of her. She sings, she dances, and she has that undefinable IT factor in spades! In comparison, Presley feels a bit wooden. Based on what little I know about Presley's filmography, I'm not sure he was ever paired with such a dynamic leading lady. A couple of the musical numbers here are really irresistible and deservedly iconic. Naturally, the plot and screenplay are afterthoughts - this is a star vehicle if there ever was one. I just never expected the star in question wouldn't be Elvis!
Flipped (2010)
FLIPPED - ***1/2 out of *****
This flawed but thoroughly charming coming of age movie is the forgotten title on director Rob Reiner's filmography. In fact, I didn't even know it existed until my good friend Dave sang its praises. Not to toot my own horn, but I'm pretty knowledgeable of the filmographies of the major directors, but this one flew by my radar. It's one of those rare family movies that I think would be appropriate and entertaining for pretty much any demographic. My quibbles are minor. I think it relies a bit too much on narration. And its 60s soundtrack is quite predictable. A recent pet peeve of mine has been period movies that hit us over the head with its choice of music so there's no doubt it's of its particular era. The two young leads are charismatic and endearing, especially Carroll. The late John Mahoney is absolutely wonderful as Bryce's grandfather, and I wouldn't have complained if he had received awards consideration. The only character I had a problem with was Bryce's dad, played by the usually dependable Anthony Edwards in a rather one-note performance. But as I said, the good definitely outweighs the bad, and I would encourage you to check out this undiscovered little gem.
The Tender Bar (2021)
THE TENDER BAR - ** out of *****
This is yet another coming of age drama without a single moment of freshness or originality that depends on the soundtrack to definite its time and place. It's shocking that director Clooney is the man behind the camera here - this feels like pedestrian, TV-movie level filmmaking. There's not necessarily anything here to hate, but by the same token, the whole endeavor is totally forgettable - and antipathy may be even worse than disgust. Affleck has been receiving some awards notice for his supporting performance, and he's perfectly serviceable in the role, but this will not be remembered as his finest role, and no one else in the cast will have that concern either. Considering the talent involved, one would expect something to happen that shows a spark of creativity or originality - but it never happens. The lead character of JR Maguire never grabs ahold of our attention, and we frankly have no concern whether or not he achieves his lofty ambitions. A fine cast is wasted here - everyone seems to be going through the motions but without any enthusiasm or joy.
Pray Away (2021)
PRAY AWAY - **1/2 out of *****
For such incendiary and controversial subject matter, this documentary, which was executive produced by AMERICAN HORROR STORY creator and Netflix staple Ryan Murphy, is disappointingly dry and lacks much of an emotional connection beyond the topic itself. It left me somewhat cold in much the same way the fictional movie BOY ERASED did a couple years ago. Obviously, the intentions are spotless, but none of the subjects involved nor their particular stories engage us in a way that makes us angry or rebellious or any way at all besides shaking our heads in shame at the ignorance displayed. In fact, I watched this a couple weeks ago, and I have difficulty remembering any specifics about any of those interviewed. I don't think the filmmakers had any desire to play it safe, but that's the way it feels most of the time. On some level, it should be seen just because of its relevance to many people in our society today - but the overall effect feels diminished and surprisingly detached.
Guess Who's Coming to Dinner (1967)
GUESS WHO'S COMING TO DINNER - ****1/2 out of *****
This certainly isn't going to go down in history as the most prolific and profound cinematic statement on race relations, but in its own simple way, it speaks volumes. And revisiting it, I found myself getting the "feels" to such a degree I had to pause it for a moment. I understand the concerns of those who claim the movie hasn't aged well, but I personally found watching it at this particular time of unrest gave me a sense of optimism and certainly justification of my own personal beliefs. On top of that, as a lover of movies, the opportunity to watch Tracy and Hepburn make their last film together (Tracy would pass away 17 days after filming wrapped) feels like an honor and a privilege. Hepburn won the Best Actress Oscar, and while it's not necessarily an awards-caliber role, watching her well up with tears while Tracy gives his monologue at the end of the movie, well, it's just magic and almost gut-wrenching. I'd also like to recognize Oscar-nominated Beah Richards in a beautifully understated performance as Poitier's mom. She and Tracy share a scene together that is one of the film's best.
