bobfingerman
Iscritto in data apr 2002
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Recensioni16
Valutazione di bobfingerman
Charlie Brooker might be my favorite person working in entertainment on both sides of the biz: commentator and content creator. His series, "Charlie Brooker's Screenwipe", is one of the most astute, insightful, hilarious and informative about television you'll come across, and its spin-off, "Newswipe", really lifts the lid off TV news). As a longtime zombie aficionado (as well as purveyor), I came to this with high expectations and was not disappointed. If anything, it overwhelmed me with how breathtakingly good it was.
Ballsier than most horror features, "Dead Set" is also richly satirical, brilliantly written and beautifully acted. Each character is fully realized and distinct, the performances across the board stellar, with lead Jaime Winstone tough, capable and winsome. Andy Nyman almost steals the show as Patrick, the profane producer. He channels Brooker's venomous wit and amps it up. Whereas Brooker as a TV personality can spew invective with charm and good humor (even when he seriously loathes something), Patrick radiates malignance. But because of Nyman's great gifts as an actor, he renders Patrick somehow magnetic. Even when he's doing some truly unspeakable acts, you cannot look away (though some more sensitive viewers might want to watch through interlaced fingers).
I would put this on the top shelf of zombie--or indeed any horror--cinema. It's credible, exciting, captivating and worthy of multiple viewings.
Ballsier than most horror features, "Dead Set" is also richly satirical, brilliantly written and beautifully acted. Each character is fully realized and distinct, the performances across the board stellar, with lead Jaime Winstone tough, capable and winsome. Andy Nyman almost steals the show as Patrick, the profane producer. He channels Brooker's venomous wit and amps it up. Whereas Brooker as a TV personality can spew invective with charm and good humor (even when he seriously loathes something), Patrick radiates malignance. But because of Nyman's great gifts as an actor, he renders Patrick somehow magnetic. Even when he's doing some truly unspeakable acts, you cannot look away (though some more sensitive viewers might want to watch through interlaced fingers).
I would put this on the top shelf of zombie--or indeed any horror--cinema. It's credible, exciting, captivating and worthy of multiple viewings.
After reading a few bad reviews of 'Dead Like Me: Life After Death', I was prepared for something not very good. What I got was like watching a necrophiliac having his way with the corpse of that wonderful show. How Stephen Godchaux and John Masius, both regular writers on the series, could seemingly have so little connection to everything that made that series special is a deep mystery (and I don't feel good slagging this off, as I've enjoyed their work in the past).
Where the series had been original, lively, funny, poignant and quirky (in the good way, which is a rarity), this thing is irritating, boring, not even remotely amusing and feels disrespectful and opportunistic. The threadbare plot involving a callow replacement for the sadly absent Rube (performed with subtlety and wit in the series by Mandy Patinkin) is a bust that never goes anywhere or even resolves itself. That Rube's substitute is a man who was killed in the World Trade Center on 9/11 is in particularly bad taste, especially since it adds nothing to his character, who is a miserable creep; it's just a weird throwaway. The replacement of series original Laura Harris, as Daisy Adair, is also a major trouble spot. Sarah Wynter, in a word, is awful. Harris's Daisy was imbued with a knowing sadness under her surface superficiality. Wynter just devours the scenery playing Daisy as a vapid, talentless idiot.
It's nice that talented original cast members Ellen Muth, Callum Blue, Jasmine Guy, et al, got work, but they deserved a better vehicle than this shoddy, mawkish mess.
If you are a fan of the Showtime series, do yourself a favor and skip this. Once you've watched it you can't un-watch it and doing so will only make you mourn anew the premature death of the original. Which, I suppose, is apt.
Where the series had been original, lively, funny, poignant and quirky (in the good way, which is a rarity), this thing is irritating, boring, not even remotely amusing and feels disrespectful and opportunistic. The threadbare plot involving a callow replacement for the sadly absent Rube (performed with subtlety and wit in the series by Mandy Patinkin) is a bust that never goes anywhere or even resolves itself. That Rube's substitute is a man who was killed in the World Trade Center on 9/11 is in particularly bad taste, especially since it adds nothing to his character, who is a miserable creep; it's just a weird throwaway. The replacement of series original Laura Harris, as Daisy Adair, is also a major trouble spot. Sarah Wynter, in a word, is awful. Harris's Daisy was imbued with a knowing sadness under her surface superficiality. Wynter just devours the scenery playing Daisy as a vapid, talentless idiot.
It's nice that talented original cast members Ellen Muth, Callum Blue, Jasmine Guy, et al, got work, but they deserved a better vehicle than this shoddy, mawkish mess.
If you are a fan of the Showtime series, do yourself a favor and skip this. Once you've watched it you can't un-watch it and doing so will only make you mourn anew the premature death of the original. Which, I suppose, is apt.
...but this was rubbish.
Though Zombie's adept at creating it, relentless unpleasantness doesn't necessarily translate to compelling horror. The interminable opening 45-minutes of prologue (seriously), in which the audience is treated to Michael Myers's origin story, is dull, ugly and above all misses the point. This and the equally futile (and terrible) remake of "The Texas Chainsaw Massacre" make the mistake of adding wretched back-stories to their killers. In Carpenter's classic, in every way superior original, the enigmatic engine that propels Myers is precisely what makes him so scary. His motivation is pure evil. That's enough.
The ugly family life in the 2007 version bogs things down and does what? Make Myers sympathetic? No. All it does is set up an improbable and somewhat annoying "twist" that doesn't pay off in the third act. Zombie knows how to do unpleasant. It's his forte as a filmmaker. What he doesn't know how to do is create likable characters. The trio of girls in this are cyphers, even (especially) Laurie Strode.
This remake was unnecessary, tedious and a waste of time.
Though Zombie's adept at creating it, relentless unpleasantness doesn't necessarily translate to compelling horror. The interminable opening 45-minutes of prologue (seriously), in which the audience is treated to Michael Myers's origin story, is dull, ugly and above all misses the point. This and the equally futile (and terrible) remake of "The Texas Chainsaw Massacre" make the mistake of adding wretched back-stories to their killers. In Carpenter's classic, in every way superior original, the enigmatic engine that propels Myers is precisely what makes him so scary. His motivation is pure evil. That's enough.
The ugly family life in the 2007 version bogs things down and does what? Make Myers sympathetic? No. All it does is set up an improbable and somewhat annoying "twist" that doesn't pay off in the third act. Zombie knows how to do unpleasant. It's his forte as a filmmaker. What he doesn't know how to do is create likable characters. The trio of girls in this are cyphers, even (especially) Laurie Strode.
This remake was unnecessary, tedious and a waste of time.