Weekend Watch - Bridgerton Season 3

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is the latest season of Netflix’s hit period romance series Bridgerton, which released the second half of its third season last week. The show, produced by television legend Shonda Rhimes (Grey’s Anatomy, Scandal, How to Get Away with Murder), and created by her collaborator Chris Van Dusen, is based on the historical romance novels by Julia Quinn, which follow the romantic intrigues of the titular noble family and their compatriots in early 19th-century British high society. This season primarily adapts the novel Romancing Mister Bridgerton, which follows the romance between Colin Bridgerton (Luke Newton) and Penelope Featherington (Nicola Coughlan), although it implements elements from some of the other novels as well. This season sees the return of most characters and actors from the first two seasons (absent still Regé-Jean Page’s Duke Simon Bassett and Phoebe Dynevor’s Daphne Bassett) while also introducing Hannah Dodd as the previously absent Francesca Bridgerton, Victor Alli as Lord John Stirling, Daniel Frances as Lord Marcus Anderson, and Hannah New as Lady Tilley Arnold. Now that the full third season is out, plenty of people have started sharing their thoughts on it, so let’s get into it.

Letter Grade: B+; where the first two seasons shone in their central romances, the third draws more on its supporting cast, which may or may not work as well for everyone.

Should you Watch This Show? If you’ve been a fan of the show from the start, this’ll continue to scratch that itch, and if you weren’t, it’s not going to do any changing of your mind.

Why?

                Bridgerton Season 3 continues in so much of what has made the show such a success – steamy romance, gripping drama, complex love stories, the Vitamin String Quartet, involved sets, beautiful costumes, and memorable characters who grow more complex with each iteration. It knows its identity and niche in the market and delivers yet again a hit for that broad subset of the streaming viewers. Unfortunately, it feels like a show whose writing is starting to get away from it, much as so many of the Shondaland shows do. Season 1 gave us a fascinatingly convoluted romance with critiques on society, gender roles, and even conceptions of marriage and nobility. Season 2 offered a subversive romance that also served as a redemption arc for a previously debauched romantic lead that somehow got us to sympathize with the fact that people actually can change. Season 3’s central romance tackles a much safer, more tried-and-true route of friends to lovers to enemies to lovers again, which tackles fewer social issues, though its subplots do feature some refreshing takes on how love looks different for different people, learning to forgive, and the self-sacrificial elements of family. It’s still a strong season of the show, but certain aspects of it feel less satisfying than in seasons past.

                In addition to the excellent production design, the performances remain strong with Nicola Coughlan, Claudia Jessie, and Golda Rosheuvel remaining the standouts. While the rest of the cast continues to fill their roles admirably, looking and sounding the parts that they are asked to play, these three women continue to grow their roles and inhabit their characters in ways that keep them iconic in every iteration. Rosheuvel’s portrayal of Queen Charlotte has become so iconic that it earned the character a spin-off prequel series, and she continues to be a dominating force who steals the screen not just with her wild hairdos but her gravitas and expressions in every one of her scenes. It’s a performance that easily becomes career-defining because of how memorable she has become. Jessie plays the second Bridgerton daughter, Eloise, who defies societal pressures as much as possible and had been Penelope’s best friend up until some drama at the end of the second season, and that break allows her to grow Eloise in new directions this season, showcasing her capability for repartee and satire on a new level than ever before without losing the sense of self and vulnerability that have made her such a lovable character. Coughlan also shines in her increased role this season; obviously, her comedic capabilities have never been in doubt if you’ve ever seen Derry Girls, but she brings a sensuality and authenticity to her romance this season that helps to sell the plot and keep the audience invested even when the writing is doing her story few favors. She is the moment, and she won’t soon let you forget it.

                Where the acting and production value remains at peak levels, the writing in this season has fallen off as the story begins to lose itself too often in the weeds, taking wind out of the central romance’s sails to puff it into a side romance for Francesca that seeks to set up what I assume will be one of Season 4’s two main plots (it’s a good romance, but it detracts from the main story unquestionably). It also spends a lot of time looking at the sudden entrance of the Mondriches into high society from their humble beginnings without actually offering much in the way of story for them besides feeling occasionally out of place. Cressida Cowper (Jessica Madsen) is given an entire character arc this season, but it feels so aggressively two-toned that I wouldn’t be surprised if they rewrote her whole character between the two parts of the season (maybe if I had watched the two parts farther removed, I wouldn’t have noticed the inexplicable shift in her character from part one to part two). Even the drama of Whistledown and her secret identity, which is inextricably tied to the romance of this season, doesn’t really hold your attention like it did in the first two seasons because of the increasing number of people who already know the secret. Really, I was satisfied with the story but never blown away by anything groundbreaking or soul-shattering like I was with the first two seasons, but the open plots that remain for Season 4 to explore leave me hopeful that we’ll get back to that success quickly.

