Change Your Image
![](https://m.media-amazon.com/images/M/MV5BYjQzZmNjMmQtZjEzNy00ZTJjLThjYzItZWJjMTI3ZGY0YjI2XkEyXkFqcGdeQXVyNzgyNjAxMw@@._V1_SY100_SX100_.jpg)
zkonedog
Ratings
Most Recently Rated
Bewertungen
Severance: The We We Are (2022)
Season One (9/10 stars): Utterly Intriguing Mystery Bolstered Further By Relatability
I missed this first season of Severance when it hit Apple TV+ in 2022. But in a "better late than never" scenario, I'm glad I dove in even late to the party, as this series features one of the most intriguing and relatable "hooks" in a TV series I've seen in quite some time.
For a very basic overview, Severance ponders "what if your work life was completely separate from your home life?". At Lumon Industries (well, at least one division of the mysterious company), that is the experiment playing out before viewers' eyes-employees are either "innies" (at work) or "outies" (not on the clock) and never the twain shall meet in terms of consciousness. At first glance, this seems to be working pretty well as team-lead Mark (Adam Scott), overachieving Dylan (Zach Cherry), and tow-the-line Irving (John Turturro) seem like your average cubicle-farm team. But when strong-willed newcomer Helly (Britt Lower) is thrust into their ranks, her Innie doesn't accept severance as easily as her Outie. This begins a quest for self-realization (in and out of the office) as well as into just what exactly they are all doing at Lumon in terms of work.
The central conceit of this Dan Erickson (creator/writer) & Ben Stiller (most prolific director) series is as fantastic as it is timely. Work/life balance-especially in a corporate setting-is such a front-facing topic in today's world that it is easy to see why the first episode is a bona fide 10/10. Almost too intriguing not to fall head-over-heels into as it's instantly relatable to anyone with a job (a large potential audience!).
Of course, a series cannot stand on cultural relatability alone-plot and character threads must abound. Erickson & Stiller are equally as strong in those areas, cultivating a heretofore excellent mystery surrounding Lumon. What are the "scary numbers" the main crew are moving around on their screens? Who is Kier Eagan (Marc Geller), the company's enigmatic leader? What is with the room full of goats?! Even more character mysteries abound. This first season set up each thread nearly perfectly (plus, you never know when, say, a Christopher Walken might show up around the corner!) and concluded with a series of major reveals that deepened the rabbit hole even further.
This first season was very close to 10/10 stars for me. The only star I subtracted was for being slightly concerned that the series is moving away from the over-arching work/life balance themes a bit too speedily and maybe a little caught up in the "Lumon bizarreness" of it all. But of course the proof of that will be in the pudding to see which direction Severance goes in its 2025 second season.
Either way, Season 1 is simultaneously an impressive think-piece & engaging mystery that within a single episode will have you hooked on the whole setup and every character.
Frank Capra: Mr America (2023)
Satisfies The Minimum Of Doc Requirements-But Sadly No More
Frank Capra: Mr. America satisfies all the baseline requirements of a documentary. It gives some backstory on its subject (legendary film director Frank Capra), shows the highlights of his peak, and gives some context for the figure's importance. Unfortunately, this doc does not do anything more than those bare minimums.
For a very basic overview, Mr. America tells the story of Capra being an impoverished Italian immigrant who came to America and found the motion picture industry to his liking. He ascended to the top of his craft-collecting numerous Academy Awards in the 1930s-for iconic films such as It Happened One Night, Mr. Smith Goes To Washington, & It's A Wonderful Life. After that, however, Capra disappeared almost as quickly as he had ascended before re-surfacing in the early 1970s with a new book and in with a more sophisticated movie-going public now re-evaluating his films.
In terms of rote box-checking, Mr. America does an adequate job of covering its bases. Capra's story is a fascinating one and the clips from his films elicit real emotion/nostalgia, while his importance to early-Hollywood (Columbia Pictures, specifically) cannot be understated.
At the same time, there is nothing new under the sun to examine vis a vis Capra in 2023-so I'm not entirely sure what purpose this documentary serves other than to capitalize on his name (which, admittedly, is what got my eyeballs). I think that such lack of new material really hurts this doc, because it essentially amounts to a re-packaged (if nicely so) rehash of previous Capra topics. I wanted to know more about his transition to the United States or his post-career socio-political stances (quite interesting), but likely there just isn't anything new to unearth in those regards.
As such, I consider Frank Capra: Mr. America to be a perfectly acceptable doc on its title subject-perhaps more if the viewer has little previous knowledge of the famed director. But even slightly more seasoned Capra/film fans may come away feeling a little underwhelmed.
Mothers' Instinct (2024)
As Empty Of A Film As You Will Ever Find
I rarely give films below 3/10 stars--there's usually something of redeeming value or baseline entertainment I can find with the experience. Very sadly, that was not the case with Mothers' Instinct--almost a little hard to believe considering the star power of the two leads.
For a very basic overview, this film tells the story of Alice (Jessica Chastain) & Celine (Anne Hathaway), two neighbors in the 1950s (perhaps early 60s). When tragedy befalls Celine's son, weird things begin happening to Alice's own young boy. A product of Alice's imagination--or malice on the part of a grieving Celine?
To call Mothers' Instinct a Drama or a Thriller would be a gross overstatement of either term. The film relies on the blandest of 50s movies tropes to establish its characters and as such they are almost completely hollow. I have absolutely no idea what I was supposed to be rooting for or against. Even the 50s vibe adds nothing here, as this movie could have been set in any time period.
Hathaway & Chastain have proven themselves to fine actors innumerable times, but this one was a dud from the word "go". No amount of thespian talent can save this empty vessel of a film.
Mad Men (2007)
A Different Kind Of Prestige Drama
Mad Men is perhaps the most unique prestige drama I've ever encountered. Whereas almost every other show I've watched has at least some action, adventure, or big set-piece components to it, Mad Men does not. It is, for all intents and purposes, a show about people talking and expressing emotions. While this and show creator Matthew Weiner's oblique style of episodic writing won't be everyone's cup of tea--it isn't even mine a lot of the time, truth be told--Mad Men is good enough as a 1960s period piece and alternative to more action-oriented dramas to be a compelling experience.
Trying to sum up seven seasons of Mad Men in this small space would be silly, so I'll suffice it to say that this is a show about characters. Not even "characters put in extreme situations", but rather "characters just living life". Of course, that life is on Madison Avenue in 1960s Manhattan so things are never boring. Mad Men is equal parts ad agency shenanigans and how all the participants cope (or don't) with the work/life balance.
