"Scrooged" Review (Spoilers)
Jan. 20th, 2022 07:48 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
matt_zimmerAlso reviews for the latest episodes of Star Trek: Prodigy, The Book Of Boba Fett, Superman & Lois, Naomi, DC's Legends Of Tomorrow, Batwoman, and Peacemaker, the special Lego Marvel Avengers: Time Twisted, and the latest episode of Blade Runner: Black Lotus.
Scrooged
Yeah, I know it's not Christmas. I felt like watching it, I bought it, and now I'm reviewing it. Deal.
It's easy to see why that movie is so polarizing. It has its share of fans, but there are people out there who think it sucks. Roger Ebert famously claimed back in the day that there was nothing comical in the movie. And I saw that again in the blurbs and I was like, "That is a VERY serious allegation to hit a Bill Murray comedy with." Whatever else you want to say about Bill Murray, outside of Ghostbusters II and the Garfield movies, he has very few career regrets. He's made more solid career choices than any other actor alive. You can throw Space Jam in my face if you must, and that IS a terrible movie, but Bill Murray is the best thing in it. I sincerely doubt he regrets that fact.
So I went in wondering if Ebert was right that the movie wasn't funny. He claimed the tone was one of anger and pain, which is a weird feeling to give a Christmas story, even a Christmas Carol homage. These were all things I took notice of and watched out for.
The verdict? I didn't laugh once. It's not funny. I don't know if the humor is dated or what, but if Roger Ebert claims he didn't laugh back when the insular pop culture references like Mary Lou Retton and the Solid Gold Dancers were relevant, I actually believe him. In fairness, Bobcat Goldthwaite, if not quite crossing the threshold of laugher, at least made me smile with the "Hello Wabbit!" and "You better watch out..." bits. And while Carol Kane's physical abuse of Murray isn't really funny, it's definitely bizarre, which is almost as good.
And I'm thinking about the fact that this movie isn't funny being the thing to have Roger Ebert give it a Thumbs Down. Personally, I think Roger Ebert might be missing the forest for the trees there. Honestly, 2022 has taught me that good satire doesn't have to be funny. In fact, if it's good, it's probably depressing instead. What good satire has to be is truthful. Is this movie truthful as far as satire goes? Let me put it this way. Frank's insane rant at the end is definitely polarizing and definitely something that will turn people off the movie. Do I think it's bad? Not even. It's not great, but Murray seems sincere in his pure insanity. And maybe the satire doesn't work because the movie turns earnest at the end. Me? I don't disapprove of earnestness. At all.
It's interesting, the bizarre cold opening and the various TV ad spoofs aren't funny, and somehow feel even dumber than the stupidest bits from UHF. But what I think Ebert is probably missing is that a movie starring Bill Murray is not obligated to make a person laugh. That is too narrow-minded a viewpoint, even for a movie billed as a comedy that isn't all that funny. This was before Bill Murray starting stealing scenes in legit dramas so I understand if Ebert's expectations of what makes a good Bill Murray movie changed over the course of the rest of his life.
The rant at the end is disturbing to me because it's clear Frank has not been redeemed in the same way earlier Scrooges were. The night drove Scrooge a little batty too, but Frank Cross has a full-on public meltdown that it almost feel indecent to intrude upon. Earnest, heartfelt, and not funny in the least. And yet the sing-along ending to "Put A Little Love In Your Heart" is for my money one of the most insanely uplifting endings to a movie you could imagine. It hits every sweet spot in the wishlist for the characters and their futures, and it relentlessly optimistic, even if Frank's rant seems more insane than revelatory. It's a feel-good ending to a movie that's spent an hour and a half making you feel bad. So you appreciate it all the more for that reason.
But I don't like Bill Murray breaking character at the very end to talk to the theater audience. Mostly because he makes a random "Feed me, Seymour," joke which will make absolutely no sense to anyone seeing this for the first time in 2022. Whatever else Scrooged is, good and bad, timeless isn't one of them.
As far as honesty goes, there were parts of the movie I felt stretched credibility. Mostly because Frank knows the Scrooge story and understands what is happening. I find it very disingenuous in the novel that Scrooge is mystified who the unloved bastard buried in the pauper's grave was. It's why The Muppet Christmas Carol's Michael Caine is the best Ebenezer Scrooge of all time, because he actually knows the score, and knows whose name is on the grave. He does the bargaining stage of grief for a bit, and insists the future can be changed, but Muppet Scrooge knows exactly where the moral of the night was leading him. And it's such an amazing moment that I was always shocked Dickens never played it that way himself. Scrooge is a loathsome scoundrel but we are never led to believe he's stupid. The grave being a surprise doesn't track with that. And it especially doesn't track for Frank, who actually knows and recognizes the specific tropes he has found himself in. I can sort of excuse earlier Scrooges than Caine's for being dumb. Plot-related stupidity is pretty much the oldest writing trope there is. But there's no excuse for Frank Cross to share it based on the premise. He should already know the moral.
I'll tell you an unique thing about this adaptation that I found interesting (but that I don't love) that I haven't seen done before or since. But the Future Scenario actually checks in on Claire, and we see she's been corrupted by Frank's last words to her, and is basically an unfeeling ice queen now. I'm not sure that was the right move for the story. To suggest Claire's entire benevolent philosophy and mindset could be so drastically changed by a fleeting quip by a guy she's practically given up on, is almost antifeminist in the amount of power it gives Frank over her destiny. It adds extra stakes and pathos the original story doesn't have, but those specific things make me think less of Claire. And who knows? It's possible every future vision WAS a lie on every level. The future can be changed. I also believe it's possible the Ghost of Christmas Future can show Frank any damn thing he pleases, whether it's an actual potential future or not.
