Category: Series Review

Doom At Your Service

Published on by cinemadilemmaLeave a comment
https://www.netflix.com/

Rating: 4 stars out of 5
Starring: Park Bo-young, Seo In-guk, Lee Soo-hyuk, Kang Tae-oh, Shin Do-Hyun
Where to watch: Netflix
To watch or not to watch: It is one of the best Kdramas out there. It shows the maturity in storylines and side character development we have been asking to see

Tak Dong-kyung (Park Bo-young) lost her parents when she was very young, and had taken the responsibility for her younger brother early, with the help of her aunt. Currently, she is working as an editor for a web novel publishing company. One fateful day, on the anniversary of her parents’ passing incidentally, she discovers that the man she was in a relationship with is married and is expecting a child, and that she has glioblastoma and has about 100 days to live. She goes back to her home all alone, gets drunk and in anger wishes upon a shooting star for the world to end (understandably). As fate would have it, Doom (Seo In-guk) is actually listening, and decides to meet her to fulfil her wish. He introduces himself as Myul Mang, and Dong-kyung makes a deal with him that gives her pain-free 100 days to live as she wants, in exchange for the world to end or someone she loves will die. The rest of the movie is about how she navigates her fate, ironically finds love in Myul Mang and wants to live. In turn Myul Mang starts appreciating humans and their emotions, realises the worth of a life and looks for redemption for himself. The supporting cast in Lee Soo-hyuk as Cha Ju-ik, Dong-kyung’s boss is heart-warming without the drama and his relationship with Na Ji-na (Shin Do-hyun) is also relatable.

This drama defies the standard love triangle which are the norm in Kdramas and by that alone this series sets itself apart. It is also low on comedy and high on emotional drama, making it not similar to the popular Bo-young’s work, Strong Woman. There are some genuine themes touched in this one, like mortality, the futility of life, hope or lack thereof, and world’s fate. In between this, we humans need to find our purpose in life and do everything to achieve it, no matter the grief it brings. It is profound.

Bo-young and In-guk had a good chemistry in the series, and though Bo-young’s screen presence is difficult to equal, In-guk does stand on his own, even though in the story he exists because of and for Bo-young. This is not a typical love story of boy-meets-girl or enemies-to-lovers trope. It is a story of growth, of reliving, of suffering but smiling through it. The side characters are kind of annoying in this set-up, as their story is not as deep or holistic and that is kind of a bummer, but it still offers a relief from the heavy topic of our main characters. Watch this to appreciate the growth we are seeing in Kdramas, let them know that their efforts are seen. It is actually a good story.

Ghosts UK

Published on by cinemadilemmaLeave a comment
https://www.thepennmoviegoer.com/

Rating: 5 stars out of 5
Starring: Charlotte Ritchie, Kiell Smith-Bynoe, Lolly Adefope, Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard, Ben Willbond, Katy Wix
Where to watch: BBC/Prime Video
To watch or not to watch: Of course it is a must watch! Why is that even a question!?

Alison (Charlotte Ritchie) and Mike (Kiell Smith-Bynoe) are an average couple looking for a new place to move into. As luck would have it, Alison’s distant relative passes away, and Alison being the only living relative left, she inherits an estate manor. Of course it seems like lady luck has finally shone her light on the couple and their life can finally take off, but no no, not so soon. There are a (couple of) group(s) of ghosts living their best afterlife in that manor who would rather the manor be left to themselves. In this pursuit, they try to push Alison from a first storey window (and this works only in this series) and she wakes up with the ability to see and hear the ghosts as if they were a real people! Ooo! Excitement galore! Now Alison’s life has been changed forever. Since that land has been on earth since life began, there are ghosts from neolithic, regency, World War, etc time periods. We also have a Tory MP who dies in questionable circumstances and is destined to die out the rest of his death without trousers. We also have an Edwardian era royalty who was beheaded and is constantly losing his body. And wait, there are a bunch of ghosts living in the basement from the time they lost their lives to the plague, but then we can ignore them.

This series is super cool and funny. It moves and evolves along with the characters, and the said characters have depth, width and everything in between. We have a closeted war colonel, an enlightened milkmaid, and a politician who missed the birth of his child because he was busy cheating on his wife. This is handled with finesse, calling a spade a spade, but still maintaining a levity throughout. There is never a dull moment in the series, if it is not the fantastical money making schemes of the married couple, it is the opportunistic neighbour who adds excitement. There is also exploration of the themes of death and life. And it is this charm which wins the heart of Alison and the viewers too.

