snoozejonc

Discoveries are made in two time periods.

This is another impressive episode of complex storytelling and effective visuals.

As Dark progresses the plot gets increasingly complex, with various connections between characters and events. This leads to impactful moments of information reveals to individuals and this episode has its share. For me the most powerful moment involves Katarina in the school office as it combines great emotion with visual storytelling. There is a big reveal to the audience near the end, but as it is on the basis of a character's hearsay I'm not ruling out it might be a red herring.

All the characters are used well by the filmmakers, particularly the adults shown in 2020 as they piece certain details together. I also like the scene with Claudia at the library as for a few seconds some light humour actually emerges from the usual bleakness.

Visually it's fantastic like previous episodes. The cinematography, period detail, art design and editing is superb.

More information is revealed about the night Mikkel disappeared and Jonas makes a big discovery.

This episode includes more compelling plot development and character moments. Again the writers cleverly weave threads of story through multiple timelines. This includes revealing information we need to know whilst keeping certain aspects hidden. The way it ends is a great hook for the second season, particularly how it expands the scope of storytelling and raises stakes considerably.

All actors are excellent, particularly Louis Hofmann who I think is outstanding in some of the emotional moments.

Visually it is wonderfully designed, filmed, scored, and edited, with the addition of some good effects where necessary.

Walter starts cancer treatment as Jesse works on a deal.

For me this is when the filmmakers offer a first glimpse of what the lead character can do and some of the psychology that underlies his behaviour. It is quite clever how writers manipulate you into cheering him on at the key moments. It also shows their ability to create exciting spectacle without sacrificing too much plausibility.

As ever the ironic humour involving Walt's family and their ignorance to his extracurricular activities is excellent. His scene with Hank at the school and the also poker game with all the family together are great examples. There is generally a great level of irony to everything that happens in this episode as there is in so much of Breaking Bad.

It is admirable that along with glamourising certain aspects of Walt's behaviour, there is a contrast with more somber moments, such as the depiction of cancer treatment and the associated side effects. Importantly the sub-plot involving one incredibly nice and caring guest character is very effective and shows the impact of certain behaviours on decent well meaning bystanders.

Bryan Cranston is on tremendous form and is supported well by other cast members. Raymond Cruz in particular deserves a lot of credit for an unhinged and psychotic performance.

The cinematography, art direction and editing is great as always. I like the intimidating environment the filmmakers create for Tuco's place and the effectiveness of the action spectacle, particularly how it is revealed in the episode's narrative.

For me it's a 9.5/10, but I round upwards.

Sign is a high quality episode with a plot the builds to a great ending.

In traditional Bluey style the moments of humour and emotion are top drawer. All characters are used very well especially the central four plus Trixy, Rad, Muffin and Socks. It's great to see so many have a contribution and visual nods to previous episodes.

Regarding the final decision, I love what the writers make happen and the clever plot details involving the butterfly (from Slide) and the coin. You cannot underestimate the importance of stability in the life of children and it is tackled brilliantly with great heart. The final visual sequence is an iconic moment in the show.

Ulrich time travels to 1953 and the stranger has a revealing conversation.

The plot covers a lot of ground as usual. The setting and characters of 1953 are introduced very well. We are shown plenty of interesting moments of characters portrayed younger and some we have not seen before. Some aspects are very interesting and prompt more questions. As to be expected the period detail is excellent.

Ulrich continues his search for the guilty party, which includes several quite compelling and ironic interactions with various characters that you feel might have implications on events already portrayed in later times periods. One scene is particularly disturbing and pushes his character arc to a very dark place.

There is a big scene of exposition that is done as well as possible for this type of detail. I like that the filmmakers break it up into segments and include more than just two people talking. Some dialogue sensibly includes cutaway shots for it to become narration. Plus when we see the characters talking the visuals are very atmospheric.

Ulrich pushes hard to establish guilt for Mikkel's disappearance, as Jonas faces a paradox.

The plot slow burns, but gives just enough details for it to remain compelling. With each reveal you want to know more and this for me is effective storytelling.

From a character perspective, there are lots of interesting moments. Jonas situation is a classic paradox of time travel stories that makes you sympathise. It also makes you more curious about the mysterious peripheral characters who appear to be pulling strings.

The irony of Ulrich being fixated on the guilt of one individual works well with the scenes of Egon set in 1986. Although it has reached the point where the suspicious behaviour of Helge requires full explanation.

I love the visual storytelling as always, with the various clues provided being revealed well. Generally the cinematography and art design is excellent.

Walt faces up to his family, as Jesse attempts to make his way in the world.