Does a Bill Murray comedy absent laughs have value? Is anger and pain an appropriate theme for a Christmas movie? Is it at least an interesting one to see play out? I think the answer to all three of those questions is probably yes. A question the movie left me with that I can't answer affirmatively about is if benevolence and insanity are the same thing. I don't agree with that notion, but it's certainly interesting to watch, and the idea gave Murray a good speech to chew on and spit out. I won't give the film a rave, or a grade higher than three and a half stars, but as disturbing as this movie's portrayal of a man's escalation to madness masquerading as a redemption arc is when boiled down its essence, there is something raw and honest about the fact that Frank is insane and sincere in equal measures. It's a weird moral, but then Scrooged is a very weird movie. ***1/2.
Star Trek: Prodigy "Time Amok"
It's a kids show but I still love that we got a Star Trek science episode. That is quintessential Star Trek, and I love that the kids are allowed to experience it. General movie audiences are not and there really isn't a Star Trek movie for science geeks. I'm delighted it's part of the kids show.
The thing I've always loved about the chicken, fox, and grain riddle is that it's eminently solvable once you know the trick to it. It's fun to think about.
Rok is SO cute. If they made a plushie of her, I'd buy it in an instant. I also want one of Murf.
Dal continues to be pretty useless, but he's not ENTIRELY useless, so that's something.
I'm glad this show isn't actually for dummies. The movies totally are, and I like that this show is still gonna teach us science stuff. ****.
The Book Of Boba Fett "The Gathering Storm"
I think when this season is all said and done, this will be the most important episode, at least to me. Arguably not much of the arc was pushed forward, and most of the episode was a flashback. But this specific episode brought SO much into sharp relief for me. The subtexts of what Boba and Fennec are doing and why they are doing it are made crystal clear for the first time ever. What's great is that I didn't exactly understand what they were doing before this. I thought perhaps Boba Fett had gone soft as a way for the writers to not have to center the show around an actual bad guy. Him wiping out those bikers says that was never the producers' concern. He's a bad dude, even if they had it coming. But this did explain Fett's light touch elsewhere, and also why Fennec doesn't push back against it more than she does.
Basically Boba's idea for a crime syndicate is simply to care about the Bounty Hunters, and not get them killed for no reason simply by employing smarter politics. Frankly, the deal he cooked up at the end was far better than every scoundrel at that table deserved. Which is why they'll abide it. They'd be crazy not to. That deal is basically Blu-Ray box sets for the first two seasons of The Mandalorian and they are me screaming at Disney to take my money. And throw in Blu-Rays of Hamilton and Loki while we are on the subject.
It's an audacious idea, and it is very clear why Fennec trusts Fett so completely even if the schmoozing goes against her every instinct. Because Boba explained all of this beforehand, and basically had her in on the ground-floor for this new experiment. She doesn't like how many enemies he frees and spares. But she goes along with it because that's always been a part of the plan. And I think that idea is absolutely brilliant, and a great way to get the audience on the side of a character who is, frankly, a dirtbag. Also maybe the fact that he loves animals and animals love him is the secondary thing that redeems Fett.
My favorite moment was something Fett only witnesses. I liked the casino owner soothing the Wookiee that he had nothing to prove, and he HAD developed quite a drink tab over the course of the night, and if he was willing to simply drop the dude and squash the fight, she'd forgive the debt. This is the same kind of carrot Boba likes offering, so you see him pleased with how she's handling it. Instead, the Wookiee rips the guy's arm off and places a bag of coins on the bar to pay his debt. I love that. That is a beautifully, wonderfully written moment that is also completely subversive. I seem to recall Quentin Tarantino turning up his nose at Star Wars turning into "that Disney s-word.". The truth is Lucasfilm never did scenes like that before Disney bought them. And the one scene like it in the old canon (Han shooting first) is something Lucas foolishly disowned. The sequel trilogy was polarizing (although I personally loved it) but I don't think anyone can ever argue Disney has softened the canon. Even the adorable Baby Yoda has this horrible abortion theme built into his arc of him eating eggs of a sentient species. Played for dark laughs. The darkest Lucas ever gotten was the Ewok cradling the dead Ewok at the end of Jedi, and he was going for sadness rather than horror there. There is a definite darkness imbalance in the arcs of Lucas's Ewoks and Disney's Grogu. Grogu is allowed to get away with a LOT more. Disney is far more permissive than George Lucas ever was. So Quentin Tarantino can suck it.
I like that Boba correctly notices the significance of Fennec saying that next time they are going stick to the plan. The words "next time" say everything. And I like that Boba is cunning enough that they don't pass his notice. That's when her loyalty is his for good.
I like Fett throwing a bag of money on the operating table and the dude telling him to lead with that next time. I will never stop being amused by the fact that Star Wars characters all use modern-day English expressions and always have. The problem is that I can never actually rationalize it. It's funny, but it actually makes no sense.
Another funny scene was with the Droid with the multiple arms and knives. It is SO funny to me how easy Droids are to kill. He's spinning these knives crazily at Fett, and Fennec just steps behind him, presses the Staples Easy Button, and cuts his freaking head off. It's both awesome and funny at the same time. It's also a good reminder of why nobody ever took C-3PO seriously.
I don't know how many fans of this show will truly get how significant this seeming filler episode was. Not much happened storywise. Other than the entire subtext of the series being beautifully and perfectly laid down for the viewer for the first time ever. Maybe that won't excite people who watch the show for shoot-'em-ups with Boba Fett. But it impressed the hell out of me. *****.
