Reviews

Market is a solid educational episode for children about the purpose of money and its circulation throughout economic systems. The story and use of characters explains the concept simply with entertaining moments. What is particularly nice is the positive message to children about sharing through the actions of Bluey and Indy.

One of my favourite moments is Bandit's reaction upon finding out how much money the tooth fairy has given Bluey and Chilli's explanation. Very similar conversations have occurred in my family. Additionally with us the tooth fairy applies the same principle as Santa: performance related pay based on the child's overall behaviour from the moment the tooth starts to loosen to the moment it falls out.

It follows on nicely from The Claw which had a similar economic theme and watching both episodes would be informative and entertaining. Markets is not a typically funny Bluey episode, but good nonetheless.

For me it is a 7.5/10 but I round upwards.

Something Beautiful balances several plot threads strongly.

The writers sensibly focus plenty of the cartel scenes around Nacho and his arc continues to be the most compelling aspect. He feels more than ever to be filling Jesse Pinkman void of the angry young male (with a heart) trapped up in the drug trade.

Frayne's backstory continues to be well done, including some cleverly written scheming, but not quite as intriguing given that we know the outcome for him and this episode's guest character.

Jimmy's decent towards Saul Goodman territory is getting more painful to watch by the episode. I like the comedy associated with the burglary, but watching his character hardening and getting less principled is pretty downbeat. Especially when you see how much the writers invest the character Kim in their future together.

Visually it is another excellent example of the camera telling the story, especially during the opening scenes.

All actors are on great form, especially Rhea Seehorn and Michael Mando.

For me it is an 8.5/10, but I round upwards.

The Claw is a funny episode that includes more great role playing interactions of the Heeler family.

Every parent must have at some point developed a hatred of coin operated amusements. Mine runs quite deep as I have never had a positive experience. (Children cannot deal with losing games and are never satisfied regardless of how much you spend)

In this sketch the writers use Bandit to show another very amusing attempt at a life lesson. I like that he makes them work hard and demonstrates life is still rigged in a funny way. I love the concept and how everyone reacting to his efforts. Plus there are some very memorable one liners.

Koyaanisqatsi is a beautiful mix of sight and sound that captures sobering images of nature, technology and humanity.

Godfrey Reggio combines Ron Fricke's brilliant cinematography and the music of Philip Glass perfectly. Aside from a fascinating perspective on the relationship between humanity, technology and planet Earth, it captures very real moments that would otherwise have been lost in time like tears in the rain.

It feels like a BBC Natural History unit production focussed on our inevitable march towards destruction (just not narrated by David Attenborough). Made today, you would see hoards of people cascading through various landscapes, smart phones in hard, like slaves to a technological master.

Nowadays every other documentary uses timelapse, super slow motion, and drones to produce spectacular visuals. However, this was special at its time of release.

Discovery for me is a mixed bag of a show that mostly falls short of the storytelling heights reached by the best Star Trek has to offer (TOS, TNG, and DS9), but for me does not deserve the over-the-top negativity it frequently receives.

Season long serialised storytelling is its most notable departure from Trek traditions. In the first three seasons I think the overarching narratives are generally more engaging, with stories that keep you invested in what comes next. Seasons 4 and 5 feel more like they are stretched to last a full season. Season 5 in particular equates to the same story told in one episode of TNG.

The writing at times (particularly in the early seasons) can be distractingly peppered with exposition. As the series develops it becomes less prominent (or noticeable), mainly because it focuses more on the emotions and feelings of all characters. Arguably it shows that writers have the emotional intelligence to fully explore each character. Themes of connection and understanding differences run strong. However, some creative decisions about WHEN feelings between characters are shared (particularly during times of immediate danger or crisis) frustrate to distraction.

There are other concepts that irk traditionalist fans such as the spore-drive, Klingon design, and notably the re-writing established characters histories. For me these are minor issues and not problematic unless you take fictional storytelling more seriously than you should.

Most Trek shows are generally judged on the strength of characters. Discovery is the most imbalanced due to the excessive prominence of the lead character Michael Burnham. For me Sonequa Martin-Green leads the show incredibly well in spite of how much of a pedestal the writers place the character. So much of it revolves around her capacity for solving problems with intellect, physical prowess, great leadership and emotional understanding. It is as equally inspirational as it is damaging to the legacy of other characters.

There are standout supporting characters such as the loveable yet implausible officer Tilly and the memorable and classical Trek outsider Saru. Other regulars are less so because they are merely either bit part players or have less interesting material.