Green Book (2018)
GREEN BOOK - **1/2 out of *****
I realize this is going to be a very unpopular review, but the Best Picture Oscar winner of 2018 is an okay film at best. The true-life story of Dr. Shirley is an important one, and I'm glad it has been told, but if I'm reviewing the movie itself and not necessarily the good intentions behind it, there is a lot left to be desired. While both of the main characters admittedly go through change throughout the course of the film, it is very formulaic and predictable. One can't help but be moved from time to time due to the nature of the subject matter, but the emotions elicited are not due to the filmmaking itself. Performances are fine, but these are stereotypical characters you'd find in an early 90s TV movie. It is definitely a feel-good movie, and you're apt to feel good by the end, but that doesn't mean the film is particularly well made. And just a side note - as an Oscar fanatic, the fact that Ali was campaigned for and won the SUPPORTING actor Oscar is outrageous. They are both leading performers. There's no doubt in my mind. It would be like trying to convince me that either Thelma or Louise was a supporting role. This is one of the most egregious cases of category fraud in recent memory. No offense to Ali, who is just fine if not necessarily award worthy.
Bad Girls (1994)
BAD GIRLS - *** out of *****
I think I'll chalk this up as a guilty pleasure. This female-driven Western was absolutely trounced by the critics upon its release, and I honestly can't argue with them. Much of this is a rather unpleasant experience as the four spunky heroines are not only repeatedly referred to in negative connotation from first moment to last, but they are also subjected to various bouts of violence that feel very uncomfortable at times. The male characters are either ruthless scoundrels or smooth-skinned saints. The plot is predictable and performances sketchy. And yet... AND YET... I have to admit that the movie held my attention, and I was for the most part entertained. There is something contagious about watching these actresses obviously having the time of their lives, even when the posing and posturing feels like they're doing a shoot for ELLE magazine. And I will argue that Stowe actually has some great moments and holds the movie together. There is also an affectionate relationship between MacDowell and Barrymore that feels very authentic. I'm not a Westerns fan, and this will not persuade me to think differently. But for what it is, hey, it wasn't the worst time I've ever had watching a movie.
Patsy & Loretta (2019)
PATSY & LORETTA - *1/2 out of *****
The very best thing I can say about this Lifetime movie is that it makes the viewer appreciate much more two wonderful movies from the 80s - COAL MINER'S DAUGHTER, the biopic about Loretta Lynn, and especially SWEET DREAMS, the underrated biopic about Patsy Cline. When compared to either of those theatrical experiences, this film pales in comparison in virtually every conceivable way. I did appreciate the effort to concentrate on the relationship between Cline and Lynn, but it comes across rather superficially with repetitive scenes in which the two get together, discuss outfits and complain about their abusive husbands. COAL MINER'S DAUGHTER touched upon the Cline/Lynn friendship and did it much more effectively and efficiently in much less time. Also, there are scenes here that directly contradict scenes in the theatrical film, which makes you question its authenticity. Both actresses have a couple moments in which they shine, particularly Hilty, who bears a striking resemblance to Cline at times. That being said, neither performance feels particularly inspired. Incidentally, the movie was directed by Callie Khouri, who won an Oscar 30 years ago for writing another, MUCH better female relationship movie - THELMA & LOUISE. There is a groovy rendition of BLUE MOON OF KENTUCKY at the end which I could listen to for days, but other than that, this is a textbook example of how 99.97% of TV movies falter when compared to their theatrical counterparts. If you have an interest in either of these legends, check out COAL MINER'S DAUGHTER and SWEET DREAMS instead.
Barefoot in the Park (1967)
BAREFOOT IN THE PARK - *** out of *****
If nothing else, this breezily entertaining movie can serve as an example of what the romantic comedy looked like 50+ years ago. At the time, playwright Neil Simon was the king of light comedy, and this film was based on his play. And there's no doubt that this was originally written for the stage - from its limited set pieces to its overly scripted one-liners. It starts quite strongly but does tend to lose steam as it goes along, particularly during the couple's first big argument that seems to last for days. But despite its shortcomings, the positive outweighs the negative, and the performers save the day. Natwick received an Oscar nomination, and she certainly adds a little spark to the normal "mother-in-law" role. Her scenes with Charles Boyer are charming. It's also fun seeing a young Redford in his beguiling lightweight mode. But the movie belongs to Fonda and is a reminder of what a great comedienne she can be. Her comic skills have been resurrected over the last decade or so with Netflix's GRACE AND FRANKIE, but her many dramatic turns tend to overshadow her grace and timing and humor. She and Redford display the sparks that would lead them to reunite on multiple occasions over the course of their careers. As long as you're happy with a light appetizer rather than a main course, you might find much to enjoy here.