Superman & Lois "The Ties That Bind"
My heart has been in my throat about this beloved show before the season began. It is SO early, and Doomsday being brought into the show doesn't fill me with confidence, but so far the Arrowverse sophomore slump has not effected this show. At least not too badly. I am cautious in saying that, but the reason I think it is because the episode raised a plotline that sent up red flags to me, and they resolved it in a satisfactory manner.
But I have made my disdain for the Arrowverse's courtroom stuff known. Every time it was tackled on Arrow, The Flash, and Supergirl it was beyond ridiculous, and seemed to be written by people who have no idea how the law works, which is weird because one of the big Arrowverse producers (I forget who) used to be a lawyer. And while I've complained about that extensively elsewhere, the Arrowverse has another real weakness in its portrayals of an important job: Reporting. Kara Danvers was literally horrible at her job as a reporter and a media personality as Supergirl. She was so bad at her chosen profession I found it borderline vulgar that the producers were using her incompetence at her job to feed the audience toddler morals that belong in preschool cartoons about working well as a team and always being honest and the like. Supergirl was a bad television show and the reporter angle was one of the worst things about it.
I don't finds the reporting angle QUITE as bad on The Flash, only because Iris isn't terrible at it. But they still use it to inform toddler morals and act like somebody doing a job they're paid to do competently is some huge moral victory instead of the least the person could actually do.
When Chrissy brings up a source backing out of a story Lois did I was like, "Uh oh. This is how it starts." I was very worried that it would have turned out Lois cut corners on a previous story and had to learn consequences from it as if she was an idiot cub reporter instead of one of the most famous and venerated journalists in the DC Universe. But ultimately, what's happening to Lois on the Podcast is actually untrue. Lois's story was legit. And as she described Lucy's role in it, pretty heartbreaking. And it's the fact that this show stands by the fact that Lois doesn't need to learn the same kind of lessons they teach in TV-Y7 cartoons which is the first thing that suggested to me this season (and possibly the entire run of the show) might turn out all right. Again, it's early. And I have no idea if producers behind the scenes were moved around or not, which is typical for Berlanti show second seasons and probably the reason the shows go downhill from that point on. But Lois defending her career choices is a way this show is showing the rest of the Arrowverse how to correctly tell a story. What kills me is that I doubt anyone else will have noticed it because good writing is not something you SHOULD notice. A show being told well is something the audience half-expects, and when using a suspension of disbelief, is often willing to overlook minor, superficial flaws if the rest of the story is fine. I want it stated for the record that if the show HAD botched that idea, that would not remotely be a minor superficial flaw. It would be a huge problem and a potential shark jump.
I like that Lara believing in Tal got him to stop attacking Jordan. A redemption arc for that character would interest me greatly. Simply because of Kal's reaction. He is not his mother. He does not believe there is good in Tal. But before he leaves he makes the distinction that he WANTS to believe that. That would make that specific arc dramatically satisfying to me.
I was unsurprised and surprised by Sarah's camp hook-up at the same time. I was of the opinion last week crap happens at camp, and if Jordan was due heartbreak, he needed to be a man and suck it up this week. I've done a 180 on the subject. I would approve of him sucking it up and taking being dumped like a man if Sarah had had the courtesy to actually dump him like she should have. It's interesting she doesn't consider it the problem he does because the person she made out with was a woman. In reality that makes it far more complicated than if she had just cheated on him with a guy. Is she gay? Her thinking it's actually no big deal is not filling Jordan with confidence about her faith in her heterosexuality. That's pure, classic denial at its core, and a huge red flag. But she still wants to date him. It would be simpler and more fairer to Jordan if she dumped him. She's now putting the responsibility of their relationship on him. That's not okay.
I think my favorite moment in the episode belonged to Jordan. When Tal is grousing that his mother prefers her stronger son, he callously asks Jordan if Lois felt the same way about Jonathan. And Jordan says that Jonathan has gotten stronger than the former Morgan Edge currently is. It turns out not to be true (Tal's playing possum) but it was a pretty good burn when he said it.
I'll tell you what John Henry Irons moment I liked. Lois insightfully tells him when they are alone that she is aware their situation is not ideal for him. He says it's good for Natalie. And I love that Lois actually is a cool enough person to ask him if it's actually good for him. The answers is it's not, but he'll make do because it's the only thing he CAN do. That is a very adult notion that I liked seeing explored.
My single reservation about the episode IS one of the Arrowverse problematic vocational ideas that I do suspect they are going to screw up. Since it doesn't involve Lois and journalism, I will probably be able to forgive it, but it's absolutely the 100% wrong plotline. Lana should absolutely under no circumstances be running for Mayor. Give us this plotline five years from now, I'd be happy, because it would be a demonstration of the growth her and Kyle have been through in the town. The very year after her and her family were pariahs? It's too damn soon. One of the worst things about the politics of ALL Berlanti shows (including Riverdale) is that they assume politics occur in a vacuum and that anyone can run for any given office they want to and win. No. It doesn't work that way. Not even in our Universe in 2021. It is true that Donald Trump was elected with zero resume and executive experience. But he had been inserting himself into politics for a long time and was a constant presence on TV for that reason. Lana's interest in politics? This is pretty much her second episode showing that EVER. That's not reasonable. And this is a flaw with all Berlanti stuff. And it's the fact that this flaw infected this specific show in an episode I'm relieved Lois Lane is still awesome is the one bad note I must give this week. And unless Lana loses (which doesn't seem likely given it's an Berlanti show) this is 100% the wrong move for her character and her family. And that saddens me with the care the show took to empower Lois earlier in the episode.
But I am more encouraged by everything else being solid than worried about that one thing being shady. It's true that on Berlanti shows one shady thing leads to another until the given show collapses under the suck, but Lois' fierce defense of her career and ethics tells me if this show DOES occasionally misstep, it doesn't necessarily mean the entire show is going down the tubes. We'll see if I'm right about that, if my faith is justified, and if my fears are unfounded later on. ****.
