Streaming Review: "Uncoupled" (Netflix)

Neil Patrick Harris stars in the latest Netflix comedy, "Uncoupled."By: Christopher James

When Emily in Paris first premiered, The New Yorker coined the term “ambient TV” to describe the show’s mass appeal, despite a critical drubbing and the memefication of its protagonist by the public. It’s a show made specifically for people to not concentrate on. It’s just looney and lighthearted enough to make audiences feel good. However, once you peel back just one layer of the surface, you can’t help but laugh AT it, rather than with it.

Darren Starr, who gave us both Sex and the City and Emily in Paris, returns to Netflix for his new gay-centric comedy Uncoupled. It’s co-created by fellow lover of froth, Jeffrey Richman (Modern Family, Desperate Housewives). It seems like equality means the LGBTQ+ community also needs its own piece of “ambient TV.” Uncoupled is slick, watchable and fun. It’s also maddening, featuring characters that seemed to have been born yesterday on some fun house version of Manhattan. Much like Emily in Paris, the inanity is part of the charm.

If you turn your brain off, you can float down the lazy river of Uncoupled’s charms. For those that watch with a more discerning eye, they will either make fun of the proceedings or be turned off by some of the off-brand sharp notes that don’t hit quite right.

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Jane Austen Done Right

by Cláudio Alves

Recently, Nathaniel reviewed Netflix's Persuasion adaptation, pointing out many of the film's issues. That said, our beloved editor is not an Austenite, so his critique lacks the militant outrage you could expect from the writer's biggest fans. Speaking as one of those demented individuals, I found the latest adaptation to be terrible beyond belief, starting from its basic premise. After all, why would one choose Austen's most melancholic, wistful, and mature novel for this Fleabag-esque treatment full of anachronistic jokes and fourth-wall-breaking jests? Isn't something like Northanger Abbey better suited for such an interpretation? The whole thing is a panoply of bad choices.

Still, while the new movie is terrible, the impulse to modernize Jane Austen's writing isn't necessarily wrong-headed. One just has to understand each text's particularities. The author's work is eminently cinematic and quite malleable when handled well. To prove its endless plasticity, here's a list of Austen-related films that took wildly disparate approaches to the material… 

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Almost There: Pam Grier in "Jackie Brown"

by Cláudio Alves

Last week, the Almost There series featured the likely sixth-placer in the 1997 Best Supporting Actress Oscar race. However, as much as Sigourney Weaver seemed poised for Academy recognition, hers wasn't the year's biggest snub. That sad honor belongs to Pam Grier, whose star turn in Quentin Tarantino's Jackie Brown earned nearly-unanimous critical praise and sturdy precursor support. Like John Travolta before her, she was a movie icon from two decades prior now fallen from the spotlight, an erstwhile star reintroduced within the context of a verbose acting showcase with modern verve. So if Travolta scored a nod for Pulp Fiction, why didn't Grier do the same with Jackie Brown?

The answers to that question are many and most dispiriting, especially if, like me, you find Jackie Brown to be one of its director's best films. That love extends to Grier, whose lack of an Oscar nomination stands out as one of the Academy's greatest injustices in the 90s…

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Review: Rebecca Hall's Hot Streak Continues in "Resurrection"

By Ben Miller

Featuring a dynamic lead performance from Rebecca Hall, Andrew Semans' new film Resurrection will be a little too out there for some. Those who get on the film's wavelength, though, will be greatly rewarded.

Resurrection follows an unmarried woman named Margaret (Hall) who has an enviable life: a great job, a happy home life with her daughter, and a comfortable but casual relationship with a co-worker.  But one day at a conference, Margaret notices someone who looks just like David (Tim Roth), a mysterious man from her past and she begins to unravel. It would be a shame to give any of the actual plot away, though, because of the unexpected diabolical directions the film takes. Let's just say that Margaret must confront her demons to protect her daughter from the horrors she has long suppressed...

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Doc Corner: 'We Met in Virtual Reality' on HBO Max

By Glenn Dunks

I recently rewatched Steven Spielberg’s largely unsuccessful Ready Player One, a movie with many faults that are not relevant right now. But key to its failings is how completely uninterested in virtual reality it actually is. For all of its effort in setting up its admittedly rather awe-inspiring virtual world, it completely misunderstands (or, more likely, is just uninterested in exploring) why people would turn to such a space in the first place.

I thought of Ready Player One a lot as I watched Joe Huntings’ We Met in Virtual Reality, which is shot entirely in a VR landscape with all the boxy, hyper-coloured, anime-infused glory. This isn’t an action movie though. Rather, it’s a sweetly affecting documentary about online connections and the way some people feel more at home with a dragon tail and hooves than they do in the real world.

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