Certain recurring characters like Gabriel Lorca, Phillipa Georgiou, Kovich and Rayner make very welcome contributions. Likewise the season 2 introduction of some very big fan service guns with certain classic characters. Although unoriginal, it feels like a high point.

Episodes such as New Eden, The Sound of Thunder, People of Earth, But To Connect, and Face the Strange are some of the better examples of Star Trek positive themes.

Not so positive, but in equal parts entertaining are when characters interact with the mirror universe, particularly in season 1, which offers the most engaging early drama. Trek has always liked to have its cake and eat it with humanity and violence, and this setting allows it to happen.

The high point for me comes in the back end of season 2. Episodes like If Memory Serves, Project Deadulus, and Such Sweet Sorrow (Part 2) are strong examples of Trek in any guise.

The visuals for me are consistently strong throughout the show's run and I have no complaints about any of the acting. I barely noticed the infamous "whispering" that numerous reviewers prattle on about.

Life, Itself is a mostly Burnham focused ending that for me has more good points than bad, but struggles to deliver the momentous scenes of a satisfying finale.

The intro scene hooks me into wanting to know the outcome, so does its job well. After the opening credits and throughout the conclusion to the Indiana Jones narrative of season 5, the Burnham and Moll focussed scenes are hit and miss.

I like that Burnham has to use her brain to overcome the main obstacle and the decision made late on works well. However, the fight scenes feel included for the sake of spectacle. Slow motion action with characters jumping about and landing in Marvel poses feels tiresome. Mol frustrates at every moment as an irretrievably one-note character.

The space battles are suitably energetic, when not pausing for heart-to-heart dialogue nor shouting annoying woohoos. I raised a smile at the "ignite the plasma" tribute to TNGs The First Duty. The spore drive related manoeuvre is a typically Star Trek moment of technobabble that I think works well, particularly as it shows all characters in unison.

It is hard not to be disappointed by the Breen portrayal. As much as I like Saru having a strong moment of limelight, they are not depicted as particularly competent antagonists. For me I wonder (as I have with several other of Trek's alien races over the years) how did they ever become a spacefaring civilisation?

The epilogue (Saru and T'Rina aside) feels long-winded due the focus on Burnham. This for me is the expected conclusion to a show centred so much around one character.

Easily the most enjoyable moment is the reveal involving the character Kovich.

Visually there are some great sci-fi designs, particularly the portal scenes. Most actors give strong performances, particularly Doug Jones and Sonequa Martin-Green.

I think the negative reviews are excessive, but I empathise with the frustrations of many viewers. It is not as flawed as Turnabout Intruder nor as ill conceived as These Are The Voyages. Yet, it has falls notably short of the standard set by All Good Things. I also preferred What You Leave Behind and Endgame.

This is an amusing tribute to Strangers On A Train that is mostly carried by the performances.

The story is okay, especially if you are a big fan of the Hitchcock classic, but to me it feels little more than an affectionate homage. I generally like the dark humour, but some concepts feel slightly drawn out and repetitive.

Billy Crystal does not have a huge amount of material but he is such a naturally funny lead that he carries the film with his personality and comic timing. Danny DeVito is a great foil and the two work well on screen together.

Anne Ramsey is perfectly cast in the role of another tyrannical mother. She and filmmakers do a great job of giving you sympathy for her wannabe killers.

Katie Mulgrew (a million miles away from Kathryn Janeway!) sizzles on screen as Crystal's nemesis ex wife in another of the film's amusing supporting role.

DeVito includes plenty of quirky visuals, making the best use of Barry Sonnefeld cinematography. One of my favourite moments is when the camera pans across Larry's writing class and there is a brilliant mid shot transition to what appears to the next scene.

Easter for me is a cracking episode that entertains and inspires.

After my two young daughters saw this episode, Easter was never the same in our family. The writers and animators set the bar high and plant a seed of expectation with the portrayed Easter experience.

For me the humour is excellent. I love the note from the "Easter bunny" and the concept of Dad's toilet. I have said many times that it feels like the show writers are watching my family with the quality of the observational humour. I have my own toilet (hidden away in the basement) that everyone else is too scared to use.

The plot unfolds beautifully from the perspective of the two Heeler children in a nice build up to an excellent reveal. Music is used to great effect.

My 4 year old daughter asks for this episode every time the suggestion of watching Bluey is made by anyone.

The Decider is one of the most enjoyable and heartfelt episodes of Bluey. It mixes the fun and banter of sporting fandom rivalry with the emotion associated with family relationships.

As a rugby fan I naturally love the plot as it takes place during the State of Origin and uses the event to stage great banter and sight gags. I particularly love the recognisable behaviour seen within fandom and the children's perspective of it all.

