BioChemical
Nov. 2003 ist beigetreten
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Bewertung von BioChemical
"Freddie" is a programme that probably should never have been produced. It is poorly written, very unrealistic and worst of all - it's not funny.
Freddie Prinze Jr. as the star of the show SHOULD carry its weight but sadly he is not up to it. His performance is forever pushed and unnatural, it's as though he is trying to create a mix of Matt LeBlanc and David Schwimmer (who both have a natural comedic flair) but ends up failing horribly.
The grandma strand is just ridiculous. She speaks Spanish, never uttering a word of English, and yet she understands everything anyone says to her (and also now apparently everyone understands Spanish too). It seems like the writers were trying to mask the shows terrible script with a bit of class - subtitles. However, a stench can only be covered for so long.
There is one slight saving grace which makes this show watchable at the very most, Brian Astin Green. This should have been his show. Prinze Jr is not unlikeable but he can't muster the same sort of charisma as his sidekick and that's a problem when a sidekick out-shows the star.
"Freddie" relies heavily on canned laughter and it's obvious why, this is the unfunniest comedy series of the season.
Freddie Prinze Jr. as the star of the show SHOULD carry its weight but sadly he is not up to it. His performance is forever pushed and unnatural, it's as though he is trying to create a mix of Matt LeBlanc and David Schwimmer (who both have a natural comedic flair) but ends up failing horribly.
The grandma strand is just ridiculous. She speaks Spanish, never uttering a word of English, and yet she understands everything anyone says to her (and also now apparently everyone understands Spanish too). It seems like the writers were trying to mask the shows terrible script with a bit of class - subtitles. However, a stench can only be covered for so long.
There is one slight saving grace which makes this show watchable at the very most, Brian Astin Green. This should have been his show. Prinze Jr is not unlikeable but he can't muster the same sort of charisma as his sidekick and that's a problem when a sidekick out-shows the star.
"Freddie" relies heavily on canned laughter and it's obvious why, this is the unfunniest comedy series of the season.
From the moment front-runner Tammy Curry (Brooke Bushman) is blown to pieces on her sabotaged tractor, it's clear this beauty pageant will be fought tooth and nail. And it ain't gonna be pretty.
In the small Midwest community of Mount Rose, Minnesota, the Sarah Rose Miss Teen Princess contest is into the final furlong. But for all the sugar-coated spoutings of world peace and harmony hairspray, it's a question of victory by any means necessary - as a roving documentary film crew discovers.
In the Blue Ribbon rhubarb pie corner is Becky Leeman (Richards, rich kid daughter of former winner and rabidly proud officiating beauty pageant President Gladys (Alley). And in the red, trailer-trash corner is morgue make-up artist Amber Atkins (Dunst), championed by her boozy mother Annette (Barkin) and her mother's morally suspect best friend Loretta (Janney).
Casting wise it's spot on, as Alley launches with smiley, viper spitefulness into a beacon of single-minded hypocrisy, and is well matched by Richards, even if she looks the least convincing high school teenager since Stockard Channing's Rizzo enrolled in Rydell High. Dunst meanwhile blossoms into a very accomplished actress, and - together with Barkin and Janney - claims most of the prize lines.
If there's a weakness it's that the mockumentary approach doesn't always work, and the film drags on a little too long after a seemingly natural conclusion. Still, the dark laughs are consistent, and the parody of middle America's bizarre beauty contest fixation is spiked with some jolting shock tactics - from the nurse-assisted wheelchair dance by the reigning anorexic crown holder to Richards' hilarious (not to mention blasphemous) love song for Jesus - but such blackness never obstructs rooting for Dunst's likable teen. An outrageous, deliciously bad-taste classic.
8/10
In the small Midwest community of Mount Rose, Minnesota, the Sarah Rose Miss Teen Princess contest is into the final furlong. But for all the sugar-coated spoutings of world peace and harmony hairspray, it's a question of victory by any means necessary - as a roving documentary film crew discovers.
In the Blue Ribbon rhubarb pie corner is Becky Leeman (Richards, rich kid daughter of former winner and rabidly proud officiating beauty pageant President Gladys (Alley). And in the red, trailer-trash corner is morgue make-up artist Amber Atkins (Dunst), championed by her boozy mother Annette (Barkin) and her mother's morally suspect best friend Loretta (Janney).