This is a key episode for the arcs of the two main characters. The writers show Walt struggling with a huge decision, whilst also providing important backstory. Throughout it all the dark humour is prominent. It's hard not to be impressed and amused at the importance and awkwardness of certain moments in the party scenes. Plus the moments with Walt, Skyler, Walter Jr, Hank and Marie together brilliantly mix comedy and tragedy. All actors are tremendous in their exchanges.

Jesse's backstory was in focus previously so this more about him trying to realise ambitions with funny results. It all serves to bring the two main characters where they need to be by the end.

Visually it great as always, particularly in capturing body language of actors to express emotion and the difficulty of various interactions.

Ulrich digs into the past as Jonas continues to explore.

This is a great follow on from the reveal in the previous episode, with all central characters used very well by the writers. Scenes involving Ulrich, Regina, Katharina, Hannah, Martha, Magnus. All the actors are excellent and it is difficult to pick standouts, but for me I think Debra Kaufmann just about edges it. She is fantastic in one dialogue exchange with Oliver Masucci where she has to react to one false assumption his character makes.

The use of Theseus and the Minotaur ties in well to the plot and themes, and these scenes are captured brilliantly by the filmmakers. I love the cinematography, sound, and editing. In this one they enhance the sense of dread and general emotional impact of certain scenes and not just created the eerie atmosphere.

The plot includes another strong reveal and ends at a point that makes you want to find out what happens next.

Deception is prominent as the Hannah, Ulrich and Katherina triangle is in focus in both timelines.

Very little plot detail can be revealed without spoiling, but it is safe to to say that events set in both 1986 and 2019 unfold in a compelling way. The writers connect individuals and themes superbly. Characters like Hannah, Ulrich, Katherina, and Mikkel are used particularly well.

When certain truths are revealed the impact does not disappoint, especially one moment that the past few episodes have been building up to cleverly.

Visually it is excellent, with great cinematography, art design, sound and editing. The split screen helps the brain keep track of who is who just well as show certain parallels.

The Monty Python crew do the ultimate biblical movie.

Much like 'The Holy Grail', the plot is a series of sketches connected by the themes, setting and prominence of a main character. I think how much you enjoy will depend on how much the humour appeals to you over the ninety-four minutes. For me it works consistently and there are so many great moments I cannot pick favourites.

Amongst the hilarity and satire there are some interesting points made about the religious followers, violence, conformity, fundamentalism and political revolutionaries. All of this is done in an entertaining way.

Visually I think it is excellent. Great use is made of the Tunisian backdrops for the ancient settings and this is complimented by the cinematography and art design.

Graham Chapman, John Cleese, Michael Palin, Eric Idle and Terry Jones are all brilliant.

The mystery continues a slow burn with more eerie moments and character establishment.

There have been comparisons made to the work of David Lynch and I feel it clearly in this one. I feel the underlying dark secrets lurking below the surface of the community as if they were barrels of toxic nuclear waste. This makes it quite compelling and makes me want to find out more.

I used the word "implausibility" loosely in the review title, as this is after all sci-fi fantasy, so it's best not to take certain plot details too seriously. In this I refer to certain aspects of behaviour shown that make characters fit the "too stupid to live" trope and (if it exists) the similar one I call "too stupid to be parents". Given the premise established in the previous episode, we see instances of characters wandering alone in the woods, walking alone or causing young children to be in a position of having to walk home alone. Some of this is a stretch and requires a liberal suspension of disbelief.

As in the previous episodes the cinematography, lighting, art design and sounds come together to create a tremendously effective atmosphere.

I rate this one as a 7.5/10, but like to round upwards.

A certain character finds himself alone and disoriented.

Episode three continues the central mystery well and looks a certain characters from a very different perspective. The sci-fi premise is very intriguing, particularly if you like this type of concept on screen. It follows up the final reveal in a way that does not disappoint.

Some shows with this theme would focus on satisfying the appetites of viewers who like nostalgia, but this (so far) this sticks to the characters and key plot developments.

Visually, I think it is even better than the first two as it includes an element of period design that is very well done. This combined with the atmospheric cinematography, lighting, sound and editing makes for quite immersive experience. The end sequence is memorable.

It's an 8.5/10 for me, but I round upwards.

Mikkel's disappearance has Ulrich frantically searching.

This episode builds on the introductions of the first by creating mystery in scenes of characters piecing together puzzles and deal with the fallout. There have been a lot of hints about what might be going on and this episode went where I thought it would go, however that is not a negative aspect from my point of view. The way it finished made me want to watch the next episode.