This series, like The Office, has been adapted into a US, German, French and Greek version too, with Australian production on the way. It is a good story, and comparing it with the American version, it is a tighter script with 5 seasons and 6 episodes each. It keeps the story rolling and viewer invested, and left wanting more. The actors and humour are also quintessentially British, without annoying pauses for laughter tracks. It can also be classified as absurd situational comedy. A must watch, and ensure it is the UK version.

MobLand

Published on by cinemadilemmaLeave a comment

Probably the only decent thing Guy Ritchie has been involved with recently

https://stanzedicinema.com/

Rating: 4 stars out of 5
Starring: Tom Hardy, Pierce Brosnan, Helen Mirren, Paddy Considine, Joanne Froggatt, Lara Pulver, Anson Boon, Jasmine Jobson, Mandeep Dhillon, Daniel Betts, Geoff Bell
To watch or not to watch: Pierce Brosnan in his Irish drawl, Tom Hardy as a loyal fixer-upper, and Helen Mirren as a psycho/socio-path in a story about mobsters, family business and political play? Who can ignore it?

The Characters:
In a land up north, there are two families controlling the business of the underworld- the Harrigans and the Stevensons. An increasingly chaotic and unpredictable Conrad Harrigan (Pierce Brosnan) and an evil Meave (Helen Mirren), who can put Shakespearean villains to shame make up the patriarch and matriarch of the Harrigan family. They have three kids – Kevin (Paddy Considine), the youngest and the one most involved with the family business, Brendan (Daniel Betts) who has screwed up all the deals he ever put his hand in, and the sophisticated and efficient Seraphina (Mandeep Dhillon), a result of Conrad’s “quickie in the bathroom”, and forever a belittled by Meave. Kevin and his wife Bella (Lara Pulver) have a son Eddie (Anson Boon) who has been spoilt rotten by Meave. And all this is tied together by their man Friday, Harry Da Souza (Tom Hardy) who is their cleaner-advisor-messenger-fixer-upper all rolled in one. Kevin and Harry were in the juvenile correctional facility together, and since then have been more brothers than friends.

The Scene:
Eddie Harrigan has gone off and killed Tommy Stevenson, and Richie Stevenson (Geoff Bell) is out for blood to avenge his son’s murder. While Eddie’s antics are not totally difficult for Harry Da Souza (Tom Hardy) to fix and wipe clean, this is something which requires him pulling all stops. In this mess, there is Meave being an out-an-out sociopath and urging Eddie to continue being the slimy sleazeball that he is. In the parallel, Harry wants to control the fentanyl business which is currently with the Stevensons. We also have Bella concocting a plot of her own for some personal reasons. Then Brendan goes and tries to get Seraphina to participate in a plan with some dangerous people, all to prove to Conrad that he’s not a screw up. As can be expected, all this requires a lot of people management, change management and micromanagement of the conceited, spoilt brats, which is in the repertoire of Harry, keeping him busy, all to the chagrin of his wife Jan (Joanne Froggatt) and daughter.

MobLand is a really good show. Like, really good. The star is undoubtably Tom Hardy, followed by the plot, followed by Pierce Brosnan and Helen Mirren, then everyone else follows. But this description itself casts a wide net as Tom Hardy is almost EVERYWHERE. He is probably the best and most efficient consigliere. There is nothing he bats an eye over, no problem too big/small/complicated. It is almost inspiring to watch his attitude to the jobs the unhinged and chaotic Harrigans ask of him. The plot with the multiple people trying to play to their own vanity, often to complete disregard to consequences is both frustrating and exhilarating. There are some sub-plots the series could have done without, but it doesn’t take much away from the main story. This is the gangster story audience can get behind, all complete with Fontaines DC’s Starbuster as title track. Cannot wait for season 2.

Poker Face

Published on by cinemadilemmaLeave a comment
https://www.rottentomatoes.com/

Rating: 4.5 stars out of 5
Starring:  Natasha Lyonne, Adrian Brody, Simon Helberg, Benjamin Bratt, Ron Perlman, Rhea Perlman and many other celebrities who appear for 1 episode
Where to watch: Peacock+/Jio Hotstar (2 seasons, 22 episodes in total, 50 min per episode)
To watch or not to watch: A must watch for people of all ages, preferences, inclinations, etc. And guaranteed fun!

