Whiskey-Jack

This is a story about a rancher who has a big hole in the ground somewhere out on his huge ranch which is next to another greedy rancher who wants to steal the rancher's land because there is something of great value on it which is never revealed to us until the final episode which is supposed to resolve the haphazard, disjointed plot and juvenile writing which includes prehistoric wooly mammoths still living in caves, a mysterious re-appearing buffalo that has two arrows stuck in its side, buffalo herds stampeding out of the big hole which is a portal in time, that God is both good and bad as are some of the ridiculous characters and an exceedingly irritating sound track of old pop songs some of which the writers thought it was a good idea to have a main character butcher the singing and make you wish he was shot, strangled or otherwise deservedly eliminated from this waste of time.

Rogue CIA operative gets hold of a stolen nuke and detonates it in full view of the US Sixth Fleet after being chased by another loose cannon CIA operative who is recruited for the most ridiculous reason by the movie's token Black actress who is totally mis-cast as a CIA Director wearing a long, straight, jet-black Cher-style wig. The loose cannon CIA operative is under the control of his trainer Michael Keaton who offers the movie's only glimpse of acting ability in a heavily clichéd, miserably directed script, void of all credibility and wrapped inside a cheap, annoying, overly dramatic music score. Go ahead, ask me how I really feel about it.

I tuned in because of Grissom's return and to a certain extent, Sarah.

What I saw was poor acting, poor casting, poor story lines, poor directing.

It has become just another run-of-the mill soap opera cop show. How the mighty have fallen.

Brainwashed, propagandized Americans are blind to the hatred they have instilled in Afghan and the Middle East.

"My god, why do they hate us??!!" is best answered by "Look what you have done to them since Gulf War 1."

Nowhere to be seen in the US media is evidence of the wholesale slaughter of innocent Iraqi and Afghan civilians.

Trashing Iraq created a generation of Arabs bent on revenge. American embargoes and sanctions alone resulted in the deaths of 500,000 Iraqi children which the State Department did not deny, but said "was worth it." Those who ignore this grossly despicable crime against humanity are the same who accuse this documentary as being unfair and biased. Biased my ass. It should have gone deeper into the terror the US has committed.

Frankly, I'm baffled as to why he would lower himself to be in such a mess of a film. It had to be the money. He's the reason I tuned in. Sorry I did. And Anson Mount as a brooding hitman? Big fail.

Hammer as loud as you can, bash the s**t out of the drums, and people will say "Wow! What a great drummer!"

Keith Moon once met with legendary jazz drummer Philly Joe Jones for some tips and advice. After he had hammered away for a few minutes, Moon asked Joe what he thought of his playing.

"Can I ask you something personal," Joe said.

"Of course." "You make a lot of money playing that way?" "Yes, I do." Philly Joe thought for a moment, got up, shook Moon's hand and said, "Well man, I don't want to be the one to ruin it for you," and left.

As it is, it reaffirms my faith in the ability of American TV to churn out garbage. Judging from the overall rating this show has earned here, third-rate scripts and bad acting are obviously what the masses enjoy.

Don't waste your time on this.

It's too bad this wasn't done by the Brits.

If you like a really bad script full of plot holes, lousy direction, horrible acting (with the exception of Crowe's psycho) you'll like this. Smoke a pound of weed first.

After reading s few of the rave reviews of this episode I am happy to include myself in the ranks of those who saw it for what it is - waste of time nonsense built around a fly. This is the level of stupidity one would get from a group of adolescents trying to come up with an episode locked in a room with 50 pounds of weed. And no, it wasn't deep or profound or revealing. It was garbage. Miss it and you won't miss a thing.

I had every reason (or so I thought) to expect season 6 to have as much or perhaps even more character and plot interest as did the first five, but I was wrong. The plot lines are weak, and where Tomlin's quirky old hippy Frankie was once amusing and funny, she has become annoyingly dumb and irritating playing to Fonda's insecure and equally annoying, Grace. If there is a season 7, major changes need to be made to resurrect what could have been a classic. As it is, it's a weak sitcom, minus the laugh track.

There is so much garbage out there that when you come across a movie of such high caliber, centered around two giants of acting, it reinforces your belief in the art. Cinematography, script, direction, music, sets - all are excellent. Highly recommended. Kudos to Netflix. Keep them coming.

Just watched Season 5. This series succeeds on so many levels, it's scary.

My only beef is having to wait for season 6. Outstanding.

I won't bother with a synopsis. The story line has been well explained.

The final scene alone is worth the price of admission. The hauntingly beautiful score and the sheer, emotional impact of Billy's triumphant leap is almost unbearable.