As I mentioned, Weiner's style here won't be for everyone. His episodes are often based on a single wisp of an idea or concept that isn't well-defined and often won't carry over into the next installment. In one example, an extremely heavy episode ends with the show's lead wading into the ocean--and that's it. This is a series that doesn't spell its emotions or ideas out for viewers with trademarked flourish or pomp-&-circumstance. It keeps its emotional material very low-key.
That isn't to call Mad Men bad or slow by any means. The journey it takes viewers on via its character proxies is remarkable: the always-moving-forward Don (John Hamm)--the career-driven Peggy (Elisabeth Moss)--the up-and-comer Pete (Vincent Kartheiser)--the wise-cracking Roger Sterling (John Slattery). I could go on and on, to say nothing of the heavy screen time given to Don's wife Betty (January Jones) & daughter Sally (Kiernan Shipka). Other big names like Christian Hendricks, Robert Morse, Alison Brie, and Jared Harris litter the cast. For Weiner to pull off what he's going for in Mad Men he needs impeccable acting talent and it is fully provided here.
The 1960s setting is also a stroke of genius for Mad Men, as it allows the quirks/foibles--or often out & out shamefulness--of the large ensemble cast to be stomached as a "relic of the past" (even if not always necessarily true). Whatever relatively small gripes I may have about Mad Men, it is almost without a doubt the finest period piece ever constructed.
Overall, Mad Men was a show that--at least for me--absolutely lived at the 7 or 8-star level. Some notable episodes went higher--but few went lower. I often did feel a little frustrated or underserved about Weiner's understated nature towards the entire endeavor, but the production quality and acting talent is so high that it retains a solid place on my all-time list even if not cracking the highest tier.
A Perfect World (1993)
A Wonderful Costner Performance Ceilinged By Eastwood's Ham-Fisted Directing
There are some Clint Eastwood-directed films that I consider amongst my favorites of all time. But as likely as those masterpieces are the times when his ham-fisted societal views overshadow a narrative rather than support it. That is exactly what happens in A Perfect World--somewhat neutering a wonderful Kevin Costner performance.
For a very basic overview, A Perfect World tells the story of Butch Haynes (Costner), an escaped convict who takes child Phillip (T. J. Lowther) hostage while on the run. Pursued by Sheriff Red Garnett (Eastwood) and new psych evaluator Sally Gerber (Laura Dern), Butch & Phillip form a bond as they manage to stay one step ahead of law enforcement.
Without a doubt, the high point of A Perfect World is Costner's performance. He perfectly conveys the necessary grit of a convict while also showing a softer, more sincere side. His chemistry with young Lowther is admirable and this film shines whenever they are both on screen.
Unfortunately, any time Eastwood points the lens at himself in A Perfect World the picture drags to a halt. Why? Because the usually-esteemed director hits some of his "same old schtick" and doesn't include any of the nuance of his best directorial efforts. Here, it is the typical "grizzled old school cop vs young whippersnapper" routine and absolutely nothing more. That side of the film caps the ceiling of the entire endeavor.
Truth be told, in terms of overall execution this was more of a 6/10 star movie for me. But I'll tack on an additional star because by the end, I felt some real emotion towards the Butch/Phillip relationship. Had that been the focus of the entire runtime, we might be looking at an all-time classic here. As-is, it is worth a watch for the Costner performance and that's about it.
Mad Men: Waterloo (2014)
Season 7A (8.5/10 stars): A Slow Start, But An Absolute Dynamite "Finish"
When viewers last saw Don Draper (Jon Hamm), he was in complete meltdown mode-pitching to Hershey while simultaneously spilling some beans on his checkered past. As Season 7A (first 7 episodes released in 2014) opens, Don is on leave (perhaps code for "about to be fired?") from the agency that he helped build, trying to put together the pieces of his life and-as always-figure out the next step.
As has become a bit of a pattern with this series, the first few episodes of this season are a bit slow. Not "bad", per se, but 7/10 star average affairs. Not necessarily befitting the start of Mad Men's final go-round and prone to the navel-gazing and ground-retreading the show can often fall into.
But as the installments continue rolling out, the quality begins improving again-slowly at first and then a few 10/10 star efforts to finish up this first 7 of Season Seven.
Without going into all the details on all the characters, no one gets the short shrift here. A few especially compelling angles in this set include...
-Both Don and Betty (January Jones) trying to connect with a now firmly adolescent (and insolent) Sally (Kiernan Shipka).
-Peggy (Elisabeth Moss) forced to reckon yet again with her role in a male-dominated industry.
-The agency enters the computer age, and not everyone-especially Michael Ginsberg (Ben Feldman)-is happy about the digital intruder.
-Roger Sterling (John Slattery) traversing to a commune to retrieve-or perhaps reconcile?-with daughter Margaret (Elizabeth Rice).
Of course, the prevailing themes always come back to Don (and Peggy, to a slightly lesser extent) and that ends up being the case again here. The final few episodes see those characters share many scenes together and it feels as magical as it did at some points in the earlier seasons.
Overall, I gave this first half of S7 8.5/10 stars. It may not be the very best the show has to offer to this point because of the slow start-I'll still give that honor to S5-but the finale set to the backdrop of the 1969 moon landing is entrancing from beginning to end and whets the viewing appetite for the stretch run to be sure. By this point, the characters are so endearing that even a Bert Cooper (Robert Morse) musical number doesn't feel out of place in the slightest.
Charlie Hustle & the Matter of Pete Rose (2024)
One Of The Best Sports Docs I've Ever Seen
With the gambling allegations that sprung up around Shohei Ohtani's interpreter early in 2024, this was the perfect year to re-examine the Pete Rose saga. HBO Docs & Bad Robot Productions give it the first-class treatment here, with writer/director Mark Monroe knowing exactly how to frame Rose without "picking a side" on his Hall of Fame or MLB reinstatement quest.
Over the course of its four roughly hour-long installments, Charlie Hustle & The Matter of Pete Rose covers all the bases (pardon the pun) of Rose's career. From his deep childhood roots in the city of Cincinnati to his heralded playing career (truly one of the all-time greats) to the gambling scandal(s) that ultimately ousted him from MLB, this doc covers it all.
The key factor here: access/interviews with Rose himself. Why? Because Rose is extremely gregarious and the perfect "turn the camera on and let him go" doc subject. He is 100% authentic to himself, and that is perhaps a fading commodity in the age of social media and identity politics. This can make Rose extremely likable, as who doesn't enjoy someone authentic not afraid to speak his/her mind? His stories--especially about his playing days--will often have you laughing out loud!