As other reviewers have mentioned it has an emotional core of the title's real meaning, when a child character is put in the difficult position of having to choose between parents. The implication this has on the theme of divorce makes it all the more heartbreaking to contemplate.

Being a Bluey episode, it naturally ends on a very positive note, which brings a smile to my face every time.

The underlying emotions from Chuck's demise are used brilliantly in different scenes involving Jimmy, Kim, and Howard. All actors do great work but Rhea Seehorn has the rare opportunity to let her character's feelings out and does not disappoint.

Well done to the writers for Jimmy's sales pitch about photocopiers. I love how they apply the character's showmanship to an uninteresting subject in such an amusing way. Bob Odenkirk delivers the razzle-dazzle in style as always.

For me the cartel related scenes are very well done. The highlight being the unknown fate of the character Nacho that drives most of the intrigue.

Mike's scenes link well to Breaking Bad, particularly the visuals involving the swing and also Lydia's shoes. These moments of backstory show great attention to detail.

The underlying emotions from Chuck's demise are used brilliantly in different scenes involving Jimmy, Kim, and Howard. All actors do great work but Rhea Seehorn has the rare opportunity to let her character's feelings out and does not disappoint.

Well done to the writers for Jimmy's sales pitch about photocopiers. I love how they apply the character's showmanship to an uninteresting subject in such an amusing way. Bob Odenkirk delivers the razzle-dazzle in style as always.

For me the cartel related scenes are very well done. The highlight being the unknown fate of the character Nacho that drives most of the intrigue.

Mike's scenes link well to Breaking Bad, particularly the visuals involving the swing and also Lydia's shoes. These moments of backstory show great attention to detail.

K-9 is a typical 80s cop buddy movie that mismatches a maverick cop with an out of control sniffer dog.

Easily the best moments involve the canine character Jerry-Lee as he interacts with his handler and partner played James Belushi. The banter is in good humour and the action is fun.

Belushi is pretty entertaining and carries the film well.

Not much thought has gone into the generic drug crime plot aside from how the filmmakers can set up as many scenes as possible for Jerry-Lee to cause chaos.

All the cop movie cliches are in there, like the new partner, the cop who takes it personal, the neglected girlfriend, exasperated captain, car chases, bar fights, helicopters and a final showdown.

The cinematographers and editors do great work capturing the dog performers for the visual storytelling to work.

As always the B&W flash-forward sequence is very well done. The filmmakers create some solid tension with excellent visual storytelling.

The back end of season 3 saw glimpses of Jimmy's dark sides in various moments. The end of this episode reaffirms his shift in the direction of Saul Goodman with a brutal response to another character's expression of grief. This moment is reminiscent of Walter White's upbeat demeanour after the Drew Sharp incident. The connection from this to something Jimmy did (that felt vindictive but trivial) in season 3 is very clever.

Conversely I like how the writers have given more depth to the character of Howard Hamlin. He could have been portrayed as a one note antagonistic character but the direction taken is more rounded.

The aftermath of Hector's medical emergency includes more intriguing focus on the character Nacho. This is sensible with his fate being unknown from Breaking Bad.

Mike's scenes are pretty entertaining, especially the Beverly Hill Cop tribute.

As a generic action heist story it is reasonably good if you can accept the portrayal of the Breen's utter ineptitude. I like how the mission unfolds and find the disguised away team pretty amusing. Watching Sisko, O'Brien, and Odo posing as Klingons on DS9 was hilarious so I can extend this episode the same courtesy of disbelief suspension.

I think the scenes on the bridge of Discovery are enjoyable, particularly with the filmmakers finally using the character of Rayner to good effect. There is a moment when he memorably shuts down another character who deserves it.

Other parts worth mentioning include the couple scenes between Michael and Book and Saru and T'Rina. The former I still struggle with but the latter works well.

I think it is a tough one to score. As a standalone episode it feels enjoyable enough to warrant a 7, but the overarching narrative of the TNG episode The Chase being stretched over an entire season is wearing very thin.

6.5/10, but I round upwards.

I think you need to be a Bob Dylan fan to fully appreciate the strengths of A Complete Unknown. There are a number of emotional moments that it depicts brilliantly using Dylan's music. So much so it feels like it has perfectly captured a place and time that you wish you could have witnessed.

The highlight is the staging of certain songs, placed at right times and performed to a high standard that feels authentic. All the recordings of Dylan's songs I have listened to over the years never had the impact they do as when combined with the visuals shown in this movie. Some moments made the hair on the back of my neck stand up. I saw Dylan live about twenty-years ago and it was a huge disappointment as I could barely understand a word he sang. This film makes the best of his music.

