Yesterday brought the generally solid season finale for Peacemaker over on HBO Max. The cast made fine work of their parts, and John Cena, in particular, rose to the challenge, validating at least some of what James Gunn saw in him during the filming of Suicide Squad (2021). A second season's been ordered, with James Gunn set to write and direct all of the episodes, so it seems nearly everyone's pleased with how this first season went.
Arriving today on Amazon Prime, is the long-awaited start of season 4 of The Marvelous Mrs.
In the show, it's now 1960, and it's time again for bold moves for seemingly most of the characters. Season three ended with a huge reversal for Midge and Susie as a misunderstanding combined with Midge's signature style of honest revelations in her act killed their connection to a touring gig as an opener for singer Shy Baldwin. Much had been sacrificed to make that tour possible, and then it evaporated, leaving Midge and Susie on the tarmac, packed but with nowhere to go. Various teaser trailers for the new season were dropped in recent months, each with an emphasis on different part of the cast. This one focuses on Midge and her manager, Susie:
This eight-episode season will be doled out two episodes per week - so, over four weeks, ending March 11th. While I know it'll leave me hanging week-to-week - the show is strongly bingeable - I also approve of this compromise release schedule. The rapid-fire delivery and blend of plotlines will benefit from giving me more time to stew on the latest developments each week. Renewed just ahead of this season's release, we'll be getting a fifth and final season -- hopefully much sooner than 2+ years away. But that's then. I want to enjoy this season first.
Yesterday HBO Max saw the arrival of the first season of a Taiwanese sci-fi series Dream Raider. Released abroad in 2020, we're a bit late to the show, so if one's so inclined there's ample commentary to be found. Wanting to take it on its own, I've avoided looking; if I have questions afterwards, then I'll look. The series is set in the near future, and features a team of scientists and police working against a criminal group using tech to hack people's minds and force them to commit crimes.
I know that, for some reason, I made it through the ten-episode first season of Netflix's Space Force back in 2020. That arrived in late May, so we were better than two months into the pandemic tumult by then, and distractions from it held a little more attraction than they otherwise might. I'm left with vague memories of how they took thin parody characters, and then tried to give them emotional depth and flesh them out with a blend of underdog spunk formula and sentimentality in the back half of the season. While not a primary character, we did also have a few episodes which were some of the last work done by Fred Willard, who passed shortly before the series streamed, so looking for those bits helped pull me through some of it.
It had more than one aspect working against my warming to it, as not only did I find the real world creation of a space-focused branch of the military to be a tragic move, even worse with it happening as part of the most vile administration in my lifetime (so far!), but it's a cringe-seeking, "workplace comedy" co-created by Steve Carrell (who also stars in it) and Greg Daniels, best known in tandem for the U.S. version of The Office - a highly-successful sitcom which never caught with me. I gave The Office several tries to watch from the start, and it failed to connect with me each time; I'll try again, eventually, because I have good indicators that it improved as it went on, and more of the cast developed, but... I've gone off track for this piece.
Regardless, for good or ill, Space Force is back for a seven-episode second season. I'm getting too many mixed or at least uncertain indicators on what changes to expect in season two. They've stated that they're moving to focus more on the gags and the improv energy between the cast, and less on the big picture and cinematic elements. Ken Kwapis was brought in to direct all of the episodes (though each of the seven was written by a different person -- with Carell himself writing the season-opener), and even there I'm left uncertain because while I have some positive associations with some of the shows he's worked on (The Santa Clarita Diet, and One Mississippi) I've not reached back to see where his episodes in each stood with respect to my impression of each full series. The press materials are leaning on his work with Carell and on The Office, including that show's pilot, which as you might expect from my non-fan status of that show, isn't filling me with confidence.