At the same time, this doc crew knows the real tragedy of Rose: that he is his own worst enemy when it comes to potential reinstatement. Pete is a serial liar who either cannot or will not project any sort of sincerity when it comes to apologizing for his gambling foibles. It is always "steroids/sign-stealing/today's gambling is worse" or "I only beat on the Reds" or the like. This is a guy who will come to casino openings and place the first bet while at the same time meeting with MLB commissioners towards reinstatement. Truly a fascinating contradiction.
The producers of Charlie Hustle know exactly how to handle all of this. Instead of pushing one argument or another too hard, they simply let the cameras roll and capture all of it. That is truly the best way to understand the odd nuances of Pete Rose.
It has been a long time since I've seen a sports doc as engaging as this one. Absolutely recommended (if not close to required) viewing for anyone interested in baseball history or the Rose saga even tangentially. It is fascinating and will hold your interest without fail for all four hours.
Presumed Innocent: The Verdict (2024)
Season One (8/10 stars): A Solid Remake (More Re-Imagining) Of The 1990 Legal Thriller
I'll state right off the bat here that it is impossible for me to review Apple's Presumed Innocent series with "full innocence" (pardon the pun) simply because I have seen the iconic 1990 legal thriller multiple times. Harrison Ford, Brian Dennehy, Bonnie Bedelia, director Alan J. Pakula--that one is an all-time legal classic. This remake--perhaps more re-imagining, definitionally--is a solid successor to that legacy while also throwing in some unexpected twists along the way.
For a very basic overview, Presumed Innocent tells the story of Rusty Sabich (Jake Gyllenhaal), a prosecutor himself now charged with the murder of friend/mistress Carolyn Polhemus (Renate Reinsve). Facing down fellow prosecutor (and personal tormentor) Tommy Molto (Peter Sarsgaard) with only Raymond Horgan (Bill Camp) in his corner, Rusty must plant that all-important "reasonable doubt" within the minds of the jurors for his acquittal. All the while, Rusty's wife (Ruth Negga) and children (Kingston Rumi Southwick & Chase Infiniti) are conflicted about the entire ordeal. Did Rusty actually commit this heinous crime? It is not revealed until the season finale.
Like I said, it is tough for me to review this iteration of Presumed Innocent without bias because I know the "big twist" that defines the original. But I think this one is a solid legal thriller all the same. The cinematography and atmosphere is extraordinary even by today's high TV standards, and showrunner/writer David E. Kelley adds his usual panache to the proceedings. This whole endeavor is very much set up like one of his HBO "whodunnit" prestige dramas and features the ridiculously strong ensemble cast to match.
Even knowing the general plot points, however, I was still able to enjoy this season because of the deft way it services fans (like myself) who revere the original. After the first few "setup" episodes, it becomes clear that expectations--especially involving the big reveal--will be played with, if not outright subverted this go-around. As such, it was just as much fun watching to see "how things will/won't change" for a viewer like myself. In the wrong hands this could have been extremely messy or outright disastrous, but Kelley, Apple, & Bad Robot Productions are all up to the task.
Is Presumed Innocent as good as one of those prestige HBO dramas? Again, tough for me to say with 100% certainty, but I think the answer is "no". Once this season starts firing on all cylinders as a in-courtroom drama it churns out some 9/10-star episodes. But there are also a few 7/10 efforts where the pacing is a little odd or just outrightly slow.
I'm also not sure the "new twist"--which I won't spoil here--was the best choice. While certainly a shock, is it earned in the context of all that came before it? I'll argue "not quite", but it is certainly a doozy nonetheless.
Overall, it was simply fun to have a solid, non-fantasy/Game of Thrones series on the air for some water cooler discussion. Though perhaps a step below in overall quality/effectiveness, Presumed Innocent felt like a buzzy Sunday night drama, especially in its week-to-week format.
The Watchers (2024)
Nails The Thriller Atmosphere, If Shaky On Plotting/Characters
Written/directed by Ishana Shyamalan, The Watchers feels like many of the terrific psychological thrillers from the late 1990s or early 2000s. It really captures that spooky, "what is happening here?" atmosphere. Unfortunately, Shyamalan misinterprets too many plot and character beats for The Watchers to be a great film.
For a very basic overview, The Watchers tells the story of Mina (Dakota Fanning), a young woman who finds herself trapped in a seemingly inescapable woods. She stumbles upon the trio of Madeline (Olwen Fouere), Ciara (Georgina Campbell), and Daniel (Oliver Finnegan) who profess knowledge of Watchers-their captors who view them through a one-way mirror every night and make escape impossible. But Mina doesn't necessarily buy the rhetoric sight unseen and begins her own investigations into what exactly might be transpiring.
Atmospherically, The Watchers is really solid. The younger Shyamalan pulls you into the mystery of the piece by parceling out interesting reveals and intriguing creatures much like her notoriously similar father. Investment in the characters and overall plot is not the issue here.
What happens at a certain point, however, is that The Watchers must of course declare what sort of film it is. Is it a literal film or is it a metaphor film? I won't spoil that declaration here, only to say that once it does declare a direction the necessary character-development needed to support the conclusion is not present. When all is said and done, this is a film draped in plot but one that really relies on the character relationships to work in the end, and I don't think Shyamalan achieves that mixture with much success.
Overall, The Watchers is the type of filmmaking I really enjoy but specifically not the best of the thriller genre. It represents a significant achievement for the first-time-behind-the-camera Ishana Shyamalan that can perhaps be built on to achieve even loftier heights in her next go-round.
Horizon: An American Saga - Chapter 1 (2024)
A Lot Of Hubris Results In A Baffling Final Product
I am generally a big fan of Kevin Costner's work and am never averse to a solid Western film. As such, I had been looking forward to Horizon for quite some time. Sadly, it proved to be a major disappointment in just about every way--mainly because of Costner's hubris within the entire project.
For a very basic overview, Horizon Chapter 1 tells the story of the titular town that has sprung up during America's late-1800s westward expansion. Multiple plot lines are set up in this inaugural effort, such as Hayes Ellison (Costner) unexpectedly paired up with on-the-run prostitute Marigold (Abbey Lee), a mother (Sienna Miller) and daughter (Georgia MacPhail) coping after a skirmish with the Native Americans, and a fiery young woman (Jena Malone) on the run from two brothers hell-bent on returning her home.