Charlie Cale (Natasha Lyonne) is a real life human life detector – she doesn’t need to check your pulse, or pupils, or anything such thing. She just knows, there is a tell, a small flicker somewhere in the voice, face, anywhere, which makes her call people’s bullshit. Excellent for a poker players, not so good when you run into criminals everywhere you go.
Well, Charlie is a layabout, easy going, cigarette smoking, beer drinking free spirit, who is banned from gambling because of her remarkable ability, but it helps the owners of said gambling dens to catch cheaters. But things take a turn for the worse when she becomes a target of the mafia and has to be on the run, where she inadvertently runs into murders and murderers and their victims leading to the case-of-the-week structure with many celebrity cameos.

The format of the show is similar to Columbo, where we see the crime happen in the opening sequence of the episodes and then we see how Charlie falls into the scene, only Charlie notices things like Psych or The Mentalist and solves the crimes with the help of her power. Of course, some episodes are better than the others, and the episodes go from good in the beginning of the season to mid in the middle and ending with real good ones. But even the mid episodes will not dim the charm of the show, primarily contributed by Lyonne’s Cale. This Johnson-Lyonne duo is a match made in heaven, where it looks like everyone was having fun while making it. The vibe of the show is easy and fun, and the cases they present are serious crimes.

There are quite a few articles comparing Poker Face with Elsbeth and it is a fair comparison – they both have the same format of opening sequence revealing the crime entire followed by the sleuthing to uncover it, where Elsbeth relies too much on the character’s quirk, Poker Face divides that between the quirk and the quality of the story. There is also an over-arching theme of Charlie Cale’s run for her life from thugs, which adds a bit more spice to the show. Over-all, Poker Face is just better. It is that simple. Rian Johnson has found his niche and is doing a good job in this genre enough that the fiasco of The Last Jedi can be forgiven, unless he ruins the Knives Out franchise with the new installment, that is. His story writing skills are equal to the directorial ones, giving us one banger after another. This one is not to be missed!

No Gain, No Love

Published on by cinemadilemmaLeave a comment
https://www.imdb.com/

Rating: 4 stars out of 5
Starring: Shin Min-a, Kim Young-dae, Lee Sang-yi, Han Ji-Hyun, Lee You-Jin
Where to watch: Prime Video (12 episodes, 60-odd minutes each)
To watch or not to watch: An example of progressive Korean drama which maintains the light-hearted tone throughout

Son Hae-yeong (Shin Min-a) has always shared her mother’s love with her various foster siblings, which has made her evaluate everything in her life in terms of give and take. In a separate development, her workplace is hosting an idea competition with very lucrative benefits and a position that reports directly to CEO Bok Gyoo-hyeon (Lee Sang-yi) at the end of it. But due to the bias against females in the workplace, which doesn’t take the fact that they might bear children and have monthly periods, positively, she knows she won’t be evaluated fairly for the position. To circumvent this issue, she decides to rope in Kim Ji-wook (Kim Young-dae) to be her fake husband, complete with a sham wedding and all. In the parallel, we have Nam Ja-yeon (Han Ji-hyun) who lives with Hae-young, is her foster sister and works as an adult web-series writer, and is very popular. Bok Gyu writes malicious comments on the series, Ja-yeon plans to sue him, and they have their meet-cute. Hae-young’s ex-boyfriend is in the same company and is totally jealous of her husband who has also joined the company and is reporting to Hae-young. The CEO’s secretary turns out to be Nam Ja-yeon’s school friend, who doesn’t know about her adult literature writing career, nor of her run-in with the CEO, and he is looking to transfer departments. All in all, there are much entangled connections sprinkled with hilarity and a bit of conflict regarding Ji-wook’s past and present which might disrupt his tender relationship with Hae-yeong.