Newly-arrived this week on Netflix are several films I knew nothing about until I took a look at what was new. Among them is a short (15 min) tale about an irresponsible aunt and her young niece accidentally unleashing some menaces from a storybook: Erax (2022)
Another short film added to Netflix, albeit one with a grimmer scenario, finds a boy with a limb disability finding himself hunted by Nazis intent on exterminating the disabled circa 1939. The classroom scene is particularly chilling, with its Nazi-directed lesson plan. This a desperate vignette rather than a full tale, with much of the goal being to teach about some important history too many likely are unaware of. Be sure to read up on Aktion T4 after watching Forgive Us Our Trespasses (2022 13m) That's a tip of a research iceberg for the unwary, which will also lead to a broader, dark history of eugenics-driven programs that were running rampant, particularly in the Western world, in the early 20th century.
Another short film addition, and of a yet again different type, is a teenage LGBTQ romance film, where one person's violent past threatens a new relationship. It's Heart Shot (2022 19m). I didn't see a trailer attempted for this one, and I haven't gotten to watch it yet, but here's a brief clip from a more idyllic portion of the story. So, there are three, interesting-looking stories one can knock out in just under 50 minutes.
At a more cinematic length, there's also supernatural action thriller that's intended to work as a standalone film, but is also a follow-up to a 2019 series - Wu Assassins, also on Netflix. This one sees the team gets back together in Bangkok to avenge one of their own, only to find that the threat has supernatural powers.
I wasn't aware of the earlier series - or only saw mention of it in passing - but I expect my low-level OCD will insist I watch the earlier series first. So, who knows when or even if I'll get to it? If you've seen it (either one), feel free to pass along any thoughts, pro or con. This new item is Fistful of Vengeance (2022 95 min), and is reported to be more of a thrill ride. It at least looks like a fun action film.
Today over on Hulu, we get the third in the Kingsmen series of unflappable, polished and fashionable, British gadget-equipped, action super spies, with The King's Man (2021 R 2h 21m), which aims to provide the early 20th century beginnings of the organization.(I think I chose a red band trailer, so with the age restriction it'll likely force you to watch it over on YouTube.)
A popcorn film, with much gunplay, fighting, and explosions... and a fighting action Rasputin, too. It also arrives on HBO this Saturday.
Also landing on Hulu today is a Welsh horror film, The Feast (2021 93m), which currently looks a little more unsettling than I'm up for. See how it strikes you.
Arriving on both HBO Max and Disney+ next Wednesday, the 23rd, is the Ryan Reynolds vehicle, sci-fi action comedy Free Guy (2021 PG-13 1h 55m).
Reynolds plays an upbeat, roll-with-it, bank teller in a world with wild levels of daily violence happening all around him. He starts to question why things are the way they are, and discovers reality-shaking things about the world and himself. Here's the original 2020 trailer, back before cascade of revised theatrical dates pushed it off into late 2021.
One film I've just added to my list is a low-budget sci-fi drama that by most indications made excellent use of its materials. In it, a cognitive pshychologist, haunted by and obsessed with the unexplained disappearance of his daughter, discovers a means of communicating with the dead. His inability to use it to contact his daughter gives him hope that she's still alive, so her mystery remains. It's Repeat (2021 1h 35m)
The film's available for rent or purchase on Amazon, but more importantly is free for all over on Tubi, which is where I'll be watching it.
Back over on Netflix, I enjoyed a small film about a retired assassin who was once known for his speed and precision with a blade, and how life squeezed him out of retirement and back in with his old partners for a new mission to provide a means for the elderly to escape their too-troubled lives. A desperate young girl gets into the mix, forcing yet further changes. It's Time (2021 1h 39m). Despite this trailer (as with many of the imports) the Netflix default brings you a version dubbed into English. This Sunday will see the fourth and final installment of the documentary We Need To Talk About Cosby, discussing the complex problem Bill Cosby poses for people of several generations. It seems untoward to say that I've enjoyed watching it, but it's made for a very interesting discussion as we shift between who the man was at any given time to the general public, and who he really was and is. Along the way, one of the many points that stuck with me, was the question of whether or not we're looking at a Jekyll and Hyde, or if it's all simply been Hyde, varying only with the thickness of the glamour he spun to hide behind.
The week's gotten away from me yet again, but hopefully the mix above will lead you to at least one or two items of interest. I hope you'll be back here next Friday, as we close out the month. Take care, and keep thinking spring! - Mike
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