Similar to the first episode, a large amount of praised should go to the production values. There is a lot of strong camerawork, lighting, creepy art design and the audio track enhances everything tenfold.

A missing boy causes a stir in a quiet German town.

This first episode efficiently hooks you into the plot by offering an intriguing mystery with hints of sci-fi fantasy.

Most of characters all seem to be in pretty dark places (mentally) and this, along with connecting factors are established well. I sense already it is a plot that will take a lot of concentration and memory of who's who and how the relate to each other.

Technically it is excellent, showing great cinematography and visual storytelling. The atmosphere and suspense created in numerous scenes by the lighting, sets, props, general art design and the use of locations is very effective. One family scene is particularly well done in one shot introducing various members as they change positions and move about different rooms.

So far it is notably humourless, with the potential to be an ordeal over twenty-six episodes, but I will reserve judgement for now.

Walter's medical condition comes to the forefront of the storytelling, but in cleverly deceptive way.

There is a level of half-truth manipulation portrayed in Cancer Man that works incredibly well for the irony and humour of the plot. I love all the scenes of Walt's family interacting as they are made so cringingly funny by the viewer's knowledge of the full truth. Some scenes are also quite ominous, particularly the dialogue exchange with the oncologist and the sequence showing Walt's perspective is very well done.

Jesse's scenes include good backstory and depth to the character. You cannot help but like him for taking certain actions to protect a particular individual. Plus it makes his personal circumstances feel more interesting and surprising.

It gives a hint of all the irony to come in relation to the ignorance associated with the character Hank. You can see from this early episode the amusement that is to come.

Bryan Cranston and Aaron Paul are both on top form along with the supporting cast.

It includes more great cinematography, editing and visual storytelling. Jesse's paranoid moment is hilarious. Likewise Walt's guilt ridden angst shown in when barbecuing meat and his imagined police chase. You also have to admire the final few minutes.

Walter agonises over an important decision.

This is a well written episode with some memorable moments.

Some of the best modern television involves well thought out storytelling with atention to detail. This episode shows early signs of how the Breaking Bad writers do it well. I love the start of interweaving and linking of events involving different characters.

The scenes involving Walt include great character insight and a high level of tension in certain moments. His dialogue with one character reminds me of some of the best exchanges in Tarantino movies. Bryan Cranston is fantastic as always.

Some parts are very funny. I love the scene involving Hank and Walter Jr, plus the involvement of Skyler and Marie in the lead up to it. The irony in everything that happens is very amusing.

Visually it has some brilliant moments, particularly the scenes relating to Crazy-8. The shots of Walter on the stairs and the broken plate sequence are classics.

The Monty Python crew do the legend of King Arthur.

The Holy Grail packs a fair punch considering it's budget, largely thanks to the comic talents of the Pythons who are very funny in most scenes of dialogue and sight gags.

It is best not have expectations of a coherent plot as it is a feature length spoof comedy. It feels like a series of comedy sketches loosely connected by King Arthur's quest for the holy grail. The point of it being the funny concepts shown, along with the banter and performances of John Cleese, Graham Chapman, Michael Palin, Terry Jones and Eric Idle.

For me the jokes are a mixed bag. I think some scenes are hilarious and never fail to make me laugh. There are some that I find moderately funny and some that drag on so long they lose me. Comedy is in the eye of the beholder so everyone will take something different from it based on their own sense of humour.

Visually I think, given the resources, it is excellent. I love the cinematography and editing, which sets the scene and helps maximise the humour. The filmmakers make great use of locations and costumes to make it feel as much possible like medieval Britain, except when the humour demands otherwise.

Walter and Jesse struggle to deal with the aftermath of events in the desert.

The plot slows down to focus on the fallout from the first episode. This provides more insight about Walter, Jesse, and Skyler. From this we get to know about their relationships and attitudes towards various situations, and I think it works well for me to invest in the characters.

Importantly it is all presented in an entertaining way thanks to the humour. Some of this is particularly macabre, so you need to be able to laugh at the events surrounding death and suffering for it to have the full effect.

It is not all directly associated with bodies and potential murder. Some of the funniest bits involve the awkwardness of Walt, Skyler, and Jesse (in relation to a certain deception). Some of the dialogue exchanges are particularly good.

Technically it has some very good moments of visual storytelling from a both comedic and dramatic perspective. Certain moments such as when Walt quietly contemplates his future during the the ultrasound scan are brilliantly done.

For me it's an 8.5/10, but I round upwards.

A chemistry teacher decides to change direction in life.

This is great pilot in the way it hooks you into the world of Walter White and Jessie Pinkman. I saw it several years ago for the first time and it has lost none of its impact.