Naomi "Unidentified Flying Object"
I didn't like it as much as the first week. Perhaps that's to be expected. What I liked about the first week was how put together Naomi was as a character. It makes sense that aspect would be absent in the episode where she's both trying to uncover her identity and denying it at the same time. It makes sense from a narrative standpoint. That being said, the show has started engaging in tropes of other youth-based superhero shows that I absolutely hate like the hero lying to her friends, or blowing people off because they forgot they were supposed to do something because they were caught up in the superhero drama. Last week I didn't know this was going to be that kind of show. And now it is. So I like it less.
Also I am very, very disappointed that the writers already wrote some of the characters out of character. It's the second week. They shouldn't be doing that. But at least two boys in Naomi's clique are into her. There is no way in hell a boy with a crush trying to impress a girl, especially knowing their is another suitor present, would ever accept the idea that Naomi could be left alone with the villain because we should trust she knows what she's doing. That's not how teenage boys operate. They'd want to stay behind and protect her to shore up their manhood cred with her and the other rival. And nothing would deter them there. The idea that ALL of the group agreed with that decision is out of character, and I am comfortable stating that already in only the second week. It was an expedient storytelling decision done to simplify the climax. You know what? You should never, EVER write characters out of character to make your story easier to tell. Never. Your show will be MUCH worse for it. And again, this is week two. Them already doing that doesn't fill me with confidence.
It was all right, but I don't think I'll wind up liking this show as much as I thought I might last week. ***.
DC's Legends Of Tomorrow "Lowest Common Denominator"
That was NOT a good episode at all but the very end made me totally forgive that fact. The best part about the crazy plan is that Gideon is serious. Next week is gonna be awesome.
Did I mention this week wasn't great? Because the characters weren't actually responsible for their own actions, it felt very low-stakes, and as if we were burning through an episode on reality show nonsense. The show does this a lot, and I don't like it.
I really like Behrad's description of how much it sucked growing up on a reality show. Behrad is cool and likable, and probably the most problematic character on the entire show. You could argue he's the most problematic character in the entire Arrowverse and I wouldn't put up too much of a fight. We actually know nothing about him. The conceit is the characters do and trust him, and that's supposedly good enough. It's good enough to trust him, but to know him? Without an origin or a hint of how he joined the team or what he role was supposed to be? Behrad is a very much unfinished character, and they can never quite figure out what to do with him. Case in point, the reality show confession was a very keen insight into the character. And then the show turns it into a confession of attraction to Astra, turning his feelings and his arc into about someone else. And there is nothing we know about Behrad himself. He is designed solely for the other characters to react to. The fact that he is so chill, bland, and vanilla is an intriguing part of that, but it doesn't stop him from not resonating with me entirely on his own. That's a problem, and even if I don't object to the romance with Astra, I didn't like it stepping on his moment of admitting his frustration in a lack of identity. Him having a lack of identity is his entire problem for me as an audience member. I don't want to attach Astra to that until the show has a better handle on it. I approve of him wanting to take it slow for that reason.
All in all, that episode was vaguely annoying. Until we get to Gideon's wacky plan to save Arch-Duke Ferdinand and prevent World War I. Are we crazy yet? Because I'm there for it. **1/2.
Batwoman "Meet Your Maker"
I think what I need to do with what I watch is to stop worrying about things that don't impress me and accept things that don't annoy me. I would be inclined to give that a so-so grade were I in a worse mood. I'm just not sure me being overly harsh or judgmental is a great thing to do for stuff that doesn't truly suck. It wasn't great. But it didn't suck either. I'll focus on that for this review. It's really not too much to ask.
I don't like that the show had Mary kill the guy though. Because that's not something you can walk back. I think the thing that bothers me is that I think the show WILL try to walk it back. Killing innocent people never seems to be a deal-breaker for protagonists on shows like this, no matter what Barry Allen or Kara Danvers whine about every week. Most shows like this treat killing a person like losing your virginity. I object to that because I do think the show expects to redeem Mary by the end of the season. Now that she killed a guy, accident or not, I'm not on board that unless she answers for it. And she probably won't have to, which means I won't be on board.
I hate Diggle's beard. Good to see him again though.
I double checked and one of the co-writers of the episode (Maya Houston) is black. It feels more authentic that a black writer cowrote an episode where the black characters point out they fare so poorly in horror films because white people write them. Flipping the script indeed.
I laughed that Ryan's secret desire is sleep. It's really a no-brainer, and Sophie engaging her in relationship drama while her nerves are frayed and she's exhausted isn't helping anything.
I'll give that a passing grade and keep my mouth shut about the fact that I didn't love it. I don't need to love it for it to be acceptable to me. That shouldn't ever be the bar, and I really need to check myself whenever I think differently. ***.
Peacemaker "The Choad Less Traveled"
I actually really liked this one. Maybe I'm a bad person but I laughed HARD at the way Vigilante riled those white supremacists at the prison table. It was SO mean, and uncalled for, and utterly righteous. It was hilarious. I was rolling.
Murg's a butterfly? Now I'm really curious what Judomaster was going to say about them before he was shot.
And yes, Chris's dad IS a total monster.
I'm not this show's biggest fan but I really liked that episode. ****.
LEGO Marvel Avengers: Time Twisted
I've gotten tired of these. They've totally lost their charm for me. They are just going through the motions at this point. *1/2.
Blade Runner: Black Lotus "Claire de Lune"
I found the flashback very confusing at first, but by the end I found it very sad and romantic.
