garyhbradley

To make this a plausible comedy it needs to create the belief that they are somehow plausible as spies. However from the start, the premise that these two are spies who have deliberately gone MIA is utterly prosperous. Not only did the writers not write good comic material but made a number of mistakes that rendered these spies as utterly implausible. For example, when Foxx deletes the video in the club he would have known to empty the recycle bin. They would know how restrict internet WiFi access to their son to stop him gaming at night. They got caught by their 14 year old daughter using binoculars to watch her. It could be argued this was a funny moment but it is another example of how the writers couldn't understand that comedy only works when the audience believe in the authenticity of the characters.

Then the children watch men being burned alive while Etta James sings 'At Last'?

This is a 12. The comedy is written for an eight year old and the killing scenes are for 15 year olds. How did it get a 12?

It's a shame because Foxx and Cameron clearly have chemistry, and the children are really good in this. The editing, pace, and the development of the story are well executed but the writing is atrocious.

Another missed opportunity which gets a resounding 4 stars. It could have been great.

The primise is two people sort of trained with a kind of background in something vaguely CIA/military-ish but sort of legal who are put together to do secret stuff. The first 30 minutes is an exercise in how to excrutiatingly draw out character reveals. I got the the part where she is in the theatre, supposedly on a stakeout. In a darkend, packed theatre, he is asking uttelry inconsequential questions and she is somehow, after being so guarded, tapping a story in text messages on her phone. No-one objects to the blue-white glare of the phone display or the clearly audible tapping of her nails. Nor does it make any sense that this easily identifies her in the auditorium to anyone who might just be the slightest bit interested in knowing if they were being followed.

It just doesn't make any sense, except if we assume that the producers clearly understand that the original premise was a successful movie screenplay that worked as a movie and they are milling it by turning it into a TV series. Except there's not enough plot to make it work. This is typical of the unimaginative, money grabbing, cowardly attitude of people who control profits over courage. I feel sorry for the actors who have to take these roles. Shameful exploitation.

I like the production, casting etc. It follows very well from the Superman reboots with Henry Cavill. The real issue is the unblelievably and unexplicably effing annoying Jordan character. Why is he prone to anxiety attacks which are random and not triggered by any systematic issues? Clearly his issues are cllnically severe (I am a psychologist).

There is one reference to his taking meds but why isn't he seeing a psychiatrist or clinical psychologist? Why do his parents, especially Clarke give hima wide berth? Once again, script writers try to draw characters but don't have a clue about how psychologiacal character, personality and inerpersonal dynamics work. It is it is completely transparent that this is not realistic, just an extension of a neurotic Jungian archetype. It's disappointing because it's a really well produced programme. Y'know?

And just why is it that Luther just can't ignore all the evidence that clearly shows that this Superman isn't who he's looking for. He couldn't be because Superman arrived as baby when Luther was watching the others the others attack. And why were they doing that? Gawd knows.

And... it's really obvious that the producers/director are trying to show how slooowwww life is in Smallvile but sometimes the pace and back story are just toooooo obvious. Watch "Midnight in the Garden of Good and Evil" with Kevin Spacey. That's pacing!

Come on Hollywood/Disney!!! You can do better! If you want to make psychological issues believable then HIRE ME!