1. Rad Cunningham (Will Forte), Moonbeam City – On an underseen show, Will Forte worked his indelible powers of empathy and open-mindedness to birth another one of his beautifully pathetic creations. In the patently ridiculous Moonbeam City PD, Rad is the most ridiculous, and the most childish, but also the most profoundly human.
“We’re not ugly people,” Carol Aird pleadingly, but assuredly, insists to her husband during a custody fight that threatens to turn nasty. Carol is a thoroughly humanistic examination of the affair between a shopgirl and a housewife in 1952 New York, and the men in their life who struggle to understand them. It is about identity: the internal challenges to find your own and the external challenges to live it out. It mostly keeps it cool, in a manner that viewers who are not already fully attuned to director Todd Haynes’ restrained style might struggle to fully embrace. But when Cate Blanchett delivers the “ugly people” emphasis, Carol finds the winner’s circle.
If a film is about a decades-long marriage rocked by the revelation of long-held secrets, the natural expectation is that the marriage will fall apart. 45 Years is a little more complicated than that. Kate (Charlotte Rampling) is initially fine when the dead body of her husband Jeff’s (Tom Courtenay) ex-lover Katya is discovered. But tensions rise as the extent of Jeff and Katya’s relationship is revealed. It is never fully clear if Jeff has kept these secrets due to selfishness, embarrassment, deviousness, forgetfulness, or some combination of the above. Similarly, it is left ambiguous whether or not Kate can remain satisfied with their marriage amidst the dishonesty. Ergo, 45 Years works best as a showcase for the complications that Rampling can convey with gasps, furrowed brows, and heavy cheeks.
This review was originally posted on Starpulse in February 2016.
Melissa McCarthy is one of the most reliable “SNL” hosts of this decade. She always brings her A-game, making herself right at home at 30 Rockefeller Plaza. She has her critics who call her out for playing the same character over and over: brash, over-the-top, and painfully awkward. That can be a problem with a film career (though she usually brings more depth than her critics give her credit for), but in sketch comedy, it can easily be a winning formula. Frequent musical guest Kanye West is also reliable, but his is a reliable unreliability, in which the stage design and sound style will never be the same twice.
I Can’t Make You Love Me – Instead of the umpteenth debate sketch, the leadoff political sketch finds its angle via the electorate. Its take on what appeals to voters about Bernie over Hillary is a little shallow, but that is a small blemish, as that patter is just setup for the main thrust of the sketch: Hillary’s take on Bonnie Raitt. This is Kate McKinnon pulling off the same note of desperation she’s been hitting, but this time she is really complicating the question of whether or not Mrs. Clinton is cool. She tries so hard, which is cool because of the commitment but not cool because of the strain. There is some reference to how support of Hillary or lack thereof affects feminism, but this sketch is more astute about the much less complicated issue of whether or not Hillary is cooler than the drab, depressing Jeb Bush. B
In this feature, I look back at each day of the past week and determine what shows “won TV” for the night. That is, I consider every episode of television I watched that aired on a particular day and declare which was the best.
Sunday – Super Bowl Babies
Monday – Jane the Virgin
Tuesday – The People vs. O.J. Simpson
Wednesday – Man Seeking Woman, Jesus Edition
Thursday – Baskets
Friday – Childrens Hospital
Saturday – Kanye vs. Kyle rap battle on SNL