The biggest problem with all this is that it is truly 100% setup--and three hours of it. I honestly cannot recall a first-run film that has taken this approach--and it will probably be the last. In hindsight, there seems to be a reason why Costner himself had to dump so much cash into the project. I don't know if the idea would have worked in 1988 when it initially came to him--but it certainly doesn't fly in the 2024 cinematic environment. A staggering amount of hubris on Costner's part here.
The next crippling blow: I didn't particularly care for ANY of the plot or character setups harbored within Horizon. Costner himself doesn't show up on screen for quite some time, and never once was I emotionally invested in any of the plot lines (probably because it was confusing enough just keeping up with everything and trying to understand who was where!).
So, let's see here--a three-hour slog that provides zero resolution when the credits roll? Yikes. The experience leaves me with absolutely no desire to see Chapter 2 if/when it ever hits the big screen or digital/streaming. I'll throw it a meager three stars for some nice cinematography and the notion that it seems like everyone is really trying hard to create something unique, but it is mostly a boring, uninspired setup.
Like I said, I appreciate Costner's love for cinema and willingness to take a big chance on his art. But I cannot, for the life of me, understand why this format in particular is what he bet millions on. Perhaps it would work better as an episodic TV series, but as a series of films it is--at least so far--a failure of pretty epic proportions.
Receiver (2024)
A Nice Follow-Up To Quarterback
In the summer of 2023, I thoroughly enjoyed the behind-the-scenes look that Netflix's Quarterback gave to the NFL. In 2024, much of that same spirit was captured in this Receiver installment.
This time around, Peyton Manning's documentary crew follows wide receivers Justin Jefferson (MIN), Amon-Ra St. Brown (DET), Davante Adams (LVR), Deebo Samuel (SF), and George Kittle (SF) through the 2023 season, chronicling their on-field exploits as well as their home life.
Each wideout has an interesting story:
-Jefferson's ascension to the WR stratosphere and recovering from his first major injury
-St. Brown leading the Lions deeper into the playoffs than decades past
-Adams' struggle going from the perpetually-winning Packers to a more meager Vegas variety.
-Kittle and Samuel persevering through all the bumps and bruises it takes to make a Super Bowl run.
The first thing that will jump out at viewers here is that Kittle is the absolute star of the show. His personality is absolutely magnetic and one can't take eyes off him every time he's on screen. While Jefferson, Adams, and Brown are a bit more taciturn or reserved, Kittle (and to a lesser extent Deebo) make this whole sequel series work.
Is it as good as Quarterback? Well, I gave that initial effort 10/10 stars, so I'd have to say probably not quite. But the 9/10 rating here puts it close enough to still be extremely entertaining. The need to cover so many figures perhaps holds it back from realizing its true potential a little bit.
A small gripe, however, for what just may be turning into an annual "football is in the air" sort of summer series.
Inside Out 2 (2024)
A Decently Entertaining Romp, If Not The Flagship Disney-Pixar Wants It To Be
The Inside Out franchise is one that continues to vex me. On one hand, they are decently entertaining romps, to be sure. But on the other hand, I feel as if they don't quite (or even closely, sometimes) measure up to the Disney-Pixar magic of old.
For a very basic overview, Inside Out 2 picks up on the story of Riley (Kensington Tallman), now just entering puberty. As a result, Joy (Amy Poehler) and the emotions from the first installment begin being pushed aside by newcomers like Anxiety (Maya Hawke), Envy (Ayo Edebiri), Ennui (Adele Exarchopoulos), and Embarrassment (Paul Walter Hauser). This leads Riley to lose her Sense of Self, which the original emotional gang set out to retrieve from the depths of Riley's mind.
From a bare-bones story perspective, IO2 is pretty well put-together. It successfully links Riley's impending adolescence with new thoughts and feelings in a manner that feels authentic to real-world experiences. There are also some fun visuals and sight gags regarding the Emotions as they quest towards their goal--a "brain storm", a "stream of consciousness", and a "back of mind" waste dump. All of this is fairly entertaining in and of itself.
Yet, there are a few key ways in such this movie didn't grab me the way it potentially could/should have:
1. This franchise is now into "retread concept" territory in the sense that the use of animated characters representing emotions is no longer as novel of a concept as it was in 2015. Nothing to be done about this, obviously, but it makes this sequel seem less fresh.
2. There isn't enough Riley, oddly. IO2 really slants the needle towards the Emotions, to the point where I feel like the connection between what they are doing and how it is manifesting in Riley is sometimes tenuous.
3. When the (literal) giant red "Puberty" button flashes at the beginning of a movie, there are many directions it could go. I'm not saying that Pixar should (or would) do anything explicit, but having that concept turn into little more than a crisis of self-confidence for Riley feels like a big missed opportunity. Even in a non-sexual way, I feel as if many jokes or sight gags were lost in pursuit of this more serious plot line.
A telling moment, for me, towards the end of the film was an incredible monologue from Poehler's Joy. While spot-on and capable of giving you pause in your theater seat, it (sadly) is not altogether earned to that point in the movie. One could almost argue the entire experience needed to be built around this concept, rather than having it dropped seemingly out of nowhere.
Ironically, I also gave the original Inside Out a 6/10 score--if for completely different reasons. While I felt that film tilted too far in the "we need to have parents bawling" direction, this follow-up largely lacked the ability to even potentially persuade such high emotion. A really great balance of plot, emotion, humor, and gravitas has not yet been reached by either film.
Dark Matter: Entanglement (2024)
Season 1 (4/10 stars): An Interesting Setup That Slowly Trickles-Then Quickly Streams-Into Messy Disaster
I was about as all-in on Dark Matter as one could be at the outset. A new sci-fi series from genre-master Apple starring Joel Edgerton, Jennifer Connelly, and Jimmi Simpson? Sign me up! Sadly, despite an interesting few initial episodes, Dark Matter ultimately descends into messiness which renders it sterile from both emotional and plot perspectives.
For a very basic overview, Dark Matter tells the story of Jason Dessen (Edgerton), an obsessed scientist who has developed a quantum box device that allows him to traverse the entirety of the multiverse. Or is Jason a family man with wife Daniela (Connelly) and son Charlie (Oakes Fegley)? Well, he's both-and the former wants to swap existences with the latter. What unfolds is a tale of choices made (or not made).
The first couple of episodes truly do set up an intriguing concept: one Jason replacing another to experience the "road not taken". This teases a tense drama of the Dessen family struggling to come to terms with someone who ostensibly is a father/husband-but also not-all the while the other Jason struggling to return home and set things right.