Timothée Chalamet nails it as Dylan, particularly during the musical performances, general aloofness and rambling delivery of dialogue. Monica Barbaro is excellent as Joan Baez. Edward Norton is arguably the outstanding (acting) performer as Pete Seeger.

I love the cinematography and editing, particularly the scenes associated with musical performance and the Woody Guthrie scenes. Although I was not around in the 1960s to give an accurate opinion, the period detail feels plausible.

As with all Hollywood histories and biopics there is plenty of artistic licence, which you get the sense of during certain scenes. Do your own research of specific events to find out the documented evidence for yourself.

Lantern is a downbeat but unforgettable finish to the third series.

For me all the most powerful scenes involve the character Chuck. The post intro sequence is excellent, likewise his dialogue with Howard and Jimmy, plus the visual storytelling of all his scenes whilst alone in the house is incredibly effective. As ever the cinematography and editing

Jimmy's evolution toward Saul Goodman is brilliantly incorporated within his relationship with Chuck and the writers pretty much spell it out in their scenes together.

Another great plot involves Jimmy's dealings with Irene and the elderly clients. Just when you thought there was not much of Jimmy's soul left the writers come up with this sacrificial moment akin to Walt's moment of pretence on the phone to Skyler in Ozymandias. A very clever strategy writing to stop us completely turning against the lead character.

The scene with Nacho and Hector are also very strong, as it seemingly answers an important question of Breaking Bad backstory and continues Nacho's character arc, which is important in a show with so many character fates already known.

All actors are on great form, but for me the standout performances come from Michael McKean, Mark Margolis, and Patrick Fabian.

For me it is a 9.5/10, but I round upwards.

This is a very strong and considerably downbeat episode with continued focus on Jimmy's character development. His journey towards Saul Goodman takes a dark road of disturbing manipulation that for me is quite uncomfortable to watch. In many previous episodes his banter and salesmanship with elderly had a high degree of entertainment, but this is notably different. We know who he becomes from watching Breaking Bad, but it is still compellingly sad to see this side of him emerge. (It's childish I know), but I almost shouted "no Jimmy, don't do it" at the screen.

Other characters have strong scenes of drama, particularly Kim, Chuck and Howard. As these are all individuals with no known future, it is all very intriguing. Kim's scene at the end of the episode has a jarring effect and is incredibly well filmed and edited.

The scenes involving Mike further explore the character. I am still interested in find out what disables Hector and what becomes of Nacho.

Bob Odenkirk, Rhea Seehorn, Michael McKean, Michael Mando and Patrick Fabian are all superb.

As you come to expect, this visuals are amazing as always.

Slip is a strong episode with some pretty memorable scenes.

For me the standout moments involve the character Nacho in his scenes with great visual storytelling. Everything involving the sequence with pills works brilliantly. I think it is a very sensible decision to focus a lot of the plot around this character as he is an original Better Call Saul character with an unknown fate.

Jimmy's character development continues with some of the desperate measures he takes during certain situations. Cleverly the writers make the antagonistic characters with whom he interacts thoroughly dislikable, so we do not turn against Jimmy for some of his behaviour.

We continue to see the backstory of the likes of Mike and Gus, which is all solid.

Visually it is as strong as ever and all actors are excellent.

For me it is an 8.5/10, but I round upwards.

This is a strong and fairly downbeat episode with a lot of focus on Jimmy's character development. His journey from loveable rogue to Breaking Bad's "criminal" lawyer produces a few moments of self-service and vindictiveness that sting. These juxtapose very well with that wonderfully compassionate scene with the make-up girl. Everything is loaded with intrigue about what he will sacrifice on his journey to become Saul.

The filmmaking scenes in Better Call Saul are some of my favourite moments for the humour and parody of just how difficult a business it is for film professionals just starting out or those not lucky enough to work for big studios. The image of Jimmy sat on the curb like a down and out feels very reflective of the film industry.

The scenes involving Mike further explore the character. I am still interested in find out what disables Hector and what becomes of Nacho.

Bob Odenkirk, Rhea Seehorn, and Michael Mando are the outstanding performers with Odenkirk particularly good.

Visually it is excellent as always.

Section 31 mostly contains exposition and action that tries to be Mission Impossible and Guardians of The Galaxy set in the Trek universe.

The first twenty-five minutes is continuous exposition, with introductions to characters and exchanges of dialogue. This is interrupted by the first of several action sequences that you feel exist for the sake of spectacle, but are not particularly spectacular.