Ma Rainey's Black Bottom (2020)
MA RAINEY'S BLACK BOTTOM - **1/2 out of *****
Sometimes what works on stage does not transfer well to screen, and I was surprised and disappointed that August Wilson's play did not succeed as well as the adaptation of his FENCES a few years ago. Long monologues which were surely electrifying to hear during a live performance become monotonous and almost tedious. The acting by Davis and Boseman has been celebrated - in fact I predict Boseman will win the Best Actor Oscar posthumously next year - but I found them both overly theatrical and studied. One tends to marvel at their "big scenes" but it feels more like acting class than character inhabitation, and I shockingly felt little emotion. My favorite performance was actually by Domingo as one of the musicians who is at odds with Boseman throughout - he steals the film, and I wouldn't mind seeing him receive awards consideration. Movies like these are important to be made and to be seen as a means of remembering history in order not to repeat it. On those grounds, I'm glad it will have a platform like Netflix. But if I'm judging the movie and not its intentions, I can't give this a recommendation artistically. There is nothing at all cinematic about this movie - and while there are some individually powerful and moving moments, they don't add up to a cohesive whole.
Pig (2021)
PIG - **** out of *****
It's not exaggeration to say that this is one of the strangest and most oddly hypnotic 90 minutes I've spent throughout my decades of movie-going. Had someone told me two years ago that a movie featuring Nicolas Cage searching for a kidnapped pig would prove to be not only a career high point for Cage but also among the most memorable movies of its year, well, I would have bet the farm against it. But lo and behold, we have a modern day Aesop's fable here, and its power only intensifies after the ending credits roll and you think back over what you just experienced. Cage really is revelatory here, in easily his best performance since at least ADAPTATION 20 years ago. It's a refreshing reminder that when he drops the over-the-top shenanigans of 98% of is work, he hasn't lost his touch. I'm over-the-moon impressed with the filmmakers who conceived and brought to life such an original piece of work - I guarantee you've never seen anything like it. When I heard this described, I imagined a JOHN WICK-esque action pic, but nothing could be further from the truth. And I think I'll just leave it at that, as discussing anything more would be unfair. This will most certainly not be everyone's cup of tea, but boy oh boy, for those in search of something different besides the normal multiplex Marvel movie, you might find yourself in for a treat. And maybe even a lump in your throat.
Adrift (1993)
ADRIFT - ** out of *****
Not to be confused with the Shailene Woodley theatrical film from a couple years ago, this early 90s TV movie feels like it resulted from the popularity of an Australian movie from 1989 called DEAD CALM starring Nicole Kidman and Sam Neill. While not exactly alike, there are definite similarities. Sadly, this one pales in comparison. It is a rather unpleasant experience with scenes obviously meant for tension and suspense that instead come across as merely gratuitous - thankfully the more gruesome moments take place offscreen. To what degree this movie works is thanks to the underrated acting chops of Kate Jackson. I've always felt she was an actress just a project or two away from great things. (She was the first choice for Meryl Streep's role in KRAMER VS KRAMER, but the producers of CHARLIE'S ANGELS wouldn't let her out of her contract.) She carries the bulk of this project on her shoulders, and one can't help but wish she was in a better movie with better performances - a young actress named Kelly Rowan is absolutely dreadful as the female antagonist. It's an instantly forgettable movie that sinks almost as badly as the Titanic.
Midwives (2001)
MIDWIVES - **** out of *****
Despite an Oscar win for COAL MINER'S DAUGHTER and five other nominations, I still feel Sissy Spacek is one of the more underappreciated acting powerhouses in modern film. She is rarely if ever less than excellent, and this riveting and thought-provoking TV movie is no exception. I am not overly familiar with midwifery, and it's one of the few topics about which I have no particular opinion, but this film piqued my interest enough to consider doing a little research to gather more information. This is one of those movies I would love to watch with a group and discuss afterwards. I won't give anything away about what verdict is rendered, but it really left me in a moral and emotional quandary - and there are very few films I've seen recently that have made me soul search and really think hard about a subject this much. On a much more superficial level, it gave me such cinematic joy to see a reunion, however brief, of Spacek and Piper Laurie here. They, of course, were both Oscar nominated for the best horror film of the 70s - CARRIE. This is an exceedingly well-made project that reminds us that all TV movies are not Hallmark drivel and Lifetime sentimentality.
No One Saw a Thing (2019)
NO ONE SAW A THING - ****1/2 out of *****
Do you believe in karma? I never have, but this amazing 6-part limited series sure gives me cause to re-evaluate my stance. Stuff like this is what makes me love documentaries, and there is no doubt in my mind that truth is stranger than fiction. Any screenwriter would have been laughed out of Hollywood proposing what happens here as a fictional motion picture. This is one of those rare "potato chip experiences" - you can't stop after just one. I stayed up WAY too late, but I couldn't wait to see what the next episode had to offer. And I'm actually going to leave it at that, because the less you know about what happens the better. Let me just say that I will truly never forget the city of Skidmore MO and its array of colorful and unconventional inhabitants. I was shocked, I was heartbroken, and I was bemused - often simultaneously. I was so close to giving this a perfect rating, but I felt it could have been edited just a bit tighter, especially the final segment. But this is one of the best programs I've seen in a while, and I'm quite tempted to start it over again right away.