                This latest season of Bridgerton continues to shine in the ways we’ve come to expect, if not quite so brightly in its story department, and it’s held up still by its leading ladies and a phenomenal production team. With the full season now streaming on Netflix, I’d recommend any who’ve been holding out after enjoying the first two seasons to go watch this one as well. If you’re someone who hasn’t watched the show yet, Season 3 is not the place to start, but I highly recommend the first two seasons as well, and if you’re someone who gave the first season a try but found it wasn’t for you, I can’t say that this one will suddenly change your mind. Figure out which of those categories you belong in, and then go and do what you want.

Weekend Watch - Wendell and Wild

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s subject, as voted by the blog’s Instagram followers, is Netflix’s latest stop-motion animated film Wendell and Wild. The film features the voice talents of Lyric Ross, Keegan-Michael Key, Jordan Peele, Angela Bassett, James Hong, Sam Zelaya, and Ving Rhames. It tells the story of Kat, an orphaned girl who makes a deal with two demons (Wendell and Wild) to bring them to the world of the living in exchange for her parents’ resurrection. It’s an interesting film that has been getting some awards buzz in recent days, so let’s get into it.

Letter Grade: C+, there’s a lot to like here, but it ends up being a little underwhelming.

Should you Watch This Film? If stop-motion animation or films about the prison industrial complex are your particular cup of tea, this film is for you. Otherwise, there’s not a ton to write home about.

Why?

                Wendell and Wild is an animated film that has both style and substance but is lacking in the department that brings those two elements together – its story. For starters, there are a lot of fun things going on in the animation department. The colors, the textures, the movements, and the sets all look great and craft a really fun world for the film to explore, both in the underworld and on the surface. Fans of the stop-motion style of animation who enjoy finding the little details in each shot will be rewarded with plenty of easter eggs to keep them happy on multiple rewatches. The film’s overall message and themes are surprisingly heavy, dealing with issues of privatized prisons, coping with the death of loved ones, and the evolving role of parents in the lives of their children. By the end of the film, I was able to say that I agreed with the film’s message and that it felt fairly relevant. Unfortunately, the film’s story does not have a whole lot going for it to make the delivery of its message feel worthwhile. The plot progresses via convenient development after convenient development with few of the film’s conflicts providing any kind of actual issue for the film’s protagonist and her friends. In addition, Kat, the protagonist, ends up being one of the film’s least compelling characters. She is the archetypal troubled teen, lacking in much complexity aside from some very questionable decision-making skills. Wendell and Wild also fail to live up to the typical charm of Key and Peele, ending up feeling more like childish caricatures than fully fleshed-out characters. The film’s most compelling character and its high point, in my opinion, is Kat’s friend Raoul. Raoul’s hesitancy to trust the demons and drive to help his mother discover the culprits that ruined their hometown serves to make him the film’s most interesting character with ties to both Kat’s present and her past and his own story of seeking acceptance within their school community. At the end of the day, Wendell and Wild’s weak story detracts from its stellar animation and resonant message to create a film that is somewhat underwhelming, bolstered only by its more compelling side characters. This film is currently streaming on Netflix, so if you need an okay spooky season watch in the next couple of days, check it out.

Weekend Watch - The Sandman

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give you a review and recommendation for watching it. This week, the subject is Netflix’s latest horror series: The Sandman, based on the graphic novel by Neil Gaiman. It features Tom Sturridge as the titular “Sandman” or “Morpheus” or “Dream” and also Boyd Holbrook, Patton Oswalt’s voice, Vivienne Acheampong, Vanesu Samunyai, David Thewlis, and many others. It follows the story of the King of Dreams after he escapes one hundred years of imprisonment in the human world and seeks to set his realm and the things associated with it back to relative normalcy. Let’s get into it.

Letter Grade: B+, there’s a lot of potential here, but it still needs some work to be great

Should you Watch This Show? If you are at all a fan of the graphic novel, yes! If you are looking for a dark fantasy show with really good worldbuilding, then also yes. I don’t think this show is as universally watchable as some of Netflix’s other releases (read Stranger Things) though.