It takes fifty minutes to get to an obstacle for characters to overcome, which could have unfolded well, if not for the pace being ruined by the continual banter between individuals who are pretty annoying.

I do not dislike the flashbacks, which at least provide decent character drama for Georgiou, plus they lead well into the concluding showdown. Unfortunately, I struggled to invest in the characters.

I like that it does not take itself too seriously, but for me none of the attempted humorous banter works. Comedy is in the eye of the beholder as always.

Michelle Yeoh carries the film well but cannot lift it beyond the realms of a generic action thriller. Aside from various references to places and certain characters it does not feel like Star Trek. Resolutions come through conflict and violent characters swagger about as if Section 31 is something cool. Those who appreciate Deep Space Nine will see this as a perversion the original concept.

Nice make up and costumes.

1-star reviews are harsh, but (predictably) all the 10 star reviews to date are from those suspicious one review accounts. The truth is usually found in the middle. If this was a not linked to the franchise I would rate it as a 5, but what irks me is that it glorifies certain concepts under the banner of Star Trek.

Prequels are difficult to write given the known outcomes for various characters, but the writers of Better Call Saul do a great job of making the journey of characters like Jimmy, Mike, Gus and Hector as interesting as possible. What helps considerably that unknown characters like Nacho, Kim, Howard and Chuck have prominence in good storylines of their own.

Jimmy's arc continues to be compelling, particularly his transformation to be the more selfish and exploitative individual we saw in Breaking Bad. The writers include some early signs during an interesting scene with the character Rebecca. The end scene with the video tape is an unexpected and important moment in the franchise. I love how it introduces a certain concept.

As always the visuals are fantastic. The scenes showing Chuck in a bad place are especially well made.

All actors are excellent as always, especially Bob Odenkirk and Michael McKean.

This is a classic episode of Better Call Saul.

There is very little about the plot I can reveal without spoiling except that it is the quintessential Jimmy and Chuck episode.

Some of the best moments of Breaking Bad came when the writers painted the characters into corners with certain plot lines and then used clever, plausible storytelling to overcome certain obstacles. This for me is an episode of Better Call Saul that reaches that standard. To be fair the events of Chicanery were perfectly set up by all the episodes leading up to it.

As always it is visually fantastic, particularly the hearing room scenes.

Michael McKean and Bob Odenkirk are both amazing.

Sabrosito is a chapter of two halves, where certain characters take prominence in each part and some play smaller roles in both.

If you are interested in the backstory of Gus, Mike and the Cartel this episode a good one as it lays great foundations for the conflict between the two organisations. This includes several moments of dialogue behaviour that feel particularly uncomfortable and put you on edge. Giancarlo Esposito is on great form.

Speaking of difficult interactions the standout scene for me involves Jimmy and Chuck in the same room together. This is brilliantly performed by all actors involved and ends on a very intriguing note.

As always the cinematography and editing enhances all scenes. I particularly like the in sync shot of Jimmy and Kim walking together.

For me it is an 8.5/10 but I round upwards.

Sunk Cost is another strong chapter of Better Call Saul.

Fring scenes are solid, but given our prior knowledge of Breaking Bad not overly compelling due to the known fate of all characters involved. Most of the intrigue for me is based on finding out how certain relationships between individuals are established and how Hector's paralysis happens.

The main interest for me is the situation portrayed between Jimmy and Chuck. The writers depict a suitably complex relationship between brothers. Their dialogue is as compelling as ever and Jimmy being processed involves some amusing moments. Bob Odenkirk and Michael McKean are both excellent.

Visually it has plenty of superb imagery. As ever the camerawork and editing tells the story, particularly in the Mike scenes, which use the desert scenery to great effect.

Witness is a very entertaining episode all round

As always the visual storytelling in the Mike scenes is superb and his surveillance scenes are compelling watch. They hold extra interest for Breaking Bad fans as the initial sequence involves a strong reveal of something familiar.

The various scenes involving Jimmy at his law office and interaction with Chuck are classic Bob Odenkirk. He is hilarious in the scenes with the new paralegal and wildly unhinged in an important later scene.

One scene involves both Mike and Jimmy and this is for me is the most enjoyable as it is both humorous and intriguing. I absolutely love the fantastic slow reveal of a character we all know. This actor's facial expression alone is worth the watch. A lot of the episode feels centred around this reintroduction and building for nothing more than cinematic effect. However, it is excellently done.

Visually it is superb all round and includes great sound effects. I love that well placed screech or car wheels.

For me it's a 9.5/10, but I round upwards.