Speaking of confusion, I didn't understand the ending. Maybe I wasn't meant to, but I got a sneaking suspicion the producers were hoping my jaw would drop in recognition at what was happening, instead of being puzzled. I think I missed something.
All right week. ***.
Scrooged
Yeah, I know it's not Christmas. I felt like watching it, I bought it, and now I'm reviewing it. Deal.
It's easy to see why that movie is so polarizing. It has its share of fans, but there are people out there who think it sucks. Roger Ebert famously claimed back in the day that there was nothing comical in the movie. And I saw that again in the blurbs and I was like, "That is a VERY serious allegation to hit a Bill Murray comedy with." Whatever else you want to say about Bill Murray, outside of Ghostbusters II and the Garfield movies, he has very few career regrets. He's made more solid career choices than any other actor alive. You can throw Space Jam in my face if you must, and that IS a terrible movie, but Bill Murray is the best thing in it. I sincerely doubt he regrets that fact.
So I went in wondering if Ebert was right that the movie wasn't funny. He claimed the tone was one of anger and pain, which is a weird feeling to give a Christmas story, even a Christmas Carol homage. These were all things I took notice of and watched out for.
The verdict? I didn't laugh once. It's not funny. I don't know if the humor is dated or what, but if Roger Ebert claims he didn't laugh back when the insular pop culture references like Mary Lou Retton and the Solid Gold Dancers were relevant, I actually believe him. In fairness, Bobcat Goldthwaite, if not quite crossing the threshold of laugher, at least made me smile with the "Hello Wabbit!" and "You better watch out..." bits. And while Carol Kane's physical abuse of Murray isn't really funny, it's definitely bizarre, which is almost as good.
And I'm thinking about the fact that this movie isn't funny being the thing to have Roger Ebert give it a Thumbs Down. Personally, I think Roger Ebert might be missing the forest for the trees there. Honestly, 2022 has taught me that good satire doesn't have to be funny. In fact, if it's good, it's probably depressing instead. What good satire has to be is truthful. Is this movie truthful as far as satire goes? Let me put it this way. Frank's insane rant at the end is definitely polarizing and definitely something that will turn people off the movie. Do I think it's bad? Not even. It's not great, but Murray seems sincere in his pure insanity. And maybe the satire doesn't work because the movie turns earnest at the end. Me? I don't disapprove of earnestness. At all.
It's interesting, the bizarre cold opening and the various TV ad spoofs aren't funny, and somehow feel even dumber than the stupidest bits from UHF. But what I think Ebert is probably missing is that a movie starring Bill Murray is not obligated to make a person laugh. That is too narrow-minded a viewpoint, even for a movie billed as a comedy that isn't all that funny. This was before Bill Murray starting stealing scenes in legit dramas so I understand if Ebert's expectations of what makes a good Bill Murray movie changed over the course of the rest of his life.
The rant at the end is disturbing to me because it's clear Frank has not been redeemed in the same way earlier Scrooges were. The night drove Scrooge a little batty too, but Frank Cross has a full-on public meltdown that it almost feel indecent to intrude upon. Earnest, heartfelt, and not funny in the least. And yet the sing-along ending to "Put A Little Love In Your Heart" is for my money one of the most insanely uplifting endings to a movie you could imagine. It hits every sweet spot in the wishlist for the characters and their futures, and it relentlessly optimistic, even if Frank's rant seems more insane than revelatory. It's a feel-good ending to a movie that's spent an hour and a half making you feel bad. So you appreciate it all the more for that reason.
But I don't like Bill Murray breaking character at the very end to talk to the theater audience. Mostly because he makes a random "Feed me, Seymour," joke which will make absolutely no sense to anyone seeing this for the first time in 2022. Whatever else Scrooged is, good and bad, timeless isn't one of them.
As far as honesty goes, there were parts of the movie I felt stretched credibility. Mostly because Frank knows the Scrooge story and understands what is happening. I find it very disingenuous in the novel that Scrooge is mystified who the unloved bastard buried in the pauper's grave was. It's why The Muppet Christmas Carol's Michael Caine is the best Ebenezer Scrooge of all time, because he actually knows the score, and knows whose name is on the grave. He does the bargaining stage of grief for a bit, and insists the future can be changed, but Muppet Scrooge knows exactly where the moral of the night was leading him. And it's such an amazing moment that I was always shocked Dickens never played it that way himself. Scrooge is a loathsome scoundrel but we are never led to believe he's stupid. The grave being a surprise doesn't track with that. And it especially doesn't track for Frank, who actually knows and recognizes the specific tropes he has found himself in. I can sort of excuse earlier Scrooges than Caine's for being dumb. Plot-related stupidity is pretty much the oldest writing trope there is. But there's no excuse for Frank Cross to share it based on the premise. He should already know the moral.
I'll tell you an unique thing about this adaptation that I found interesting (but that I don't love) that I haven't seen done before or since. But the Future Scenario actually checks in on Claire, and we see she's been corrupted by Frank's last words to her, and is basically an unfeeling ice queen now. I'm not sure that was the right move for the story. To suggest Claire's entire benevolent philosophy and mindset could be so drastically changed by a fleeting quip by a guy she's practically given up on, is almost antifeminist in the amount of power it gives Frank over her destiny. It adds extra stakes and pathos the original story doesn't have, but those specific things make me think less of Claire. And who knows? It's possible every future vision WAS a lie on every level. The future can be changed. I also believe it's possible the Ghost of Christmas Future can show Frank any damn thing he pleases, whether it's an actual potential future or not.
