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Vinyl has gotten better as the season has gone along. It's still bottom of my pecking order - and they still have frustrating eyeroll moments just a little too regularly - and there is just one episode left in season 1 anyway - but they have got me actively wondering how some plotlines will go.

Well one anyway. Seems like the one guy who got demoted to the mailroom has just discovered disco and will probably be trying to get in on the ground floor of that as a way to get his position back. It will be interesting to see what happens with that both in terms of how the hardcore rock-and-roll guys will react (resist?) - and if it will win out and generate much needed cash for American Century Records.
 
What you talkin' bout right now?

Honest-to-gawd House? Reruns of the show House?



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You must be getting near the end. I have a foggy memory of Franka Potente showing up late.

Are you binging? It doesn't seem like a great show for binging. I liked it and watched it but it was so formulaic.


Meanwhile Hugh Laurie has a new HBO thing (I think it's a mini-series, not an actual show) starting any minute now. The Night Manager I think it's called. Based on something by John LeCarre.

Ima check that out.
 
Hail, Caesar! (2016) - I have found that Coen Brothers films often grow on me with repeated viewings but all I can talk about is what I feel now and it is: not their best.

Not bad but just kinda half-baked. Uneven tone. Not sure when to be funny/serious.

It clearly has a genuine affection for the 50's film industry, but just when it feels like it might be sliding into satire and get funny it surprised me by turning earnest and all I could do is shrug.

Dubious position on the communist blacklist stuff. There are a couple moments where I said "Really?" out loud as I was so surprised at the lame joke they went with. But then there were some nice sincere moments. That was the weird thing. I can't think of many really good laughs; but there were nice moments - and they came in the form of sincere tribute to things and people.

I need to digest this one for awhile.

:dunno:


6.1 out of 10.


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Mudcat
Hail, Caesar! (2016) - I have found that Coen Brothers films often grow on me with repeated viewings but all I can talk about is what I feel now and it is: not their best.

Not bad but just kinda half-baked. Uneven tone. Not sure when to be funny/serious.

It clearly has a genuine affection for the 50's film industry, but just when it feels like it might be sliding into satire and get funny it surprised me by turning earnest and all I could do is shrug.

Dubious position on the communist blacklist stuff. There are a couple moments where I said "Really?" out loud as I was so surprised at the lame joke they went with. But then there were some nice sincere moments. That was the weird thing. I can't think of many really good laughs; but there were nice moments - and they came in the form of sincere tribute to things and people.

I need to digest this one for awhile.

:dunno:


6.1 out of 10.


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I felt like it was a "fuck you" to the audience.

Like "hey look at all the money we have. we can get all the stars together in a movie with very little plot that should have been a 'throw away' script. We'll add in a dance number that you idiots will adore so that you can't totally hate this film. and beacuse it is us, the amazing Coen Brothers, you will pay to see it, and we will continue to make millions off of you small brained movie goers. BAHAHAHA"

You could cut over half the cast and their "plat" lines and nothing would be missing.
 
I couldn't help but think their main protagonist - Eddie Mannix (?) - they were going for a Margie Gunderson from Fargo kind of effect. Instead of a comic or devious boob which they have done so many times, they wanted a genuinely virtuous, competent, good person.

Problem is that Margie has a natural humor to her and is completely likable. She's also pregnant and you care about her. Mannix is just a block of wood.


The more I think about it, their position on the communists was not really dubious, as I said before. It was pretty assured in painting them as dopey and inept with very little redeeming.


On the plus side, I share the affection for some aspects of that era of film. I liked the relationship between the singing cowboy and the Carmen Miranda character a lot - before it got amputated in its tracks.
 
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