Casting wise it's spot on, as Alley launches with smiley, viper spitefulness into a beacon of single-minded hypocrisy, and is well matched by Richards, even if she looks the least convincing high school teenager since Stockard Channing's Rizzo enrolled in Rydell High. Dunst meanwhile blossoms into a very accomplished actress, and - together with Barkin and Janney - claims most of the prize lines.
If there's a weakness it's that the mockumentary approach doesn't always work, and the film drags on a little too long after a seemingly natural conclusion. Still, the dark laughs are consistent, and the parody of middle America's bizarre beauty contest fixation is spiked with some jolting shock tactics - from the nurse-assisted wheelchair dance by the reigning anorexic crown holder to Richards' hilarious (not to mention blasphemous) love song for Jesus - but such blackness never obstructs rooting for Dunst's likable teen. An outrageous, deliciously bad-taste classic.
8/10
With films we recognise as 'Altmanesque' springing from Los Angeles, Marseilles and New Delhi, it's salutary to revel in a classic model by the master of the movie mosaic himself, as he presides over a richly-nuanced screenplay and an ensemble to die for.
While wittily referring to the manor mystery genre, this is no whodunnit, but a multi-layered tragicomedy of manners, motives and relationships within a decaying social order.
A Who's Who of British Equity proves wonderfully adroit at the idiosyncratic, improvisational Altman Experience - theatrical knights wielding and polishing the silver, great dames slinging arch glances and saucepans. Upstairs, ungracious tycoon Michael Gambon is bedevilled by in-laws. Downstairs, hostility between housekeeper Helen Mirren and cook Eileen Atkins builds to a moving, revelatory confrontation without impeding butler Alan Bates' regulation of the staff.
Holding their own in this company are Americans Bob Balaban (Altman's partner in the conception and production) as a coolly-received Hollywood producer and Ryan Phillippe, affecting a purposefully dubious accent, as his highly suspicious valet. Jeremy Northam is just divine as matinée idol Ivor Novello, who's presence provokes sniffs from the aristos but excites the housemaids.
The pivotal character is Kelly Macdonald's Mary, the new lady's maid whose quiet labours position her perfectly to observe the misbehaviour and foibles above and below stairs with perception and sympathy. And although Dame Maggie Smith's imperious countess grabs the largest share of memorable lines, everyone has his moment in this inventive and fully-detailed piece. That includes the valet protesting, "I've washed him and I've dressed him, and if he can't find his own way to the drawing room it's not my fault!" This is Altman's best movie in years - an astute exploration of British culture that can stand proudly with his satires of American life. Atmospheric, absorbing, amusing and really fun.
9/10
While wittily referring to the manor mystery genre, this is no whodunnit, but a multi-layered tragicomedy of manners, motives and relationships within a decaying social order.
A Who's Who of British Equity proves wonderfully adroit at the idiosyncratic, improvisational Altman Experience - theatrical knights wielding and polishing the silver, great dames slinging arch glances and saucepans. Upstairs, ungracious tycoon Michael Gambon is bedevilled by in-laws. Downstairs, hostility between housekeeper Helen Mirren and cook Eileen Atkins builds to a moving, revelatory confrontation without impeding butler Alan Bates' regulation of the staff.
Holding their own in this company are Americans Bob Balaban (Altman's partner in the conception and production) as a coolly-received Hollywood producer and Ryan Phillippe, affecting a purposefully dubious accent, as his highly suspicious valet. Jeremy Northam is just divine as matinée idol Ivor Novello, who's presence provokes sniffs from the aristos but excites the housemaids.
The pivotal character is Kelly Macdonald's Mary, the new lady's maid whose quiet labours position her perfectly to observe the misbehaviour and foibles above and below stairs with perception and sympathy. And although Dame Maggie Smith's imperious countess grabs the largest share of memorable lines, everyone has his moment in this inventive and fully-detailed piece. That includes the valet protesting, "I've washed him and I've dressed him, and if he can't find his own way to the drawing room it's not my fault!" This is Altman's best movie in years - an astute exploration of British culture that can stand proudly with his satires of American life. Atmospheric, absorbing, amusing and really fun.
9/10