Why?

                Let’s start with some of what makes the show good. From what I can tell, fans of the graphic novel are highly pleased with most of what the show has done with the source material, which is always a good sign for adaptations (we’ll see how Amazon fares next month with their Rings of Power series). The aesthetic of the art comes through well in the visuals, which are mostly phenomenal to behold – some of the more intricate CGI leaves a little to be desired, but for a television show, the effects are pretty solid. The world of the novel also comes through well in the worldbuilding of the show. The many realms and mythical characters come into the story naturally and with adequate explanation, leaving very little confusion as to the role of each new character. The worldbuilding also leaves you wanting more by the end of the season – at least, it did for me, the sucker for good worldbuilding. Unfortunately, because of all of the characters and story arcs that are brought into the ten-episode season, the story sometimes gets left by the wayside and then caught up with later, rather quickly. The two main stories that feature in this season are deeply interesting in their own right, but because of the exposition that also has to occur, the stories both resolve rather quickly and conveniently with little payoff of things set up earlier in the show. At the same time, it feels like this show wants to set up for an adaptation of the entirety of The Sandman, the graphic novel, as many characters have now been introduced who have larger roles to play later on in the greater story, so that’s promising. (That does mean that we need even more watchers when season 2 drops in the future so that Netflix doesn't cancel it as they so often do. In addition to the solid worldbuilding and oddly paced storytelling, the shows acting is at times great and, at others, only so-so. Vanesu Samunyai, whose first credit is this show, puts forth a valiant effort as Rose Walker, the Dream Vortex and focus of the second half of this season, playing to the levels of the actors in her scene. When across from Tom Sturridge, Boyd Holbrook, and John Cameron Mitchell, she brings a very solid A-game, showcasing the emotional and emotive range of a far more experienced actress, holding her own and even upstaging these more seasoned actors. At the same time, in scenes with Razane Jammal’s Lyta or Eddie Karanja’s Jed, the show reverts to acting more on the level with a CW superhero show (still entertaining in a popcorn-y way, but definitely with more cheese). In addition to the performances of Sturridge, Holbrook, and Mitchell, the true highlights of the show come from David Thewlis as the villain of the first arc – the very creepily unhinged John Dee, whom he portrays with just the right amount of menace – and Kirby Howell-Baptiste and Vivienne Acheampong as the two positive mythical influences in Dream’s life – Death and Lucienne the librarian respectively. Death’s one episode in the middle of the season serves as a high point in both the acting and worldbuilding of the show, showcasing its potential, highlighted in Howell-Baptiste’s subtly emotional portrayal of the avatar of Death, who is apparently Dream’s favorite sibling and the one with the most influence over him. In similar fashion, Acheampong plays Lucienne, the librarian of the realm of Dream, and the closest thing Dream has to an advisor or a friend in his own realm. Her acting is consistent throughout the show, delivering a lot of exposition without ever feeling unnecessary and while having a legitimately involved character arc at the same time, developing alongside Dream. All told, the first season of The Sandman is a mixed bag of great worldbuilding, inconsistent storytelling, and acting that is all over the board. The show’s potential to get better makes it worth watching, along with its skillful adaptation of the original source material.

Weekend Watch - May 2022 Recap

                Welcome back to the Weekend Watch, where each weekend we take a look at new movies and/or television that has recently come out and give recommendations on whether or not to watch. This weekend is May’s last Saturday, meaning we are going to be recapping the quality films that came out in the U.S. this month by categorizing them by their likelihood to make it into the blog’s list of Greatest Films of All Time. Just wanted to offer a quick reminder that the analysis is my own opinion, but the list and rankings are based on ratings from movie critics and fans, box office numbers, and awards. Without further ado, let’s take a look back at the month of May.

Long Shots:

The Duke: Technically, this film was released last year in the U.K. and received minimal BAFTA buzz, but it didn’t drop in the U.S. until this past month. All told, the Jim Broadbent led comedy about a taxi driver who steals a painting from the National Gallery in London sounds like a solid watch but is going to need a wild awards season push in the U.S. to break onto the list, and I just don’t see that happening. Watch it if you want, but don’t expect to see a review on this blog come next March.