Sadly, that is not the series that plays out. Instead, the alternate-Jason "family outsider" storyline (which should be the emotional core of the whole show) is largely back burner-ed in favor of "Jason 1" and Amanda Lucas (Alice Braga) hopping through different universes for multiple episodes. A critical error that not only puts the confusing quantum sci-fi at the forefront, but also fails to create much-needed character investment.
Then, the final nail in the coffin: Again, instead of pivoting towards character beats in the final two episodes, Dark Matter essentially just says "let's just add a bunch more Jasons!". This is where the season really lost me. Not only did I not understand what/why this was happening, but there is not a single interesting twist or character decision even in that endgame. My individual ratings for the final two eps: 4 stars and 3 stars, respectively.
Beyond the mechanics of it all, it is also unforgivable that Dark Matters casts the legendary Connelly and then sidelines her to "suspicious glances" or "confused countenance" for most of this run. The exact same can be said of plotlines with Ryan Holder (Simpson) and Leighton Vance (Dayo Okeniyi)-great actors that provoke confusion rather than enrapturement due to their odd usage.
Somewhat ironically, Dark Matter is nearly the exact inverse of Apple's earlier Constellation series. Whereas that show started off painfully slow and built to an incredible climax, this one begins with a spark that is quickly extinguished through the exceedingly odd (and often downright poor) plot/character focuses. A rare high-profile misstep for Apple's prestige drama division.
The Bikeriders (2023)
Some Really Interesting Ideas In A Mostly Aesthetic-Driven Piece
Buried in writer/director Jeff Nichols' The Bikeriders is a very interesting treatise on the history of motorcycle gangs/clubs and how they evolved over time. Yet, considering this entire project sprung from essentially a coffee-table photography book, the overall experience is far more rooted (for better or worse depending on your tastes) in the biker aesthetic and less in plots/themes.
For a very basic overview, The Bikeriders is based on interviews with Kathy (Jodi Comer) about a Midwest biker club--The Vandals. In conveying the story of the group over time, her remembrances largely focus on boyfriend/husband Benny (Austin Butler) and group leader Johnny (Tom Hardy).
Like I said, Nichols incorporates some really interesting material here and there in the narrative. Viewers come to find that the Vandals are really just social outcasts (sometimes even outright cowards) who are "looking for something to rebel against" and outrunning any responsibilities. But then, when scarred post-Vietnam War soldiers begin joining the ranks, the clubs and their various chapters turn violent as per the repressed rage carried by those new enrollees. Even if one knows nothing about motorcycle clubs, this is a fascinating arc.
Lest you think such commentary is the backbone of Bikeriders, however, you'd be mistaken. For the most part, one really has to enjoy the aesthetic experience of the piece to truly get into it. You have to get goosebumps when a hog is kick-started--you need to feel the freedom of an open road--you need to be utterly transfixed by the sight of Butler's James Dean-esque Benny in his club jacket and slicked-back hair. Your ability to ensconce yourself in those style and mood characteristics will largely determine your enjoyment of the film as a whole.
I came to this flick for the intriguing Butler-Hardy-Comer combination, knowing nothing about biker culture and caring about the same amount. I was certainly provoked by the underlying social themes that Nichols presents, but at the end of the day I can really only go as high as 6/10 stars for The Bikeriders because I needed more of that material. The sights/sounds weren't able to carry the day for me here.
Brats (2024)
Secondary Musings More Interesting Than Title Crusade Here
Brats is a bit of a weird documentary. Not subject-wise--everyone knows the Brat Pack of young actors from the 1980s and this is as good a time as any to give them another look-over. No, this doc is strange because its primary goal isn't the main draw here--rather the musings director Andrew McCarthy makes along the way.
For a very basic overview, the premise of this doc is McCarthy--a Brat Pack member himself--telling the story of how that label (from a 1985 magazine article penned by David Blum) really damaged him emotionally at that time and somewhat still haunts him to this very day. As such, he goes on a quest to track down the Brat Pack members--as well as Blum--in interviews to gather further thoughts.
Like I mentioned, these primary goals don't always work the way they should. McCarthy shows somewhat of a lack of understanding of what the Brat Pack label really meant, he can't reach all the old gang, and he doesn't necessarily get the absolution from Blum he anticipated.
But all that didn't bother me as much as it may have others. Why? Two reasons:
1. It is just so much fun (and so nostalgic) to see the likes of Emilio Estevez, Ally Sheedy, Jon Cryer, Lea Thompson, Timothy Hutton, Demi Moore, and Rob Lowe again and catch up on their present selves. Whether bona fide "Brats" or more "Brat-adjacent", they each bring an interesting opinion to the table.
2. The overall musings on how 1980s cinema saw the meteoric rise of cinema for teenagers (which is now perhaps the key demographic to the whole business). Before that, young people were not the target audience for most movies--but the Brat Pack had an enormous role in changing that and skewing Hollywood younger than at any previous period.
So, even though the main premise of Brats didn't quite live up to its billing, I found it interesting and engaging enough in other ways to really enjoy it. A must-watch for anyone who remembers these films/actors or even has a passing interest in such material.
Reverse the Curse (2023)
Doesn't Fully Capture The Emotion The Book Offered
Reverse the Curse was a film I desperately wanted to love. I'm a huge fan of David Duchovny's acting, writing, & directing, and have read the source material (his own "Bucky F*ing Dent" novel) from which this is based. Sadly, Reverse the Curse didn't emotionally connect with me in the same way the book did.
For a very basic overview, this movie tells the story of Ted Fullilove (Logan Marshall-Green)--a 1970s Yankee Stadium peanut-vendor who gets the dreaded call that his quasi-estranged, Red Sox-rooting father Marty (Duchovny) is dying. As the two awkwardly reconnect, they discover that a shared interest in baseball may help the relationship flourish in its final weeks.
In a sense, Reverse the Curse is a relatively straightforward "strained father/son relationship" flick. As writer, director, & producer, Duchovny definitely puts his unique comedic/philosophical touches on the material and one can tell he is genuinely trying to create real emotion (even often through the lens of Californication-like comedy).
But overall, the experience largely comes up short in two distinct categories:
First, this is a period piece (1970s) that doesn't seem like it whatsoever. Perhaps budgetary restrictions are the main culprit, but I never felt absorbed into 70s culture like I should have been.
Also--and most egregious--is the puzzling lack of baseball content in the film. While by no means a "baseball movie" at heart, Reverse the Curse puts forth surprisingly little mention of baseball whatsoever until the final act. In the novel, I remember the Marty/Ted relationship being defined by baseball and more material of Teddy at Yankee Stadium. That isn't the case in the cinematic version--and I think it is sorely missed.