In the majority of K-dramas, the story takes an angular turn at the middle point. While the first half is easy-going, funny, with the story about how the main actors fall in love with each other, the second half focuses on the lead actors’ relationship, tone is serious, the main conflict becomes the story. Not in this one! Well, not totally.
The series focuses on Son Hae-yeong primarily, followed by Nam Ja-yeon and then the third foster sister (who is mostly an after-thought). Compared to other K-dramas, the FL doesn’t suffer from main-character-syndrome (too much), and there is an explanation for the times she takes priority in the supporting casts’ lives. She is as caring for the people around her as they are for her. There is some really good humor in the enemies-to-lovers sequence between ML and FL. And the fact that they don’t demonise the non-virginal FL. There is some real progress in the series.
There are some things which might leave the viewer unsatisfied too – like the fact that her calculation only set the sequence of events in motion but did not feature in the story anymore. The story of the third sibling had weight to it – her becoming pregnant out of wedlock, with a cheating boyfriend. (Spoiler alert – she decides to live her life with him despite him being a cheat. Which is Ewww!) Her story would come on in the middle of another scene without any foreshadow and made it very jarring. Almost as if we are forced to remember she exists, which is unfair to the actor who is actually good at her job. Then there is this arc of Hae-yeong’s mother who is suffering from dementia, which is a secret, but not really?! This is one of the reasons the ending left the viewer unfulfilled and without proper closure.

There are many things this series does well and only a few it doesn’t. It is a real step forward towards progress in the field of women’s rights and feminism. The lead is a strong woman who takes unconventional steps to grow in her career. Her career is important to her and she is good at her job. She doesn’t take that for granted. She worked towards what she has received, and not because a chaebol took interest in her. In fact, she helped her ex-boyfriend and current husband in their careers, in small ways. She is undaunted in the face of adversity and retains good humour. What a character!
This series is different in the right way from other K-dramas and just for that reason it merits a watch. The fact that it has only 12 episodes is a bonus!

The Residence

Published on by cinemadilemmaLeave a comment
https://www.theguardian.com/

Rating: 4 stars out of 5
Starring: Uzo Aduba, Giancarlo Esposito, Molly Griggs, Ken Marino, Randall Park, Susan Kelechi Watson, Isiah Whitlock Jr., Edwina Findley
Where to watch: Netflix (8 episodes, 50-odd minutes each)
To watch or not to watch: A closed mansion mystery with multiple suspects and Rian Johnson style storytelling. It is highly recommended for fans of typical whodunnit.

It is the night of Australian state dinner at The White House, rather THE WHITE HOUSE, where Hugh Jackman and Kylie Minogue are also present. In the middle of this, they find the chief usher AB Wynter (Giancarlo Esposito) dead on the third floor. The chiefs of all the major intelligence/security/investigation agencies are at the scene and are quick to call the death a suicide, except Cordelia Cupp (Uzo Aduba), the greatest detective in the world (not unlike Poirot, only she is female and has less differentiated mannerisms) is called upon. She declares the death a murder and presents compelling evidence or lack thereof to boost her statement. What follows is a non-linear sequence of statements, evidence, lies, corroboration, congressional committee, exposure of personal lives and bird-watching to arrive at the truth. Oh! And Kylie Minogue performs. She is chiefly assisted by Susan Kelechi Watson (Jasmine Haney) who was Assistant Usher until Wynter’s death, and Edwin Park (Randall Park), an FBI special agent. Did Jasmine murder Wynter to quicken her promotion, or was it Harry Hollinger (Ken Marino) who was suspected of having a fight with the victim sometime before the “incident”, or was it the drunk butler Sheila (Edwina Findley), or even the pastry chef?

The brilliance of the series lies in the manner of storytelling ie, the pacing. It is quite like Knives Out, with the opening scene being the discovery of the body, fun quick cuts to scenes which lead to non-linearity and dizziness in the viewer, also making the viewer’s attempt to solve the crime difficult. Cordelia follows clues, which are lost on everyone, gets people to talk by not asking questions, push people into the corner by questioning everything, all in all, the fast-paced movement of scenes and dialogues and characters themselves, make for a really fun viewing. There are multiple characters and storylines, complicated by lies and small incidents deemed insignificant but turn out to be the real crux of the matter, Cordelia’s shifting focus to bird-watching, ensuring the viewer is kept on their toes. The show doesn’t take itself seriously and is self-aware enough to acknowledge the heavy borrowing from Christie and Johnson and what-not, it is funny despite the fact it is based in The White House, not because of it.

