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I've stuck with this because it's an interesting piece of history I didn't know much about, but it's actually incredibly dull. There's no tension, it's basically Franklin and his grandson waiting around in Paris to secure a treaty from the king. Even after that's achieved, it's more waiting around. The political "intrigue" is just tedious, it doesn't build any suspense or have you eager to find out what happens next. It's always fun to see Michael Douglas, but there is no inkling through his characterization or dialogue of how this larger-than-life figure could charm anyone and was a great and imaginative thinker. The weakest link is the grandson - who cares? His storyline - if you can even call it that -- is meandering and uninteresting. The only redeeming point of interest of this series is simply the costuming and setting and some tidbits if you're a die-hard history fan.

I almost didn't watch this as the reviews were poor with complaints about a slow second half, puzzling elements and an abrupt and inconclusive ending. My take was very different! The first half just seemed filled with lots of ominous music and a family that inexplicably over-reacted to everything. But the tension and character layers built over time. Reviewers talk about the unusual animal behavior that kept happening -- although bizarre at times, it seemed to me to indicate that the animal world instinctively knew that the humans were no longer in control and they had nothing to fear. What was really happening in the country, who was behind it and how it was revealed was interesting and different. The ending tied up nicely - first, one of the male characters asks the other whether the families can fully trust each other going forward in order to survive - and trust, or lack of it, was a thread that ran through the story. Then, the final scene, in which the little girl is watching Friends with a theme song of "I'll be there for you" is a perfect wrap up - a survival bunker is discovered and they all have a chance if trust is there. It's not a perfect movie by any means - too many lapses of logic, gratuitous elements and characters who were only superficially developed -- but it was an "impending apocalypse" film with a different approach that I thought worked.

I didn't miss an episode when this series first came out, it was so fresh and different. Since then, the fish-out-of-water formula - outsider in a remote place filled with quirky characters - has reappeared many times (Doc Martin immediately comes to mind), but Northern Exposure was a great forerunner. Really wonderful off-the-wall and distinctive characters whose back stories continued to unfold in surprising ways. Intelligent, clever dialogue and chuckles. The storylines were really inventive and thought-provoking too. Watching it now, I believe the series holds up, with a few caveats. The fantasy/dream sequences became a bit "not again" for me. The gentle comedy is certainly more prevalent in the earlier seasons. Some of the story arcs become tired, such as the will-they-won't-they between Joel and Maggie, and Joel retaining all of his obnoxiousness with zero softening. And the last season is very hit or miss and pretty weird when the characters depart from what makes them who they are - episodes where moral, philosophical Chris becomes downright creepy, loveable Ed shows he can be mean, Shelley can be vindictive and sensible Ruth-Anne becomes love-addled. But, forget the last season - I definitely recommend a re-watch. May not be everyone's cup of tea, but for me, I loved the return to Cicely, Alaska.

This is a bewitching film, combining romance and whimsy, Scottish charm, great landscape atmospherics and very likable leads. What a pity so few are likely to unearth it, unless they are drawn to discovering Powell and Pressburger films. It is really a playbook for a satisfying albeit underplayed romance, sprinkled with eccentric characters and light chuckles. It is very well crafted with not a wasted scene. My only quibble is that there is not quite "enough" of the two characters falling for each other - yes, they are "meant to be" but it would have been a more well-rounded movie with more time spent with them interacting and discovering this. So, a 9 instead of 10 rating, but never the less a film I re-watch every few years whenever I want to watch something that is simply heartwarming.

This series started off very encouragingly, with a compelling and fresh premise (at least for me.) I'm halfway through and...so bored. It's basically like a cop show rather than sci-fi, but not even a very good one -- plot developments are uninteresting and dragged out unnecessarily. Once the general set-up is established of the surreal environment, it's never really mined for its potential. Characters are one-note and may as well be wearing "good guy" and "bad guy" signs around their necks. Once I've started a series I usually feel invested enough to it see through to the end, but not this time around. Another reviewer felt the same and simply skipped through to the finale -- for the first time ever, I'm jumping on that bandwagon too. There are too many good shows out there to waste more time on this one.

The acting is superb and particularly Carey Mulligan who is astonishing, as usual, and Bradley Cooper's transformation is incredible. The look and feel throughout is very polished. But, and this isn't a minor quibble -- I found it really hard to understand the dialogue! Characters speak so quickly, in a mumble, that I actually considered putting on subtitles. Anyway, it wouldn't have made a difference, I thought the movie was so empty and plotless and uninteresting. There was really no tension in the wife's dealing with her husband's bisexuality, no real exploration or understanding of Bernstein's conflicts, and no delving into his achievements or their context, so there wasn't much left!