As such, I have to cap my ranking of Reverse the Curse at 6/10 stars. Though featuring a strong setup and genuine heart behind the entire project, it seems a bit too much was "lost in translation" in the book-to-screen adaptation process.
Young Woman and the Sea (2024)
Wins The Heart On Pure Emotion Alone
In a logical, reasoned sense I know that Young Woman & The Sea is not a 9/10 star film. It is a Disney-fied family drama that sometimes features cringe-worthy dialogue or tropes. But if the purpose of the cinematic experience is to tug at the heartstrings and invoke strong emotional reactions, one almost cannot be helped to be sucked into the flick.
For a very basic overview, Young Woman & The Sea tells the story of Trudy Ederle (Daisy Ridley), a rare female swimmer in 1920s New York who would first represent her country in the Olympics and then attempt to be the first woman to swim the English Channel. Inspired by sister Margaret (Tilda Cobham-Hervey), mother Gertrude (Jeanette Hain), and pushed by coach Lottie Epstein (Sian Clifford), Trudy must not only show her physical aquatic prowess but also overcome the sexism of the times by handler Jabez Wolffe (Christopher Eccleston) and even father Henry (Kim Bodnia).
The biggest thing Young Woman has going for it is that it is hitting cinemas at an absolute perfect time, what with Caitlin Clark (and others) inspiring a wave of appreciation for female stories revolving around sports. That isn't to minimize the film's ability to invoke emotion, however, as director Joachim Ronning and writer Jeff Nathanson craft a solid narrative here. It is well-shot (the swimming scenes are a delight), full of forward momentum, and consistently shows the obstacles placed in young Trudy's path simply by dint of her gender and how she hurdles practically all of them.
Ridley is also perfect for the lead role, channeling her Star Wars success nicely here. For Young Woman to work, audiences need to be fully emotionally invested in Trudy's struggles and triumphs, and Ridley has no trouble getting those emotions across.
Going into the movie, I was worried it would be a schmaltzy Disney family flick-and it certain ways it very much is. This isn't a hard-hitting, in-the-weeds, serious prestige drama. While it covers all the requisite issues Trudy's story entails, it does so with a coat of varnish to make it enjoyable for all audiences.
But in the final reckoning, other than a few cringe-worthy dialogue moments, Young Woman & the Sea was so emotional and inspirational that it consistently won me over-especially the final act (and even closing credits) that reference the real-life Trudy to cement the story's grounded nature. Such investment makes it hard to dislike this film.
The Beach Boys (2024)
The Perfect Doc For Its Length, Subject, And Audience
Because The Beach Boys are such a long-tenured musical institution and feature the requisite history (good and bad) to go along with that longevity, one could do a 5-part doc and probably still leave some topics on the cutting room floor. What this Disney+ doc accomplishes in just under two hours, however, is an excellent summation of the group that primarily focuses on the family aspect and the timelessness of the music they created. Plus, it is a positive-focused doc--albeit one that doesn't completely shy away from some of the more controversial material.
In terms of general chronology, "The Beach Boys" focuses on the group's creation through roughly the late-1970s--plus a sort of "where are they now" coda that is extremely moving. As mentioned, the material largely revolves around two themes:
-Family: The Beach Boys are extremely unique in that they were mainly populated by three brothers (Brian, Carl, & Dennis Wilson), a cousin (Mike Love), and a close friend (Al Jardine). Very few other music groups can boast such a tight-knit family bond--highly credited with keeping the ship afloat during the rough patches.
-Music: The group created harmonies that have proved to be timeless as new generations keep discovering them. While Brian may have been the composing genius behind the scenes and Mike the perfect "front man", this doc makes it clear that every Beach Boy (even the "fill-ins" along the way) was vital to the overall sound and success of the group.
Is this a positive and upbeat doc befitting of its Disney roots? Of course--and that's almost certainly the right approach to take with "America's Band"! But director Frank Marshall also doesn't completely shy away from the more sensitive topics: the influence of Murry Wilson, Brian's turbulent mid-70s period, and Mike's legal suit for songwriting credit among them. But such material simply is not dwelled upon.
All things considered, "The Beach Boys" seems like the perfect doc for its length, subject, and audience. Deeper-dives can easily be done via large tomes or specific docs/movies on other Beach Boys topics--but this doc is an excellent summation of why their music is so magical and where it all came from.
The Miracle Worker (1962)
The Power of Education
1962's The Miracle Worker-from director Arthur Penn and writer William Gibson-is largely considered an all-time film classic. Viewed some 60+ years after its initial release, it still holds up due to its exploration of the power of education.
For a very basic overview, The Miracle Worker tells the based-on-reality story of Helen Keller (Patty Duke)-a young girl stricken deaf and without speech or vision since infancy. With seemingly nowhere else to turn besides an asylum, the Keller family calls in Annie Sullivan (Anne Bancroft) from a school for the blind. A battle of wills commences as Annie struggles to teach Helen the nature of the world despite the obvious obstacles.
The first half of Miracle Worker contains perhaps its most iconic, top-of-the-mind scenes illustrating that battle of wills between Annie & Helen, the latter having been "spoiled", in a manner, by a family that does not quite know how to handle her. The dining room scene is paramount here-an almost 10-minute sustained sequence in which Annie must exert some sort of control over her new pupil. It is shocking simply in its courage to render such intensity involving a child.
Yet, that first hour sets up a movie that is good but not necessarily "one for the ages". It frames the Annie/Helen relationship as simply a struggle for power and it features some noticeably histrionic over-acting from Helen's parents Arthur (Victory Jory) & Kate (Inga Swenson). In short, it is very much a film of its era.
As such, I'll argue that the film's final 45 minutes are what makes it stand the test of time. It is there where the focus begins to shift to more nuanced, universal themes, most notably: Annie's desire for Helen to understand that words have connections to real things/concepts. In a sense, The Miracle Worker becomes a film not primarily just "the Helen Keller story" but also about the power of education in general. When the final breakthrough is made at the water pump, you'll be wiping away tears not just for Helen's progress, but for the triumph of Annie in instilling an educational philosophy that will allow Helen to grow her mind.
In the final reckoning, the legacy of The Miracle Worker is that it's as much of a film about Annie's commitment to education/learning as it is about Helen's specific travails. It is a bit of a journey to get all the way there, but the emotional payoff is one almost guaranteed to fill you with joy and leave a lasting impact.
