Even though the show is basically pre-cancelled by Fox, I reviewed it and found it entertaining.
First challenge: complete a game of Trivial Pursuit, with all the questions altered to cover family history. (Dare we call that “adorkable?”) When the trio returns to home to compete for the money, running into former best friends and ex-sweethearts, The Goodwin Games expands its focus beyond the borders of a family-based sitcom. Now it becomes part-homecoming, part-Parenthood, part-It’s a Mad, Mad, Mad Mad World, with elements of David Fincher’s The Game thrown in for good measure...
It doesn’t seem likely that the estate will be settled before the show goes off the air. Yet even though the show may never fulfill its central plot purpose, watching the reduced number of episodes may be like one of Benjamin’s challenges: a little silly, likely to conjure up a few heavy sighs, but ultimately an entertaining diversion.
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Two of the worst Alice adaptations I've ever seen!
With all of its limitations, somehow Alice in Wonderland manages to be worse. The cheap sets and poor effects are still present despite the 13 year gap. Kate Dorning, who’s taken over the role of Alice, seems much too old for the part—with someone as old as she is demonstrating a basic lack of understand about how the world works, she comes across as just plain simple (and with a squeakily high voice). Sometimes she argues with herself aloud, other times her inner monologue is presented as a voiceover, and it’s impossible to tell why one is used over the other...
... With the low-budget production values and bad special effects, Alice Through the Looking Glass and Alice in Wonderland combine the worst of public-access television with the worst of community theater. Take, for instance, the caucus race in Alice in Wonderland. There’s a crowd of extras, but the stage is so small there isn’t room for any running. Instead, the characters just shuffle about, remarking at how chaotic it all seems. It’s so ineffective, it can’t even be appreciated as camp.
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My contribution to PopMatters' year-end wrap-up.The Best Films of 2012 No. 4: LincolnIn tackling one of the United States’ most iconic figures, a man who looms largest in American history, Steven Spielberg’s success is in matching Abraham Lincoln’s grandiosity with his film’s smallness. Instead of an all-encompassing biopic, Spielberg chose to focus on the final months of Lincoln’s life and his most important political success: the passage of the 13th amendment. And, while there is certainly much political theater surrounding the amendment, with flamboyant characters on both sides of the debate, Spielberg and screenwriter Tony Kushner choose to keep the showiest scenes away from the president. He has a couple of emphatic, passionate monologues, but mostly you get a sense of the man through the tiniest moments: a rambling story, a bawdy joke, a wordless and restless afternoon pacing the White House with his son while Congress debates, a sullen glance. As the 16th president, Daniel Day-Lewis is in full control of this remarkable restraint—though he’s buoyed by a supporting cast rising to meet his greatness. Like the characters in the film, with Lincoln you get the sense that everyone is striving to quietly accomplish their most important work.Click through to read the rest of the list at PopMatters.
My contributions to PopMatters' 2012 film recap.
The Worst Films of 2012
No. 6: Dark Tide
It’s not just the fact that the theatrical version of The Devil Inside ended with a title card directing viewers to the film’s website for more information that made audiences howl with disgust. It’s bad form, to be sure, especially considering that the website hosted videos that none-too-subtly revealed further twists that would’ve been obvious had they been in the movie to begin with (and, with a running time of a mere 83 minutes, it’s not clear why those scenes weren’t included in the first place). No, it’s the very idea that The Devil Inside—an obvious and uninspired exorcism tale that treads on the same themes about faith that have been explored since The Exorcist—merited any further investigation into its surface-level plot that’s the true insult.
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Thanks to Key & Peele, I kept thinking of this as "Tooken 2" while I was reviewing it.'Taken 2' Dutifully Follows the Most Standard of Sequel Formulas All of this setup is really piece-moving to allow Mills to, in his words, “Do what I do best”—meaning charging after the bad guys without any backup, and taking them down. Sometimes there’s hand-to-hand combat; sometimes he gets a gun and just starts firing. There are neat little sequences, but no surprises: Everything that follows is as you would expect. It’s not that the action is poorly handled, but it’s just good enough to get Mills from the hordes of anonymous bad guys to the slightly more important bad guys to the really bad guys. At no point does Taken 2 deviate from this goal, or work any harder or get any smarter than it needs to be.Click through to read the full review at PopMatters.
A couple reasons why I like The Carrie Diaries better than Sex and the City'The Carrie Diaries': High School Origin Story
The Carrie Diaries keeps that trademark narration, but maintains the idea that it’s comprised of diary entries. No one assumes that people are interested in reading the inner thoughts of a 16-year-old Carrie, and no one is paying her to write it. That detail alone makes The Carrie Dairies more endearing than its adult counterpart. If the lessons Carrie learns are a little too pat, if her sentiments are a little too treacly, and if her word choices are clunky and awkward, it’s okay. That’s what teenage diaries are for.