I'm puzzled at the number of dismal reviews of this movie. Don't get me wrong, it is in no way a great film, and certainly without the polish and flair of a Nora Ephron flick, to whom it is dedicated. The first third of the movie in particular lacks the light whimsy, chuckles and clever dialogue it really needed. Meg Ryan and David Duchovny never quite achieve a total "click." There is a "magical" element that is supposed to be sprinkled throughout, but it was just rather heavy-handed and repetitive. BUT, I felt the movie really picked up as the characters revealed more of their history together, you learn more of the love they had, and have, for each other other. By the end of the film, they've both been changed and inspired, and the effect is sweet and heartwarming -- and isn't that what we are looking for in a movie like this?

I love a good classic mystery and with an interesting plot one can usually forgive other flaws. For this one, after about half an hour I considered leaving (but thought, nope, I paid for the ticket.) It didn't get better. There's nothing wrong with the storyline, but it's played so rote and formulaic, it's like none of the actors are truly invested, they're all flat. In this one, Hercule has none of the idiosyncrasies that lend him some kooky charm, just a few typical Hercule-isms thrown in as a sop to the character, that even he seems bored with. Most irritating was that every scene ends with something designed to make you jump -- a loud bang, a door blown open by the wind, a ghostly apparition appearing and disappearing - they're just lame, cheap shots for surprise factor and it actually gets predictable and tedious. Suspense is totally missing and the movie feels much longer than it actually is. I'm rating this a six because the scenes of Venice are quite lovely, there are some intriguingly shot images and good set design, and the basic workmanship is fine. Otherwise, it's a very forgettable flick.

I can't understand the dismissive reviews of Picard Season 1. It has depth and is very layered, with a strong, clever storyline. The new concepts are in keeping with an evolved Star Trek universe, as well as a Picard who is in his 90s and emerging after twiddling his thumbs for 14 years in retirement. He's got the same wisdom, leadership, compassion and sardonic humor, and it would have been unrealistic for him to jump right back into take-charge certainty with the same vigor. This Picard is still compelling, just in a new way as he navigates his return. The new characters are interesting and introduced well, each with their own individual back stories for good diversity. Elements of past Trek stories, as well as past characters, are re-introduced and advanced very organically and not heavy-handedly; it's fresh. It all makes sense and is very cohesive. Each episode has action, twists and suspense. All I can imagine is that viewers were expecting basically the same Star Trek but with older characters. This is much better than a pale re-make and can stand proudly on its own!

I didn't feel the first AJLT series was quite as bad as others felt it was, if you took it as a different animal than SATC. But just as the movies increasingly tanked, desperately trying to reheat the concept, the new TV series is the same and going from so-so to worse. My reservoir of SATC goodwill is now bankrupt. I am two episodes into the second season and it is horrid! Uninteresting, no laughs and cleverness is nowhere to be found. The attempt to introduce new storylines through new characters falls completely flat - the viewer doesn't know or care about them and there is nothing engaging or compelling about them, it's just tedious to watch until one of the original SATC characters returns to screen. But that's no payback either. Most cringey is the whole Miranda arc with her unfunny comedian girlfriend. Obviously the intent throughout is to throw every non-binary and woke theme possible at the screen, ad infinitum, and it's one-track and tiresome. For an entertaining look at "mature" women, their friendships, relationship issues and contemporary dilemmas, go back to old Grace & Frankie shows which sparkled with wit and humor, not this disappointing flop.

"See" goes some way to fill the void left by GOT! Sure it has some derivative elements from other post-apocalyptic stories, but its premise is completely fresh and thought-provoking. Of course, it requires suspending a lot of disbelief - for example, that people who are 100% blind can travel long distances across unknown terrain without cracking their noggins into trees or falling off cliffs. Or that in the chaotic scrum of battle, each fighter knows, without sight, whether they are attacking friend or foe. Or even that they can move from room to room with minimal touch to guide their way. No matter. Just go with it. The story is intriguing and each episode is surprising, exciting and leaves you eager to learn what happens next. The fights and battle scenes are beautifully choreographed. Jason Mamoa is a stand-out amongst the characters - a fierce warrior with a past, made of stern ethics and possessing a heart of gold. There are certainly quibbles - completely puzzling decisions made by the characters and plot leaps. The American accents and colloquialisms were jarring to me in this world. However, the three-season story arc was completely satisfying to this viewer. It's a gem I stumbled upon and I'm glad I did.

