Reviews

Taken as a whole (3 series), Broadchurch is a high watermark of television. Riveting, thoughtful, superbly written and acted.

It seems unfair to nitpick its various faults, but it did suffer some inevitable lapses - though mostly confined to S2 and S3.

S2 was never going to hold a candle to S1, which unfolded with nerve wracking precision leading to an unparalleled buildup and discovery.

S2, the aftermath, was still an incredible effort. The bubble had burst and the pace was more measured. The court scenes felt a bit rushed; there was very little rebuttal. There's only so much you can do in under an hour, and it wasn't going to get bogged down in legal arguments, so it's understandable.

I wasn't entirely convinced with the actress from Fleabag as the defense comic relief.

Complaining that S2 dragged or felt wholly unnecessary is a bit unfair. It was still gripping and expertly developed.

The parallel case for Hardy wasn't always clear to follow, but it was still wonderful to watch.

S3 was almost a victim of the shows greatness, as if the template was struck. The familiarity was right there. You were prepared for how the case would unfold.

A few moments seemed a bit cheesy; the old school journalist looking to start a vlog and Trish's ex making nice.

Regardless, it was very well done and produced two standout scenes;

1/ Mark confronting Joe - grateful this scene wasn't a predictable showdown. Mark was no better off for it and Joe Miller remained the despicable, self-serving, manipulative person he always was.

2/ Mark and Beth's conversation on the couch. Very well written and acted without resorting to sentimental or maudlin cliches. Truly heartbreaking seeing Mark's inability to move on and feeling his pain, knowing he's drifting toward sheer solitude and loneliness. You don't really know whether he gets the help he desperately needs (though he acknowledges he has to get himself back together). It's almost cruel thinking Beth never empathized enough with him. Credit to the writers for giving enough space to explore grief and how two people experienced it differently.

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I loved everything about it and was genuinely affected by some of the smaller nuanced moments. Top notch performances all around, intriguing, careful, and unforgettable.

Forget the age-old story... in the hands of Jerry Lewis, 'Cinderfella' becomes something special. And in this case, there are some marvelous set-pieces that are truly memorable.

Most notable is Jerry's entrance to the grand ballroom. Standing at the top of a staircase, snapping his fingers. Jerry moves beautifully across the screen, utilizing all 63 steps -- all to the sound of a sexy Count Basie number. His moves seem perfectly syncopated to the music. It's a wonderful scene.

And as Jerry has said, all done in one take -- which seems perfectly believable when you then hear his voice crack slightly upon taking the princesses hand ("Excuse me...").

I do like watching Jerry squeeze the oranges in the kichen. An ordinary task made funnier by his body language and goofy faces. And of course, the long protracted dinner table scene -- switching jackets, running back and forth, the salt in the soup -- great stuff.

The rest of the cast are good too. Henry Silva is wonderfully slimy as Jerry's conniving brother. And the beautiful Anna Maria Alberghetti is perfectly cast as Princess Charming. Though I wish the big dance number with Jerry had shown more of her.

There are some very funny scenes and as sappy as the story gets, it's rather sweet ("Keep breathing fish!). Considering that Jerry had already been in his hugely successful act with Dean Martin (where most performers would have retired), it was quite an accomplishment to have started carving out a solo career.

This man may have his flaws, but Jerry Lewis is priceless.

I think it's fashionable for people to go against the grain. No-one likes to be part of the majority (how passé!), so it stands to reason to come out and be the lone voice of dissent.

Everyone's entitled to their opinion, but reading the negative reviews of this film -- I just ain't buying it. I think you did like it. You know who you are but feel you just have to say you were bored (oooh, you are so hard to impress!).

Harumph... we'll just have to try harder for you :(

Anyway, I'm standing up proudly and saying I loved it. The sense of dread was very well done and I had no problem with the character development taking it's time. The British accents were dead-on (I wouldn't have known the girls were local actors). Sounded very North London.

The dialog was suitably plain and mostly, cliché-free. When one of them says "totally brilliant" in describing her friend, I felt right at home.

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++++ SPOILERS AHEAD ++++ +++++++++++++++++++++++++++++++++

Like Texas Chainsaw Massacre, there was relatively little bloodletting (in my eyes). And fortunately, this was decidedly un-Hollywood. No silly teens, corrupt sheriff, corny dialog, hunky hero, comic relief, happy ending etc. Definitely not SCREAM (my example).

A few flaws; I wondered how the killer snuck back into the garage and got in the car so quietly. And the high-powered rifle shooting was a tad 'that probably couldn't have happened'. I think movies tend to elevate a killers status, giving them superhuman endurance and skill at the worst of times. It's the traditional, 'Jason comes back one more time' scenario.

I don't agree with reviewers calling it misogynistic. They were all fair game... literally. The girls weren't sexually abused (on camera) and there was no nudity. Women were not the target here. This guy was picking out anyone he could find.

And I didn't feel it was gratuitous either. The final freeway shooting of the girl could have been a slow-motion, grisly close-up, but it looked like what it was -- a sad, cold execution.

Certain elements reminded me of Last House on the Left -- the gradual build up, introduction of amiable, innocent characters and then turn it around with shocking events.

Conclusion: terrific job. money well spent...