This show is a brilliant first watch, testing the viewer’s willpower to not binge it in one sitting, but only the first time. After that, the plot holes, the ridiculousness of the setting and extravagant mannerisms are easy to see through as distraction tactics. Aduba is good at her job and has an engaging screen presence, but someone alluding to her ability to solve unsolvable cases is not entirely believable, we are expected to just accept it. Then there is a whole origin story in the middle of the series, which was only a filler to make it last 8 episodes. The uncovered truth about the murder and the murderer is underwhelming so adjust the expectations accordingly. This is also the point where the series loses a score in the rating. There is so much underhanded display of female empowerment, that it is tiring. If you want real female empowerment in cinema, start paying equal wages, but putting men down only reverses the problem. Sigh!
Shonda Rhimes has made women-centric content in the past, while they were highly superficial, this is much, much better than the convenient, self-congratulatory plotlines of series like Scandal. It is flawed, but there is progress. And it is a good watch for all the mystery-starved people out there.

Ludwig

Published on by cinemadilemmaLeave a comment
https://www.radiotimes.com/

Rating: 4.5 stars out of 5
Starring: Dave Mitchell, Anna Maxwell Martin, Dipo Ola, Sophie Willan, Dorothy Atkinson, Ralph Ineson
Where to watch: BBC One
To watch or not to watch: Ooo… this is a fun watch. It is a comic-mystery and it is so much fun!!!

John Taylor (Dave Mitchell) is a master puzzle maker who lives in his childhood home, has a specific routine that needs to be followed (similar to Sheldon Cooper), has no close friends and has been estranged from his twin brother and his family for a few years now. His twin brother is named James Taylor, who is a successful DCI with Cambridge constabulary, is married to Lucy (Anna Maxwell Martin) and has a teenage son. Lucy, John and James used to be friends since they were 5 years old, and it is hinted that John had a crush on Lucy. Anyway, background now complete, James has disappeared without a conspicuous trace, and Lucy enlists John’s help – in that she wants John to impersonate his brother at the constabulary and find out what happened to him. A highly reluctant John does as he is told (he is a stickler for rules) but soon finds out entwined in regular police work, aka a murder mystery, which he finds out to be quite similar to solving puzzles which he incidentally thoroughly enjoys. With this is the overarching mystery of disappearance of his brother.

It is difficult to choose from where to begin singing praises about this series. David Mitchell and this role is a match custom made in Olympus (if Gods were flawless entities). He brings the totally-social-inept-and-out-of-depth character to fore most adequately. That in addition to what the God gave him – a highly expressive face, a physique to complement this character and the over-all look, and this makes it one of the best actor-character matches. The writing is also top notch, the script used puzzle solving into play which is a newish twist to this genre. Anna Maxwell is good too, but somehow she fails to convey the worry of a wife with a missing husband. But her character Lucy is an inspiration – she is a force of nature who would do what is necessary to figure out the disappearance and not be a despondent figure looking for a knight. The British know how to write a strong female character right.

There are plenty of comic-mystery series out there. What sets Ludwig apart is the clever writing. The puzzle solving aspect of it brings out the sleuth in all of us. Comparing the tools of the trade – DMV or arrest records, which are not usually accessible to common public, versus a puzzle which are accessible to people (might also interest some of the people) and it is not geographically limiting. Makes the series interesting in the mystery and the solving modus operandi. Not to mention the comedy sprinkled through the series coming mostly from Mitchell’s character and his social ineptness. It is rarely done this accurately. All in all, a must watch and still holds for repeat viewing.

The Day of The Jackal

Published on by cinemadilemma1 Comment
https://www.lifestyleasia.com/

Rating: 2.5 stars out of 5
Starring: Eddie Redmayne, Lashana Lynch, Chukwudi Iwuji, Úrsula Corberó, Khalid Abdalla
Where to watch: Jio Cinema/Peacock Network
To watch or not to watch: Disappointing at multiple levels. What a crime against the book

The Jackal (Eddie Redmayne) is one of the best snipers in the world and he is using this talent as a hit for hire. He has a beautiful wife Nuria (Úrsula Corberó) and a 1 year old son. He is hired to kill a German politician, which he does with a slightly round-about but terribly brilliant way, which took MI6 some time to figure out. Also, the kill was at a record distance, which set him apart from 99% of other snipers in the world (and hence easier to identify). A firearm expert at MI6 named Bianca Pullman (Lashana Lynch) is intrigued by this shot and takes it upon herself to find out who the sniper is. This results in an expected, typical and cliched cat-and-mouse chase, only the mouse was smarter but made a dunce, the cat incompetent but blessed with a ton of luck.