This show is extremely well-produced and edited. Even as someone who doesn't know much about football, clips from the matches are heart-racing. It is really good at painting a picture of the town, how important football is to the community and the history of the team and the stadium. Since the whole adventure is so current, it adds to the excitement and fascination. But for me, there isn't enough "behind the scenes." What were the practical aspects that went into the extraordinary decision for Rob and Ryan to purchase the team? They say their involvement is "exhausting and time-consuming" but you don't see much more other than decisions about upgrading the stadium, making management changes and choosing jersey designs. The bulk of the focus is on the fans - not the team players, coach or hotshot new manager. There's very, very little about them, what they're thinking or how they're handling the challenge, which is really weird for a sports documentary. There's nothing about how the team is being trained to improve or game strategy. So even though this series is fun, uplifting and interesting - with lots of chuckles from the wonderful wit of Rob and Ryan - it is missing some really important components to make it a well-rounded story and for the viewer to be fully invested in the outcome. However, despite its failings on that front, I'm hooked, and rooting for Wrexham!

The book this movie was based on was a best-seller and one can only assume was much more compelling than this film. It is a wonder to me that the movie is considered a classic romance because the best romances do require a plot! There is no tension; the Jennifer Jones character hesitates a little before jumping in to her affair but that's it. The rest of it is quite plodding despite lots of starry-eyed moments between the couple and professions of love. There is mention of communist strife in China but it's just a passing reference. Although Jones continuously brings up her mixed race, it's not really any impediment to their affair and there's no dive into the real problems that would have presented during that time. Her self-containment is an Asian caricature. As usual, William Holden is charm itself, but it has nowhere to go. The best part of this movie is the vintage footage of Hong Kong.

Abandon all cynicism and just enjoy! Cooper Raiff as Andrew is completely adorable - all goodness and optimism, with lots of levity, a touch of pathos and always surprising. It's a remarkable turn. Dakota Johnson is always compelling; she's made some real blunders of film choices and needs to lose some of the archness, but still is perfect in her role here -- enigmatic, intriguing, sexy, conflicted, compassionate and warm-hearted. Does the film feel like real life? No, but who cares, it engages from beginning to end with characters you care about and lots of chuckles throughout. Definitely one to watch.

Although only two episodes in, I can already tell this is like so many streamed shows that are stretched out to a full series at their own expense. The elements are here but it's very slow going and not quite clever, stylish or funny enough to sparkle. It may pick up but if not, it's just not compelling enough to see to the end.

All the ingredients are here for a tasty murder mystery series but it doesn't quite gel enough to rank it in the upper tier. Unlike other reviewers I thought the mysteries were good and the stories move along at a good clip. The two main characters are appealing (or would be in another vehicle.) The French landscape is lush and evocative. However, somehow there is simply no charm or cleverness. The relationship between the main characters is flat. The dialogue throughout is deadpan and emotionless. To pull this off, there needs to be some sense of personality and relationship between the regular cast of characters - something that's engaging on top of the storyline - but there is none and no effort at development. It's all quite wooden. And the viewer is always aware of the complete oddity of quintessentially British actors playing French characters, complete with British accents and turns of phrase. Pity, as with better screenwriting and direction this could have been a welcome and novel entry to the British murder mystery canon.

Love Maya Rudolph, but this script is simply not very funny. Her fish-out-of-water as she attempts to fit in to the "normal" world is too unrealistic - because her character wasn't born rich, she WAS a "normal" person before her husband made his billions. She is supposed to grow and evolve - but she's never actually involved in what her charity does or who it helps. The supporting cast is thinly drawn and there are too many short cuts to Maya bonding with them. Maya's character is over-the-top tone deaf - but at the same time is supposed to be smart, not stupid. The context all feels shallow and formulaic. Having said all that, I do see potential here as the latter half of the series begins to pull in more stories of the cast which are rather sweet and good-hearted. The writers somehow need to pull it out and bring a sharper edge and humor to the endeavor if this series isn't going to be canned.

The first half of the film I actually found a bit grating/boring with so much nostalgia and setting up the premise. Every single line from every single character is delivered in an arch kind of way, with a smirk. However, the last half is heart-racingly good! The aerial dogfights and action sequences are terrific and there's a suitably triumphant and emotional ending. It's a bit silly and predictable, but ticks every box for great escapism. I defy anyone not to enjoy!

The problem with ripping off the concept and scenes from "Romancing the Stone" is that you need to come up with something even better, or even just equally charming, which this is not. Just 15 minutes in I was already thinking that it didn't make any sense (a romance writer is the only person in America who can decipher ancient alphabets?) There are some fun moments and pretty cinematography, but it is inconsistent. There is zero chemistry between the Sandra Bullock and Channing Tatum characters and they never really find their groove (Danielle Radcliffe and Brad Pitt are great though!) All in all -- give it a pass.