Does a Bill Murray comedy absent laughs have value? Is anger and pain an appropriate theme for a Christmas movie? Is it at least an interesting one to see play out? I think the answer to all three of those questions is probably yes. A question the movie left me with that I can't answer affirmatively about is if benevolence and insanity are the same thing. I don't agree with that notion, but it's certainly interesting to watch, and the idea gave Murray a good speech to chew on and spit out. I won't give the film a rave, or a grade higher than three and a half stars, but as disturbing as this movie's portrayal of a man's escalation to madness masquerading as a redemption arc is when boiled down its essence, there is something raw and honest about the fact that Frank is insane and sincere in equal measures. It's a weird moral, but then Scrooged is a very weird movie. ***1/2.
Star Trek: Prodigy "Time Amok"
It's a kids show but I still love that we got a Star Trek science episode. That is quintessential Star Trek, and I love that the kids are allowed to experience it. General movie audiences are not and there really isn't a Star Trek movie for science geeks. I'm delighted it's part of the kids show.
The thing I've always loved about the chicken, fox, and grain riddle is that it's eminently solvable once you know the trick to it. It's fun to think about.
Rok is SO cute. If they made a plushie of her, I'd buy it in an instant. I also want one of Murf.
Dal continues to be pretty useless, but he's not ENTIRELY useless, so that's something.
I'm glad this show isn't actually for dummies. The movies totally are, and I like that this show is still gonna teach us science stuff. ****.
The Book Of Boba Fett "The Gathering Storm"
I think when this season is all said and done, this will be the most important episode, at least to me. Arguably not much of the arc was pushed forward, and most of the episode was a flashback. But this specific episode brought SO much into sharp relief for me. The subtexts of what Boba and Fennec are doing and why they are doing it are made crystal clear for the first time ever. What's great is that I didn't exactly understand what they were doing before this. I thought perhaps Boba Fett had gone soft as a way for the writers to not have to center the show around an actual bad guy. Him wiping out those bikers says that was never the producers' concern. He's a bad dude, even if they had it coming. But this did explain Fett's light touch elsewhere, and also why Fennec doesn't push back against it more than she does.
Basically Boba's idea for a crime syndicate is simply to care about the Bounty Hunters, and not get them killed for no reason simply by employing smarter politics. Frankly, the deal he cooked up at the end was far better than every scoundrel at that table deserved. Which is why they'll abide it. They'd be crazy not to. That deal is basically Blu-Ray box sets for the first two seasons of The Mandalorian and they are me screaming at Disney to take my money. And throw in Blu-Rays of Hamilton and Loki while we are on the subject.
It's an audacious idea, and it is very clear why Fennec trusts Fett so completely even if the schmoozing goes against her every instinct. Because Boba explained all of this beforehand, and basically had her in on the ground-floor for this new experiment. She doesn't like how many enemies he frees and spares. But she goes along with it because that's always been a part of the plan. And I think that idea is absolutely brilliant, and a great way to get the audience on the side of a character who is, frankly, a dirtbag. Also maybe the fact that he loves animals and animals love him is the secondary thing that redeems Fett.
My favorite moment was something Fett only witnesses. I liked the casino owner soothing the Wookiee that he had nothing to prove, and he HAD developed quite a drink tab over the course of the night, and if he was willing to simply drop the dude and squash the fight, she'd forgive the debt. This is the same kind of carrot Boba likes offering, so you see him pleased with how she's handling it. Instead, the Wookiee rips the guy's arm off and places a bag of coins on the bar to pay his debt. I love that. That is a beautifully, wonderfully written moment that is also completely subversive. I seem to recall Quentin Tarantino turning up his nose at Star Wars turning into "that Disney s-word.". The truth is Lucasfilm never did scenes like that before Disney bought them. And the one scene like it in the old canon (Han shooting first) is something Lucas foolishly disowned. The sequel trilogy was polarizing (although I personally loved it) but I don't think anyone can ever argue Disney has softened the canon. Even the adorable Baby Yoda has this horrible abortion theme built into his arc of him eating eggs of a sentient species. Played for dark laughs. The darkest Lucas ever gotten was the Ewok cradling the dead Ewok at the end of Jedi, and he was going for sadness rather than horror there. There is a definite darkness imbalance in the arcs of Lucas's Ewoks and Disney's Grogu. Grogu is allowed to get away with a LOT more. Disney is far more permissive than George Lucas ever was. So Quentin Tarantino can suck it.
I like that Boba correctly notices the significance of Fennec saying that next time they are going stick to the plan. The words "next time" say everything. And I like that Boba is cunning enough that they don't pass his notice. That's when her loyalty is his for good.
I like Fett throwing a bag of money on the operating table and the dude telling him to lead with that next time. I will never stop being amused by the fact that Star Wars characters all use modern-day English expressions and always have. The problem is that I can never actually rationalize it. It's funny, but it actually makes no sense.
Another funny scene was with the Droid with the multiple arms and knives. It is SO funny to me how easy Droids are to kill. He's spinning these knives crazily at Fett, and Fennec just steps behind him, presses the Staples Easy Button, and cuts his freaking head off. It's both awesome and funny at the same time. It's also a good reminder of why nobody ever took C-3PO seriously.
I don't know how many fans of this show will truly get how significant this seeming filler episode was. Not much happened storywise. Other than the entire subtext of the series being beautifully and perfectly laid down for the viewer for the first time ever. Maybe that won't excite people who watch the show for shoot-'em-ups with Boba Fett. But it impressed the hell out of me. *****.
Superman & Lois "The Ties That Bind"
My heart has been in my throat about this beloved show before the season began. It is SO early, and Doomsday being brought into the show doesn't fill me with confidence, but so far the Arrowverse sophomore slump has not effected this show. At least not too badly. I am cautious in saying that, but the reason I think it is because the episode raised a plotline that sent up red flags to me, and they resolved it in a satisfactory manner.
