idrmrsr

I think this is a great series. It embodies all the "oomph" that HBO once brought to the television world. So Shea Whiggins plays the Al Swearengen part and there are multiple such substitutions.

Venue is no longer South Dakota, but somewhere between Missouri and Utah. Otherwise, we so far do not have the Chinese and their human devouring pigs, but I'm only on the 3rd episode.

A truly rousing western with buckets of gore and violence. Appropriately filmed in mud, muck, and sagebrush.

I recommend this series highly. It will fit right in there along with Rome, the Sopranos, Oz, and all the other groundbreaking HBO series. Although one must remember, this is Netflix, which usually doesn't quite rise to this level!

Yep, I think this film is attempting to correct all the wrongs of Heaven's Gate from 40 years ago.

Expansive, wandering plot, impossible to follow timelines, some good action here and there, nice photography.

It's also politically correct. We refer to them as Native Peoples and Aboriginals instead of the words they actually used back then.

I also think this would have played better if it was a series like Deadwood, which I also think it attempts to ape.

I also long to watch the movie hinted at in the closing 5 minutes of montage. Looks far more attractive than the prior 3 hours of relatively slow moving, aimless, storytelling with leaps and bounds in time worthy of science fiction.

But you know, out of sheer curiosity, I'll watch the next installments of this series. If only to verify that all green trees captured in the background have been digitally turned an unnatural gold! One of the many tropes you'll find.

Chopin's Prelude, op. 28 #4, if you listen to it and reflect on the film, it's as if the film was the story told by the prelude itself.

Starting off sadly, asking musical questions of itself, wavering between sadness and breaking away from sadness, never quite resolving to anything.

It is well chosen to go along with this quite sad story of a couple at the breaking point, the whodunit, and the conclusion of the film which is not a climax but simply a return to perhaps a better routine.

I admit I was confused about the French court proceedings, and how they differ from the usual American trial procedures, so well known in so many similar movies. The vicious, clever prosecutor, the timid, overwhelmed defense attorney. Objection overruled! Objection Sustained! All that usual business is not explicitly a part of French criminal process.

Holding the suspense between "did she do it" or not, crossing the line and going back again as new revelations are made, totally made this a compelling watch.

I'm going to suggest this story is a lot like the films Presumed Innocent, which questions the guilt of the protagonist to the very end, with many twists along the way, and The Conversation, in which snippets of surreptitious candid recordings, discovered after the suspected homicide, either convict or acquit based upon a turn of phrase.