Rocky Balboa (2006)
The Most Authentic Rocky Performance Since The 1976 Original
After the inspirational brilliance that was the original 1976 Rocky, the character goes in a multitude of directions--he tangles with professional wrestlers (III), ends the Cold War (IV), and is once again exiled to the meaner streets of Philadelphia (V). While opinions on those movies vary tremendously, one constant is that the character isn't quite authentic to the '76 film. That all changes with Rocky Balboa--a movie that by all rights should not exist but remarkably recaptures the Rocky magic 30 years after it began.
For a very basic overview, Rocky Balboa tells the continuing story of the titular pugilist (Sylvester Stallone), now in his 50s living in Philly. Adrian has passed away and Rocky runs a restaurant in her honor, but it quickly becomes clear he has a lot of unfinished emotional baggage. Egged on by Paulie (Burt Young) and inspired by the rekindling of an old friendship with Marie (Geraldine Hughes), Rocky decides he has some "stuff in the basement" that he wants to excise and thus pleads to be re-licensed to box again. At the same time, an opportunity arises when heavyweight champion Mason "The Line" Dixon (Antonio Tarver) is desperate to prove himself as a true champ--even if such an exhibition seemingly puts Rocky on the outs with his son (Milo Ventimiglia).
What Rocky Balboa immediately makes clear in the context of the franchise is that Sly does his best work when life imitates art (or is that the other way around?). In '76, Rocky's story might as well have been Stallone's own--and a masterpiece was a result. A similar thing happens here: after years of box office bombs or inactivity, one could be forgiven for thinking Sly's career was effectively over. Instead, he channels those emotions into the Rocky character and the result is perhaps the best sequel to that original.
The hallmark of Rocky Balboa is probably its thematic consistency--something the up-to-this-point Rocky sequels do not always excel at. There are a couple moments in Balboa that might make you roll your eyes (including a final fight sequence that is perhaps a bit too supercharged), but it never really drags down the proceedings because Sly-as-writer is so on point. Rocky's struggles are immediately laid bare, and his steps to overcome them all hit a logical and emotional chord. Character consistency is also strong here. More than any other Rocky sequel (even the close-proximity II), Sly just feels like that '76 Rocky again.
Another area of success here is a perfect balance of "nods to the past" versus "forward-facing material". Stallone deftly weaves both of those things together so it never gets out of whack either direction.
Overall, Rocky Balboa is a remarkable sequel to a seemingly unassailable original. From the first time you see Stallone re-inhabit the character, it just feels like "1976 home" and continues that thematic consistency all the way to the closing credits. Pretty amazing considering the 30-year gap between the two.
Challengers (2024)
A Bit Lost Between Two Goals, But Mostly Entertaining
Generally speaking, I tend to have a lot of respect for films that take big swings-certainly what Challengers is doing in trying to be a "metaphor movie" while also a straight-ahead sports drama. In this specific case, however, I found Luca Guadagnino's effort to be caught in the schism of trying to satiate both those masters and ultimately falling a bit short (if still entertaining) in the process.
For a very basic overview, Challengers tells the story of Tashi (Zendaya), a rising-star tennis prodigy whose career is derailed by injury. Tashi is also involved-romantically and professionally-with fellow tennis stars Art (Mike Faist) & Patrick (Josh O'Connor) and a triangle of love, power, and goals unspools.
For most of Challengers, I viewed it as a pretty straight-ahead "love triangle sports movie" and was enjoying it. Sure, it is the type of film that puts rave music over everything (even dialogue sequences, oddly), but that's simply the Guadagnino style. The use of flashbacks to set up the final scene that inches forward over the film's runtime is effective, and the overall setup of Tashi having to choose between stable and winning (but unmotivated) Art and the more loose-canon (but highly competitive) Patrick is compelling. I was legitimately invested in how the film's climax was going to play out.
But then, Challengers ends on a bit of a head-scratcher. Without going into spoilers, the ending offers less resolution and more recontextualization of what it was supposed to be all about in the first place. In short: more "tennis as metaphor for sex/relationships" and less a sports drama. Though an interesting twist, to be sure, I'm not sure if a back-track through the film's themes would hold up to such analysis.
Through it all, Challengers-at very least-is a star vehicle for Zendaya. Here, she proves she can equally knock out of the park "alluring young woman", "hyper-focused athlete", and "young mother" all in one fell swoop. Even when Tashi's character motivations weren't always crystal clear to me, Zendaya sells the character extremely well.
Overall, I had Challengers pegged at a solid 8/10 stars until the ending left me to wander (and wonder) a bit and I lopped one off as a result. While thought-provoking endings usually engage me rather than frustrate me, here I simply wanted resolution to a "solid sports flick" and was a bit thrown that this seemed not to be Guadagnino or writer Justin Kuritzkes' goal all along.
Fallout: The Beginning (2024)
Season One (8/10 stars): A More-Accessible Westworld For A Wider Audience
After finishing this first season of Fallout, I was struck by how many parallels one could draw to Jonathan Nolan's similar hot TV property Westworld. Western-esque setting, gunslinger-like compelling character, themes of corporate greed/malfeasance, etc. The biggest difference between Fallout and Westworld? Whereas the latter was always dark and super-serious, the former is (for better or worse depending on personal taste) much more fun and accessible to a wider audience.
For a very basic overview, S1 of Fallout introduces us to the Vaults--where survivors of a future nuclear holocaust bide their time until the Earth's surface is livable. Lucy MacLean (Ella Parnell) and brother Norm (Moises Arias) are the primary focus--stirred to action when father Hank (Kyle MacLachlan) is kidnapped right out from under them. When Lucy resolves to journey to the surface on a rescue mission, she is introduced to all manner of oddities--largely through interactions with The Ghoul (Walton Goggins), a creature somehow alive through the nuclear fallout about whom we get flashbacks to help explain what caused the bomb to be dropped in the first place. Meanwhile, Maximus (Aaron Moten) is a member of the Brotherhood of Steel--a military-like organization that gives surface-dwellers purpose and goals--but also mistreatment and cruelty. When his path also intersects with Lucy's, he must make a choice of which direction to follow.
Though based on a popular series of video games, I had no previous experience playing those--so I cannot comment on anything in that realm but to say that the series can still be enjoyed with zero knowledge of the games.
What is likely to hit viewers right away when beginning Fallout is the tone of the endeavor. It is filled with black humor, sight gags, and snappy dialogue. Such an approach may or may not be for you. The good news? Either way, the content moves fast enough that I don't think anyone will be too turned off by the lighter, more comedic stylings. Generally-speaking, if you don't like something here it isn't a problem because the characters are onto a new scenario pretty quickly.