Although the concept of this film is the ambiguity over a woman's guilt or innocence -- am I the only viewer who felt the evidence of her guilt was overwhelming? And therefore the "inconclusive" ending was unconvincing and undermined the whole film. The Rachel character possesses toxic seeds and she refuses to drink a presumably poisoned tea she's made for Phillip; she seduces young Phillip before turning on him once he hands his estate over to her; it's proven that she lies constantly; and most of all (not emphasized in the movie) neither she nor her lawyer inform her dead husband's family of his death -- that's just completely unbelievable that a presumably loving (and innocent) wife not inform the family! And yet -- somehow the excellent acting, changing scenarios and atmospheric settings draw you in. You may be left feeling that its illogic really didn't add up to a "did she or didn't she" plot, but it's an enjoyable watch getting there.

Given all the disparaging reviews, I felt like I was watching a different movie than the critics! If one of the criteria for good entertainment is being engaged throughout, count me in.

Lady Gaga nailed her role, she sparkled in every scene. Pacino and Irons inhabit their characters and have fun with them. I knew nothing of this story beforehand and I was drawn in to the 70s/80s vibe, the luxury lifestyle, the cutthroat corporate machinations.

There are criticisms for sure! Lady Gaga's Patrizia is front and center for the first 3/4 of the film, then is rather abruptly put in the back seat, despite the fact that her resentment leads to the story's denouement. There's no delving into how Adam Driver is seduced and perverted from mild-mannered man with family loyalty to ruthless corporate raider. Although the plot points tick the boxes, it doesn't come together seamlessly nor with any depth.

It must be said too that Jared Leto overacts to the point of farce; it's funny, but every time he appears it rattles any semblance of reality and derails the whole production.

Criticisms aside, and I will admit they're big ones, I thought this was a fun watch, with enough Ridley Scott flair to recommend it.

No one does murder mysteries better than the British! And this one has a charming set-up with the pairing of the over-ambitious city detective and the shy, formerly deskbound one. However, usually it's only after you watch a mystery that you realize that some things didn't add up. It doesn't spoil your enjoyment of it though. However with M&D the many loopholes and outlandish twists -- that are implausible even in the world of British mysteries! -- have you questioning partway through and realizing that it's just not meticulously crafted. There's too much that just doesn't make sense within the storyline and it's too easy to poke holes in it. It's still fun, but certainly doesn't rank with the best.

I only gave this a try based on friends' recommendations - I thought it would just be a typically cliche-filled show about an underdog team and clash of cultures. Sure it's got those themes, but it is so much more - it's tremendously funny, completely charming and each episode give a new twist that makes you want more! Love Ted's rapid-fire stream-of-consciousness filled with quirky, good-hearted humor. Somehow it takes something that should be totally cloying into another level that is just delightful.

This is no engrossing portrait of a woman's psychological pain, desperation and feelings of suffocation and helplessness, which I presume was the original intent. The opening caption identifies it as "a tale from a true tragedy," but when the characters and story of the "true tragedy" are so well-known, it doesn't work to create such wildly inaccurate and comically cringeworthy portraits and scenarios. What we get is Kristen Stewart's mugging for all she's worth in a weirdly clipped and almost incomprehensible accent, as she simply lolls and mopes about interminably. There's zero tension, no plot, no taking the individual's psychological condition to a "what if" storyline of any gripping interest -- just a lot Stewart portraying anger suppression, depressed ennui and weirdly unnatural self-containment, with bouts of nuttiness. She's completely one-dimensional. I got halfway through and had to give up the ghost and stop wasting any more time on this excruciatingly boring drivel. Perhaps that doesn't justify giving a rating, but it was pretty clear the rest would be more of the same, and my 3 stars given is simply for the set design which was visually interesting.

Amongst all the stellar post-apocalypse survival movies made over the last decades, Finch doesn't add one thing new to the canon. As soon as the robot he's created starts speaking like naive boy, disobeying direct orders and very quickly starts displaying emotions, it all became a bit childish for me. Audiences are far too sophisticated for that sort of sentimental, unrealistic claptrap. That being said, Tom Hanks' charm and ability to bring humanity to any role he plays is always a pleasure, and the visual effects were -- well, not amazingly impressive, but interesting enough. If you're a fan of either futuristic themes or Tom Hanks himself, give it a go, but otherwise your time's better spent elsewhere.