The series is true to the book in only the essence, that is, an assassin with military background aiming to assassinate a prominent figure. While in the book that figure was Charles de Gaulle, in the series, it is to assassinate a tech billionaire Ulle Dag Charles to stop him from releasing a software which will disrupt the finances of the world, by somehow publishing the finances of billionaires to everyone??? And there is no more thought put into explaining it or why it would merit $100Mn as assassin’s fees. And The Jackal forgot all about his safety protocols because his greed took over??? He also has no deterrents installed in his home office which stores his passports, cash in different currencies, his tools of disguise, etc, so that even his toddler son could walk in and dismantle his castle of sand. And if this is not enough, the agent in-charge of the investigation is doing so on a prayer. She has caused more harm to innocents without any consequences to herself, is clearly incompetent and has very one-dimensional “I am important” stance at her home with daughter and husband. The only good thing the show does is the elaborate design of the assassination plot, they were truly a treat to see and made the show slightly fascinating.

Eddie Redmayne’s acting chops made something of the character and script which otherwise would not have passed the audience test. Looks like the writers are still on strike because this script could only have been written by 5 different AI tools stitched together by an underpaid human who couldn’t be bothered to check for continuity. There are phases where the Jackal is overcome with remorse to the point of inaction, only to go ahead and unnecessarily kill bystanders to show his brutality. What is the message for the audience, because we already know his profession and all that it entails? And all that is wrong with Bianca cannot even be summarised in one post – it needs to be taken apart scene by scene. What a waste of a good, concept, good book and a good actor. This is a crime against humanity. And it gets renewed for season 2 when Maigret is cancelled? Make it make sense!

Inside Man – a study on wasting good actors with bad writing

Published on by cinemadilemmaLeave a comment
https://m.imdb.com/

Rating: 2 stars out of 5
Starring: David Tennant, Stanley Tucci
Where to watch: Netflix
Seasons and episodes: 1 season, 4 episodes, 1 hour per episode
To watch or not to watch: Please skip this despite the stellar cast

The series opens with Jefferson Grieff (Stanley Tucci) in a prison cell helping someone solve a murder. He is a former American law professor convicted of murdering his wife, to which he confessed and is haunted by his act. In the parallel, there is Harry Watling (David Tennant) who is a vicar in a small town in England. He has a troubled parishioner Edgar who lives with his verbally abusive mother. Edgar hands a memory stick to Harry to safe keep, away from his mother. Harry picks up his son’s maths tutor Janice Fife (Dolly Wells), reaches home and deposits his keys and memory stick in a bowl at the entrance. Harry’s son Ben (Louis Oliver) gives the stick to Janice to transfer some material. Janice pokes her nose into what is stored on the drive to find child p*rn, and thinks Harry is a pedophile. This leads to a lot of misunderstandings, and a comedy of errors.

If they had made the series into a real comedy instead of whatever it was, it would have gone down better with the audience. From the opening scene with Tucci’s Hannibal-esque Grieff acting as a consultant because somehow he is a criminal mastermind to the taking of memory stick home, when it was equally safe in the church is farcical. Ben tries to save his father by declaring ownership of the offending memory stick, but the father is digging a deeper hole for himself. Maths tuition and all is fine, but maybe a cognitive understanding class was more needed in this household. There was no confusion which couldn’t be solved by a simple conversation with Janice, which would have taken barely 5 sentences and need not involve Edgar’s identity. Instead, Janice is locked in the basement, she is a believer in making a bad situation worse, by the way (maybe she also needs lessons in cognitive understanding), Tucci is doing something, which has nothing to do with anyone or anything but still features in the series, and there is a reporter investigating Janice’s disappearance? SOS, brain not computing.

Netflix, my dear Netflix, what is wrong hun? All ok? Childhood trauma working overtime? Why take the stellar cast, drive up your production cost and not have someone go through the script once? How did you even get Tucci and Tennant to sign up? Are you blackmailing them? Ok, apologies, got carried away for a bit there, but then the series is unbelievably bad. And the actors did a fantastic job. So much so that a case can be made that Janice was the real villain (and if you go by some of the reviews online, many writers have the same opinion), such is the residual emotion for her character. Listen, the premise is great, and with good writing, it might even make for a beautiful thriller. But working with what was given to us, unfortunately it makes for a horrible horrible play, which cannot be saved by acting alone. Please do better.