Doctor Strange in the Multiverse of Madness: Marvel’s latest outing is incredibly fun, but also apparently fairly divisive amongst both fans and critics. Its mediocre Metacritic Score (60) and Letterboxd rating (3.4) seem likely to keep this film from adding to the ranks of superhero films that are part of the Greatest Films of All Time. Solid box office numbers and the potential for some technical awards keep it as a long shot as it currently stands.

Operation Mincemeat: Another British film that released somewhat later here in the U.S., Operation Mincemeat stars Matthew Macfayden and Colin Firth in a historical drama about a British espionage operation in World War II. My mom really enjoyed this movie, but that might have more to do with its stars than the actual content. It currently has middling scores, no theatrical release (only Netflix), and little awards buzz to help elevate its scores out of the 70s and onto the list.

On the Count of Three: This indie dark comedy about two friends planning a joint suicide attempt has struck a chord in the groups where it has been seen. A solid Tomatometer score (86%) has it Certified Fresh, and I haven’t seen anyone talking about it in a negative way. Unfortunately, its audience ratings aren’t quite high enough to elevate it to greatness, and its indie nature seems to be an indicator that we won’t be seeing its name up in lights come awards season.

Downton Abbey: A New Era: The second follow-up to the successful British television show appears to be even more well-loved than its predecessor. Critics and fans of the show alike have come out in favor of the film’s blend of newness and playing the hits. Outside of Downton Abbey fans, this hasn’t seemed to be quite as resonant, resulting in scores solidly in the 70s for the new sequel. A cast with a few names that pop up in awards season and the potential for costuming and production design awards keep it worth mentioning as a long shot.

Emergency: Amazon’s latest comedy/drama/thriller about college students who find a dead(?) body during the ultimate night of partying has opened on the Prime streaming service to some interesting ratings and reviews. Its scores on Rotten Tomatoes are surprisingly high, perhaps high enough to get it some writing buzz when awards season comes around. However, such an event is not the most likely, so it’ll stay as a long shot that you might should look into checking out if you have the service.

Chip ‘n Dale: Rescue Rangers: I talked about this film on here last week. It’s fun for the whole family and has a solid blend of Lonely Island and Disney humor. Unfortunately, such a combination rarely wins awards, and that’s what this one will need to elevate it out of the slightly above average category and into greatness.

A Chiara: An Italian film released by American studio NEON at Cannes this past week and with limited release in the U.S. It currently has limited reviews, but they are mostly positive. It follows the story of a 15-year-old girl whose family is abandoned by their father, an interesting premise that sounds awards-y. I haven’t heard a ton of buzz about it compared to some other Cannes releases, but its numbers make it worth noting, even if it is a long shot.

Memoria: This Tilda Swinton science fiction drama received a wider release in the U.S. this past month. It was submitted by Colombia for consideration in this past Oscars cycle but was not nominated. Critics seem to love this film, but fans have certainly not. Its 91 Metacritic score keeps it high enough to keep an eye on as more people see it and rate it, but its lack of awards success in the past makes it unlikely to succeed now.

Possible Things:

The Bob’s Burgers Movie: This film follows in the footsteps of the other animated adult comedy show turned into a movie (The Simpsons) in terms of its success. It looks to be receiving solid reviews, and the show is well-liked by many, so it’s not unimaginable that it could garner some heavy box office numbers and maybe even some animated feature nominations.

Sure Things:

Happening: A French film from 2021 that got its release in the U.S. this month, Happening tells the story of a woman’s experience with abortion when it was still illegal in France in the 1960s. Its aptly-timed release has given it a slew of positive ratings from both viewers and critics. A BAFTA nomination last year and potential for some Oscars buzz this year mean that it could rise very high on the list indeed.

Petite Maman: In the same vein as Happening, Petite Maman also released in the U.S. this past month after being made in France and receiving a BAFTA nomination. While its fan ratings are not quite as high, its critic ratings are even higher than its counterpart. It apparently is either very moving or way too slow for its own good depending on who you ask. At any rate, its scores mean that you will definitely be seeing this on the blog at some point in the future.

Top Gun: Maverick: The 35-years-later sequel to Top Gun is doing critical and box office numbers that its predecessor could only dream of, looking to open with around $150 million domestically this weekend with a 6-minute standing ovation at Cannes, a 97% Certified Fresh Rating on Rotten Tomatoes and currently sitting at 99th on IMDB’s list of highest rated movies of all time. This is May’s can’t miss film, with the potential to be the best film of the summer season (May to August). With all of its critical success, it’s hard to imagine it missing out on some Oscars buzz as well, come awards season.