Thematically, Fallout has a lot of interesting things to say about corporate culture and its intrusion upon society (to say more would venture into major spoiler territory). Again, akin to Westworld--just in different ways. In typical fashion, it takes until the end of the season's final episodes to truly contextualize what is going on, but overall it not only ties the mysteries up nicely but also dangles some very intriguing morsels for a confirmed second season.
Not to be lost in the discussion is the visual/auditory spectacle of the series--a Nolan linchpin. From the camera shots to the tech to the absorbing musical montages, there's never a lack of sensory stimulation here!
Overall, I settled on a solid 8/10 ranking for Fallout's inaugural slate. Were it not for a couple of late-season episodes I felt to be more at 7/10 caliber, it could have fairly easily garnered a 9/10. This season is highly dependent upon The Ghoul's (and thus Goggins') charisma and backstory, so when that takes a back seat things can wane just a bit. But I enjoyed watching the concepts and characters play out and will definitely be returning to see what season two has in store.
Civil War (2024)
If You Enjoy "Why's", This One Will Be A Tough Sell
The trailers for Alex Garland's Civil War seem to indicate a film about a divided, war-torn America in which some states are succeeding and others are abstaining. Unfortunately--if you enjoy movies with a strong plot--such notions are almost immediately discarded in favor of a generic "on the road" story about journalists.
For a very basic overview, Civil War focuses on a quartet of war journalists: the burnt-out Lee (Kirsten Dunst), the action-hound Joel (Wagner Moura), the old veteran Sammy (Stephen McKinley Henderson), and fresh-faced youngster Jessie (Cailee Spaeny). While trying to get to Washington D. C. to interview the President (Nick Offerman) before he is forced out of power, they are treated to a glimpse of war-torn America in which a California/Texas military alliance is wreaking havoc across the land.
At base or face value, Civil War harbors are incredible hook (especially in light of recent-years political events). But instead of expanding on that hook, writer/director Garland uses it as setting only. So, lovers of largely plot-based cinema are going to have a hard time reconciling their thoughts upon seeing the trailer with what is actually presented.
Granted, one could say the same thing about Cloverfield or Independence Day--no "why's" given. But at least in those flicks viewers are treated to a cool monster or Will Smith punching out an alien. Here in Civil War, amidst this wonderful concept, is a relatively unassuming and inspiring tale of war journalism. In short: I never felt much towards the leads and that's a death knell for a film structured like Civil War is.
A few stray highlights: the sound design/effects--such as the bullet blasts--are some of the best I've ever heard in Dolby Atmos. Some of the action scenes are tense and it features some solid production value on the disaster set pieces. That's why I can at least give it a "disappointing but not terrible" 4 stars.
Overall, though, Civil War left me pretty severely wanting due to its disinterest in any context and then lack of creating engrossing characters.
Friends in Low Places (2024)
Garth & Trisha Build A Bar In Nashville
Not content to rule the music domain, Garth Brooks and wife Trisha Yearwood created the Friends in Low Places bar in downtown Nashville. This series is the story of that bar's creation.
For a very basic overview, "Friends in Low Places" gives some Garth & Trisha context on the origins of the move into the hospitality business--then pretty quickly focuses on the bar's creation. We meet the project planners, the interior designers, the construction workers, and everyone in between needed to pull off this massive undertaking.
As always, Garth's emotion and inspiration is palpable here. He has a certain--and unique--"method to his madness" that has served him well his entire career, and he puts it to great use here. In what could have been a low-rent bar with his name pasted on it, he instead puts all of himself into the project--involved in seemingly every aspect! The designs represent motifs from his career/songs, the food is from Trisha's own kitchen, and the atmosphere is reminiscent of Garth's early career playing the Nashville honky-tonks.
If you are a fan of Garth/Trisha or country music as a whole, I don't see how you could not enjoy this documentary. It has certainly inspired me to get to Nashville sooner rather than later and Friends in Low Places will most certainly be my first stop!
Rocky II (1979)
Doesn't Capture The Magic Of The Original--But Still Some Iconic Moments & Character Beats
The biggest knock on Rocky II is always that the film is slow. As Mick says: "what's with all the domestic stuff?!". While I don't have that particular issue with this first Rocky sequel, I also do not believe it captures much of the original's inspirational storytelling magic--albeit including some iconic moments to still render it entertaining.
For a very basic overview, Rocky II sees the titular Balboa (Sylvester Stallone) struggling after his epic battle with heavyweight champion Apollo Creed (Carl Weathers). Professing retirement, Rocky finds it difficult to support his newfound middle-class lifestyle (new house, car, etc.), much less new bride Adrian (Talia Shire) and a baby on the way. Without much education in a grim economy, Balboa is coerced back into the ring by Creed's taunts, Mick's (Burgess Meredith) overtures, and the promise of a payday. But is his heart really in it and able to put up a fight--especially when family tragedy strikes?
Clearing--or even re-reaching, in all honesty--the extremely high bar set by the 1976 Rocky was always going to be a tough-to-impossible task, and Rocky II doesn't really come all that close in execution. I wonder if perhaps the triple-duty of star, writer, and director was potentially a bit too much for the burgeoning Stallone at this point. Whereas the direction from John G. Avildsen turned that filmed into one for the ages, here the approach is far more scattershot and frenetic--and less effective by quite a bit.
Far from being the slow-paced morass of its reputation, I'd argue that Rocky II actually skips through Rocky's existential crises too quickly and focuses on the wrong aspects of it. Far too much time is spent seeing Rocky haul beef and return to the docks when viewers are of course well-aware a ring return is imminent. That final fight--with its cheesy ultra slo-mo effects--also cannot hold a candle to the pomp and circumstance of its '76 counterpart. Overall, I often felt while watching that Rocky II seemed somewhat beholden to carry all the Rocky tropes into this sequel when more original material/locales were needed.
All that said, without Rocky II on the books we don't get the infamous chicken-chasing scene, further great Bill Conti tunes, and the classic "Yo Adrian!" line. For all intents and purposes, this movie could have been re-titled "Adrian" for being extremely effective at developing that relationship. Nearly every truly emotional moment in this film involves Adrian in some manner or another--which actually pay bigger dividends in forthcoming sequels than here.
So, overall I found myself a little more disappointed than I anticipated after this recent Rocky II re-watch. While I'll never call it a bad film by any means, it never really gets in the ring (pardon the pun) with its progenitor in terms of airtight screenplay or pacing. There are far more jagged edges and work-arounds needed to make Rocky II ring-worthy as a screenplay.