But I have made my disdain for the Arrowverse's courtroom stuff known. Every time it was tackled on Arrow, The Flash, and Supergirl it was beyond ridiculous, and seemed to be written by people who have no idea how the law works, which is weird because one of the big Arrowverse producers (I forget who) used to be a lawyer. And while I've complained about that extensively elsewhere, the Arrowverse has another real weakness in its portrayals of an important job: Reporting. Kara Danvers was literally horrible at her job as a reporter and a media personality as Supergirl. She was so bad at her chosen profession I found it borderline vulgar that the producers were using her incompetence at her job to feed the audience toddler morals that belong in preschool cartoons about working well as a team and always being honest and the like. Supergirl was a bad television show and the reporter angle was one of the worst things about it.
I don't finds the reporting angle QUITE as bad on The Flash, only because Iris isn't terrible at it. But they still use it to inform toddler morals and act like somebody doing a job they're paid to do competently is some huge moral victory instead of the least the person could actually do.
When Chrissy brings up a source backing out of a story Lois did I was like, "Uh oh. This is how it starts." I was very worried that it would have turned out Lois cut corners on a previous story and had to learn consequences from it as if she was an idiot cub reporter instead of one of the most famous and venerated journalists in the DC Universe. But ultimately, what's happening to Lois on the Podcast is actually untrue. Lois's story was legit. And as she described Lucy's role in it, pretty heartbreaking. And it's the fact that this show stands by the fact that Lois doesn't need to learn the same kind of lessons they teach in TV-Y7 cartoons which is the first thing that suggested to me this season (and possibly the entire run of the show) might turn out all right. Again, it's early. And I have no idea if producers behind the scenes were moved around or not, which is typical for Berlanti show second seasons and probably the reason the shows go downhill from that point on. But Lois defending her career choices is a way this show is showing the rest of the Arrowverse how to correctly tell a story. What kills me is that I doubt anyone else will have noticed it because good writing is not something you SHOULD notice. A show being told well is something the audience half-expects, and when using a suspension of disbelief, is often willing to overlook minor, superficial flaws if the rest of the story is fine. I want it stated for the record that if the show HAD botched that idea, that would not remotely be a minor superficial flaw. It would be a huge problem and a potential shark jump.
I like that Lara believing in Tal got him to stop attacking Jordan. A redemption arc for that character would interest me greatly. Simply because of Kal's reaction. He is not his mother. He does not believe there is good in Tal. But before he leaves he makes the distinction that he WANTS to believe that. That would make that specific arc dramatically satisfying to me.
I was unsurprised and surprised by Sarah's camp hook-up at the same time. I was of the opinion last week crap happens at camp, and if Jordan was due heartbreak, he needed to be a man and suck it up this week. I've done a 180 on the subject. I would approve of him sucking it up and taking being dumped like a man if Sarah had had the courtesy to actually dump him like she should have. It's interesting she doesn't consider it the problem he does because the person she made out with was a woman. In reality that makes it far more complicated than if she had just cheated on him with a guy. Is she gay? Her thinking it's actually no big deal is not filling Jordan with confidence about her faith in her heterosexuality. That's pure, classic denial at its core, and a huge red flag. But she still wants to date him. It would be simpler and more fairer to Jordan if she dumped him. She's now putting the responsibility of their relationship on him. That's not okay.
I think my favorite moment in the episode belonged to Jordan. When Tal is grousing that his mother prefers her stronger son, he callously asks Jordan if Lois felt the same way about Jonathan. And Jordan says that Jonathan has gotten stronger than the former Morgan Edge currently is. It turns out not to be true (Tal's playing possum) but it was a pretty good burn when he said it.
I'll tell you what John Henry Irons moment I liked. Lois insightfully tells him when they are alone that she is aware their situation is not ideal for him. He says it's good for Natalie. And I love that Lois actually is a cool enough person to ask him if it's actually good for him. The answers is it's not, but he'll make do because it's the only thing he CAN do. That is a very adult notion that I liked seeing explored.
My single reservation about the episode IS one of the Arrowverse problematic vocational ideas that I do suspect they are going to screw up. Since it doesn't involve Lois and journalism, I will probably be able to forgive it, but it's absolutely the 100% wrong plotline. Lana should absolutely under no circumstances be running for Mayor. Give us this plotline five years from now, I'd be happy, because it would be a demonstration of the growth her and Kyle have been through in the town. The very year after her and her family were pariahs? It's too damn soon. One of the worst things about the politics of ALL Berlanti shows (including Riverdale) is that they assume politics occur in a vacuum and that anyone can run for any given office they want to and win. No. It doesn't work that way. Not even in our Universe in 2021. It is true that Donald Trump was elected with zero resume and executive experience. But he had been inserting himself into politics for a long time and was a constant presence on TV for that reason. Lana's interest in politics? This is pretty much her second episode showing that EVER. That's not reasonable. And this is a flaw with all Berlanti stuff. And it's the fact that this flaw infected this specific show in an episode I'm relieved Lois Lane is still awesome is the one bad note I must give this week. And unless Lana loses (which doesn't seem likely given it's an Berlanti show) this is 100% the wrong move for her character and her family. And that saddens me with the care the show took to empower Lois earlier in the episode.
But I am more encouraged by everything else being solid than worried about that one thing being shady. It's true that on Berlanti shows one shady thing leads to another until the given show collapses under the suck, but Lois' fierce defense of her career and ethics tells me if this show DOES occasionally misstep, it doesn't necessarily mean the entire show is going down the tubes. We'll see if I'm right about that, if my faith is justified, and if my fears are unfounded later on. ****.