Zimmer was born with an enormous gift. His music encompasses sublime beautify and enormous power and heft. He creates haunting themes and powerful orchestrations across a wide swath of instrumentation, from Classics to Rock, and beyond. If possible, listen to his music on a full hi-fi system...portable devices cannot convey the emotional impact. I hesitate to apply the word 'genius' in music but Zimmer deserves it - he is self taught.

(For those interested - the drummer's name is Satnam Singh Ramgotra. He isn't listed in the IMDb credits, for some strange reason. )

Costner and Harrelson are outstanding in a movie that captures the heat and flavor of the era. They both deliver a master class in acting. Excellent cinematography, script and direction. Kudos, Netflix! More of the same, please.

..... a decimated and demoralized Flint Michigan Police force struggling to cope with violent crime after the city's downward spiral into an epidemic of record-high murder rates.

The opening shows scenes of Flint as it was during the boom years and which began to crumble in the late 70's following the closing of the Chevrolet and Buick factories, two of GM's biggest plants.

At one time, Flint had the highest per capita income of blue collar workers in America. I know, because I lived and worked there for a while during its boom years. Businesses flourished and the nightlife scene, a sure indicator of disposable income, was New Year's Eve virtually every night.

The factory closings led to massive unemployment which in turn bred the violent and virtually uncontrollable crime rate. Neither City Hall nor the State Government succeeded in finding secondary industries to replace GM's closed plants. The drug industry boomed.

Due to the economic crash, the Police force shrunk from a high of over five hundred officers down to one hundred or so due to City Hall mismanagement, graft, incompetence and the misappropriation of the city finances.

The documentary reveals the problems and frustrations of the skeleton police force through the eyes of its Chief and various police officers who patrol streets of boarded up, condemned houses in poverty stricken, drug infested neighborhoods whose poorly educated residents seem condemned to never escape their toxic environment.

It's well done and worth watching.

The opening episode held possibilities. From that point on, this series fell off a cliff.

If you like weak scripts, soap opera plots, poor direction, implausible plot solutions and resolutions, huge plot holes, absurd twists, boring car chases, explosions, plane crashes, gunfights, brutal beatings, blood, gore, torture ...you'll love it.

While James Spader is merely passable in a lead role, Megan Boone is a disaster as co-lead. Her attempt at acting is an irritating, dismal failure characterized by a perpetual, pained look on her face while delivering lines with all of the emotional impact of a telephone operator, and I'm being kind.

You will love this movie if you appreciate superb acting, great dialogue, excellent script, top-notch direction.

Otherwise,you will hate it.

Pacino, Walken and Arkin create and deliver more emotional drama with facial expressions alone than can the majority of today's younger wannabe "actors".

Al Pacino rightfully claims the title to being one of the greatest of all actors, and arguably the greatest living actor.

Christopher Walken's screen presence is huge. The movie is in essence an extended dialogue between him and Pacino and what a delicious combination it is.

This movie is a gem.

Having spent most of my entire life in music playing drums and teaching the art, I can tell you that there are so many things wrong with this movie, it's laughable.

The absurd, over-the-top, face-slapping scene in the trailer was enough for me to avoid seeing it. But, at the urging of a friend - a non-musician who thought it was "great", I caved in to my curiosity. His taste in movies aside, he's still my friend, and I was right in my initial judgement. Watching the entire movie was a waste - I made it half-way through and ditched.

"Whiplash" is an unadulterated load of crap.

I rented this on my cable channel last night after missing it in the theatres. The good thing about that is I didn't waste as much on the rental fee as I would have on a theatre ticket. For all of its hype, this movie is a prime example of silliness. The weak screenplay, terrible dialogue and cheap directing are exceeded only by sophomoric attempts at humour. This movie can't make up its mind whether it wants to be deadly serious - a man is gutted with a knife and his heart torn out - or childishly amusing as in fearsome carnivorous cartoon rabbits. Please. This is a poor attempt at copying the much better made and better acted Antonio Banderas/Anthony Hopkins "Zorro" format; evil landowner exploiting the peasants for a treasure, the hero coming to the aid of the oppressed, comedy relief interspersed with heavy drama with the exception that in the Lone Ranger the comedy relief is embarrassingly juvenile and made at the expense of the main character's credibility. Verbinsnki has reduced the Lone Ranger's character to a dandified, overly-naive idealist better suited for the tastes of immature fans of animation film. The action shots are ludicrous. One of the most absurd is our hero at full gallop catching a silver bullet tossed to him from a speeding train. Better yet, he gallops his horse through the train cars while chasing down the villain. Verbinski's pièce de resistance is the Lone Ranger riding Silver on top of the moving train.

Verbinski's interpretation and mistreatment of a classic tale falls into the category criminally negligent. Depp, obviously in need, took the money and ran. So did my cable company.