The Undoing and what’s wrong with Nicole Kidman

Published on by cinemadilemmaLeave a comment
https://www.imdb.com/

Rating: 3 stars out of 5
Starring: Hugh Grant, Nicole Kidman, Noah Jupe, Matilda de Angelis, Donald Sutherland
Where to watch: HBO Max and JioCinema (India)
Seasons and episodes: 1 season, 6 episodes, 50 – 60 minutes per episode
To watch or not to watch: Watch it if you must. This can be a decent thing to pass time, nothing spectacular

Grace Fraser (Nicole Kidman) is a psychotherapist, married to pediatric oncologist named Jonathan Fraser (Hugh Grant) and they have a son Henry (Noah Jupe). They have, for all intents and purposes, a perfect life, with successful careers, well-behaved son, wealth, home in the Upper East Side which reduces the school run to a stroll across the Central Park. The couple has also maintained the spark in their marriage, with most of the credit given to Nicole Kidman’s apparent sex appeal. Their schedules are quite busy but they do manage to squeeze in time for their social events, including the school functions for their son (Grace’s wealthy father is a huge donor). To complete the picture of the perfect American family, Grace is a part of the fundraiser committee of mothers for school events. There she is introduced to Elena, who is a not-yet successful artist and whose son goes to the same school as Henry on scholarship. On the day of the fundraiser, things start to unravel for Grace from the time she finds a disturbed Elena crying in the bathroom. The next day Elena is found dead in her art studio, which causes an uproar with the parents of the school. Grace is unable to reach Jonathan on his cellphone for a few days and as the police discovers clues to the murderer, things start coming closer to home for Grace.

The protagonist of the series is essentially Kidman, but Hugh Grant is charm made flesh. We have seen this version of him in A Very English Scandal and The Gentlemen, but imagine if the whole personality of such a character is only charm. Impossible not to simper. He brings his inherent sarcastic and self deprecating nature to the fore, which is in a high contrast to the way upper echelons of New York is shown to behave. Then we have Matilda de Angelis and Edgar Ramirez who have more than deserved to work in a high value production. And there needs to be special recognition for Noah Jupe who is very promising.

The plot of the series feels quite similar to Big Little Lies, even when it is not. They both have affluent parents playing a major role in their kids school events, and they have high powered jobs which provides them with privilege the rest of us will need 9 lives to attain. Both series have a much less affluent female protagonist who is mysterious and trying to fit in with other mothers. Not to mention, both series are book adaptations. But while Big Little Lies did a fantastic job of balancing the drama with the thrill, The Undoing is totally lost in trying to find its vision. The makers were torn between showing privilege but not really, resulting in a murk where opportunities to show some key elements of the story were lost, while focus on glamour took center stage. Glamour is not a story and has a shelf life of approximately 12 seconds.

This brings us to the reason which inspired this post – Nicole Kidman and where acting is victimized by sexual appeal. Take Big Little Lies for example – it is centered around Kidman. She had some character traits, primary being clueless about what people closest to her are doing, ultimately being a “victim” to them. In Undoing, she is supposed to be a psychiatrist with close to 2 decades of experience and couldn’t figure out there was something wrong with her husband??? Then she is not a good psychiatrist, not earning as much, dependent on her father to provide for her, and her whole character strength falls away. The compliments paid by her well-wishers is that she is strong, beautiful, cleans up well, has expensive clothes and is successful in her chosen career. But in the series, she is totally lost, depends on her father to clean her mess, is unable to take decisions which affect her son, and as cited above, not really a good psychiatrist. This leaves us with her being pretty and attractive. This is one of the biggest reasons her husband is with her.

This is not a Kidman bashing, but this is apparent in the two roles she has done recently, which are getting attention of audience and news media alike. This peaks through in her other works like Nine Perfect Strangers and older works too. The problem is that through Kidman women are still being reduced to objects of physical appeal. Women are still not seen enough to fight their battles, but always have to be a victim and rely on the men in their lives. Their female friends are also done a disservice where their lives are around how their more popular friend is doing. Haven’t we had enough discussions on this toxicity, how unreal and harmful this portrayal can be? Is the best thing a woman can bring to the table her feminity? Is there nothing more to a female character? Are other females supposed to be in service of the victim queen? C’mon, we have moved from this discourse a decade back. Bring more to character building than just one easy thing.