Naomi "Unidentified Flying Object"
I didn't like it as much as the first week. Perhaps that's to be expected. What I liked about the first week was how put together Naomi was as a character. It makes sense that aspect would be absent in the episode where she's both trying to uncover her identity and denying it at the same time. It makes sense from a narrative standpoint. That being said, the show has started engaging in tropes of other youth-based superhero shows that I absolutely hate like the hero lying to her friends, or blowing people off because they forgot they were supposed to do something because they were caught up in the superhero drama. Last week I didn't know this was going to be that kind of show. And now it is. So I like it less.
Also I am very, very disappointed that the writers already wrote some of the characters out of character. It's the second week. They shouldn't be doing that. But at least two boys in Naomi's clique are into her. There is no way in hell a boy with a crush trying to impress a girl, especially knowing their is another suitor present, would ever accept the idea that Naomi could be left alone with the villain because we should trust she knows what she's doing. That's not how teenage boys operate. They'd want to stay behind and protect her to shore up their manhood cred with her and the other rival. And nothing would deter them there. The idea that ALL of the group agreed with that decision is out of character, and I am comfortable stating that already in only the second week. It was an expedient storytelling decision done to simplify the climax. You know what? You should never, EVER write characters out of character to make your story easier to tell. Never. Your show will be MUCH worse for it. And again, this is week two. Them already doing that doesn't fill me with confidence.
It was all right, but I don't think I'll wind up liking this show as much as I thought I might last week. ***.
DC's Legends Of Tomorrow "Lowest Common Denominator"
That was NOT a good episode at all but the very end made me totally forgive that fact. The best part about the crazy plan is that Gideon is serious. Next week is gonna be awesome.
Did I mention this week wasn't great? Because the characters weren't actually responsible for their own actions, it felt very low-stakes, and as if we were burning through an episode on reality show nonsense. The show does this a lot, and I don't like it.
I really like Behrad's description of how much it sucked growing up on a reality show. Behrad is cool and likable, and probably the most problematic character on the entire show. You could argue he's the most problematic character in the entire Arrowverse and I wouldn't put up too much of a fight. We actually know nothing about him. The conceit is the characters do and trust him, and that's supposedly good enough. It's good enough to trust him, but to know him? Without an origin or a hint of how he joined the team or what he role was supposed to be? Behrad is a very much unfinished character, and they can never quite figure out what to do with him. Case in point, the reality show confession was a very keen insight into the character. And then the show turns it into a confession of attraction to Astra, turning his feelings and his arc into about someone else. And there is nothing we know about Behrad himself. He is designed solely for the other characters to react to. The fact that he is so chill, bland, and vanilla is an intriguing part of that, but it doesn't stop him from not resonating with me entirely on his own. That's a problem, and even if I don't object to the romance with Astra, I didn't like it stepping on his moment of admitting his frustration in a lack of identity. Him having a lack of identity is his entire problem for me as an audience member. I don't want to attach Astra to that until the show has a better handle on it. I approve of him wanting to take it slow for that reason.
All in all, that episode was vaguely annoying. Until we get to Gideon's wacky plan to save Arch-Duke Ferdinand and prevent World War I. Are we crazy yet? Because I'm there for it. **1/2.
Batwoman "Meet Your Maker"
I think what I need to do with what I watch is to stop worrying about things that don't impress me and accept things that don't annoy me. I would be inclined to give that a so-so grade were I in a worse mood. I'm just not sure me being overly harsh or judgmental is a great thing to do for stuff that doesn't truly suck. It wasn't great. But it didn't suck either. I'll focus on that for this review. It's really not too much to ask.
I don't like that the show had Mary kill the guy though. Because that's not something you can walk back. I think the thing that bothers me is that I think the show WILL try to walk it back. Killing innocent people never seems to be a deal-breaker for protagonists on shows like this, no matter what Barry Allen or Kara Danvers whine about every week. Most shows like this treat killing a person like losing your virginity. I object to that because I do think the show expects to redeem Mary by the end of the season. Now that she killed a guy, accident or not, I'm not on board that unless she answers for it. And she probably won't have to, which means I won't be on board.
I hate Diggle's beard. Good to see him again though.
I double checked and one of the co-writers of the episode (Maya Houston) is black. It feels more authentic that a black writer cowrote an episode where the black characters point out they fare so poorly in horror films because white people write them. Flipping the script indeed.
I laughed that Ryan's secret desire is sleep. It's really a no-brainer, and Sophie engaging her in relationship drama while her nerves are frayed and she's exhausted isn't helping anything.
I'll give that a passing grade and keep my mouth shut about the fact that I didn't love it. I don't need to love it for it to be acceptable to me. That shouldn't ever be the bar, and I really need to check myself whenever I think differently. ***.
Peacemaker "The Choad Less Traveled"
I actually really liked this one. Maybe I'm a bad person but I laughed HARD at the way Vigilante riled those white supremacists at the prison table. It was SO mean, and uncalled for, and utterly righteous. It was hilarious. I was rolling.
Murg's a butterfly? Now I'm really curious what Judomaster was going to say about them before he was shot.
And yes, Chris's dad IS a total monster.
I'm not this show's biggest fan but I really liked that episode. ****.
LEGO Marvel Avengers: Time Twisted
I've gotten tired of these. They've totally lost their charm for me. They are just going through the motions at this point. *1/2.
Blade Runner: Black Lotus "Claire de Lune"
I found the flashback very confusing at first, but by the end I found it very sad and romantic.
Speaking of confusion, I didn't understand the ending. Maybe I wasn't meant to, but I got a sneaking suspicion the producers were hoping my jaw would drop in recognition at what was happening, instead of being puzzled. I think I missed something.
All right week. ***.