The story balances character introduction with an engrossing plot very well. You feel for the downtrodden aspects of Walter's existence, but can also appreciate the dark humour involved. Discovering what causes a seemingly respectable character to behave this way is a huge draw and makes you want to find out more. The little hints at the monster lying below the surface work particularly well in this episode.

For me the cleverest part is how the filmmakers show him embarking upon something deplorable, but frame it in a way that you almost admire his boldness and ingenuity. A lot of praise should go to Bryan Cranston, who makes the character so compelling.

Visually it is splendid, with some effective cinematography, use of locations, props, and production design. I am no chemist, but I think the meth cooking scenes are impressive.

The Trotters get caught up in a diamond smuggling operation.

John Sullivan's script has the perfect mix of plot and character moments. I find it hard not to get caught up in their adventure as well as enjoy the humour.

Del, Rodney and Albert are the main focus and to me they are very funny and memorable. I never tire of hearing their banter about marine navigation. This is some of the funniest dialogue to me and is performed brilliantly (like all scenes) by David Jason, Nicholas Lyndhurst and Buster Merryfield.

Other recurring and guest characters are also used superbly, such as Roy Slater, Denzil, Boycie, Abdul, Hoskins, and Trigger, with all the associated actors on great form.

Ray Butt uses locations in London, Hull and Amsterdam very effectively to make it feel like a 'special' episode. I think it generally has a more cinematic tone and this is further enhanced by not having a laughter-track.

As always comedy is in the eye of the beholder, but I think it is possible to watch To Hull and Back without having seen any other episodes of Only Fools and Horses, and it still has the same effect. That final ironic scene on the balcony of the flat still makes me sick to my stomach!

Bluey and Bingo think Mum's more structured parenting style is boring.

This is a highly entertaining sketch with several moments that I can identify with (as a similarly disorganised father). In all the excitement of spontaneous fun, the lack of just a tiny big of prep can lead to problems. The writers parody this with some very funny moments.

It is also a great tribute to Mum, whose calming, sensible influence can be mistakenly labelled a killjoy. However, applying some forethought to a situation can ensure that the fun reaches its full potential and not be derailed by a total lack of planning.

Visually it is a very good one, with the pool shenanigans being very well animated.

It's an 8.5/10 for me but I round upwards.

BoJack visits an old family home and reflects on his mother's upbringing.

This is a great episode of character reflection with strong backstory.

The Old Sugarman Place is a mostly bleak episode with strong moments of dark humour. Two stories are cleverly written to run parallel with connecting themes. It is impressive to see the writers include key aspects of family history that shaped their central character's personality. It makes me interested to find it out more of the writers ideas about the impact of nurture in future episodes.

Visually it is very impressive, with good symbolism and when the characters from different eras share the screen together it is quite seamless.

Mr Peanutbutter runs for governor of California.

This is an enjoyable yet unremarkable start to the fourth season.

BoJack is conspicuously absent as we witness the shenanigans associated with Mr Peanutbutter's election campaign. This includes lots of fairly silly political satire that works pretty well. The plot is outrageously OTT as you would expect, but the writers use characters like Mr Peanutbutter, Diane and Todd well and keep you guessing what will happen until the end. That being said, it is only moderately funny to me, but others might feel different.

Importantly there is a serious messages about the type of person the masses are willing to support when they have a platform to draw attention. This is as relevant today as it was on first release.

BoJack looks to a new television show to escape his problems.

This is a fairly harrowing end to the third season for BoJack, but sensibly the writers include plenty of humour with other characters to balance the overall tone.

For me the strongest scene is the flashback at the start that involves a pretty bleak interaction between two characters presented in a fairly realistic way. What makes it hit hard is that it immediately follows 'That's Too Much Man'. Most scenes that involving BoJack are great, depending how interested you can stay in someone self obsessing.

Scenes involving supporting characters like Todd, Princess Carolyn, Mr Peanutbutter, and Diane are also good and look to be laying solid foundations for future developments.

The hilarious situation involving the spaghetti and Margo Martindale is very well thought out by the writers and contrasts the general bleakness nicely.

BoJack and Sarah Lynn binge alcohol and narcotics.

Too Much Man is a predictable but very well made episode that excels in black comedy and character development.

BoJack and Sarah go through a substance fuelled journey that is written cleverly from a specific perspective. It includes several moments of self-reflection by various characters that tie the plot and themes together very well.

The dialogue and visuals are consistently funny (mostly in a dark way) but as always in BoJack you feel a sense of dread about where events are heading. When the climax arrives it is not unexpected, but delivered perfectly.

For me it's an 8.5/10, but I round upwards.