Inside Comedy on Cable

Two new television series have popped up recently exploring the world of stand-up comedy - "Crashing" on HBO and "I'm Dying up Here" on Showtime.

"Crashing" came first focusing on the semi-fictional life of comic Pete Holmes and was developed by Judd Apatow.  This anti-sitcom is based around Holmes' actual stand up, which if I'm being honest I never found all that funny.  This show however is hilarious, tragic, but hilarious.

Propelled by recurring guest stars like Artie Lange, T.J. Miller, and Sarah Silverman, it begins when Holmes' wife cheats on him and after leaving her, he begins to take his stand up career seriously while couch surfing with friends and strangers.  The tragedy of his life is countered by how funny the situations he finds himself in.  I loved it and hope it returns for a second season. 

"I'm Dying up Here" is more of a drama set in the early 1970s about much the same inner working of the comedian's world.  It's good, real good, but solidly a drama.  It is almost "Crashing" meets HBO's "Vinyl," and that's not necessarily a bad thing. Melissa Leo, who I loved in "Treme," leads an ensemble cast, executive produced by Jim Carrey.  I'm looking forward to more of this, not so funny, but great performances. 

Both series offer intriguing insight on the industry, from two completely different eras, and both worth checking out. 

The Monsters Are Back

In this season of "Penny Dreadful," we have moved beyond the world of the penny dreadful and into the one of its American counterpart, the figuratively more expensive dime novel. As the protagonists have all gone their separate ways and formed new alliances - Lily and Dorian, Hecate and Ethan, Victor and Henry, Malcolm and Kaetenay - and spread to different corners of the world, it gives the show an HBO vibe with quick cutting to display the many characters. This tact also builds anticipation for when our 'heroes' once again meet and merge subplots.

As a fan of the original stories I was excited to see Caliban/John Clare, our Frankenstein monster, in the Arctic. I was yet equally excited to see him searching for his lost past in Chinatown. Might it be too much to wish for an appearance by another Victorian villain, Fu Manchu? Or might the legal rights be too difficult to navigate?

The concept of Victor Frankenstein and Henry Jekyll (a black man in this continuity) being old school chums and fellow outcasts is a charming and imaginative one. I like it quite a bit. Their clashing and contrasting philosophies of science and the evil of man make their partnership one of both madness and wonder, and I love that they are currently quartered in Bedlam, the prime place to conjure horror of that age. Think how they could anger God together.

I applaud the addition of Patti Lupone to the cast, though not in the part she had been playing (and should have gotten a Emmy for, the Cut-Wife), but as Dr. Seward, a gender-switched version of the character from Dracula. Notably she is a distant relative of her former role, and is not the only new addition from that book. We also have Renfield, complete with fly obsession, as her secretary and the titular monster himself in the guise of Alexander Sweet currently romancing Seward's patient Vanessa Ives.

Dracula is of course not the only big bad waiting in the wings, as Lily and Dorian Gray are still plotting a domination of the human race and are teaching a young girl, Justine, their evil ways. Reeve Carney and Billie Piper are deliciously evil and have certainly come a long way from Spider-Man and Rose Tyler, Defender of the Universe.

Patti Lupone is not the only new cast member this season, there's also award-winning Native American actor Wes Studi. Unfortunately he is filling the role of the magical Negro that Danny Sapani's Sembene thankfully avoided in the first two seasons. Hopefully there is more than meets the eye with his Kaetenay character in the dime novel sequences of this season.

I am unsure where the subplots in the American West are going, even though I am enjoying them the most, but I do hope the London stories end with that old kaiju eiga trick of turning the monsters against each other. That would be awesome. Either way, I'll be watching this season.

For a different point of view on "Penny Dreadful," please check out friend and author Marie Gilbert's reviews of the series here at Biff Bam Pop!.

Terminator Genisys

Terminator Genisys ~ There's a joke we have frequently when I run superhero role-playing games, because it's a storytelling device I use so often, and that's "Time travel makes my head hurt." The line is even spoken in this film. That's pretty much the phrase that best describes Terminator Genisys, because its continuity exists in a reality where things have been so messed up by repeated time travel that no one can keep the 'real' reality straight any longer.

We've got at least four movies and a short-lived TV series full of continuity that has been changed and reset more times than a videogame. Play. Reset. Play. Over and over again so that much of what you know is different every time you hit the reset button. Add to that the concept of alternate timelines, alternate pasts, and alternate futures, it just gets worse. For all those "Doctor Who" fans out there quoting David Tennant's 'timey-wimey' monologue, you get the picture.

Kyle Reese and Sarah Connor are still trying to destroy Skynet to prevent the machines from killing the human race, and a variety of Terminators are out to get them. That's all still true, it's the rules and variables that are different, and of course it's been updated. There are surprises, young Arnold, old Arnold, Lee Byung-hun as a T-1000, and... well, that would be telling. But then again, that's one of the big problems with this flick, all the big surprises were given away in the trailers.

Like earlier Terminator films, it's action propelled, thrills as heroes race against time, and stunts and special effects galore. Arnold Schwarzenegger is perfect, former Doctor Who Matt Smith (billed as Matthew Smith) rocked, and JK Simmons is fun in his much-too-small role. All are good except for the real lynchpin of the flick - Emilia Clarke, the Kalissi from "Game of Thrones," as Sarah Connor, is worse than bad, she's completely unbelievable. HBO has her right, the less dialogue, the better the performance.

I really could have done without the 'lesson' that technology is bad for us, and that being plugged in and online is a bad thing. Perhaps that is another reason this flick did not do as well as it could have - the anti-internet message of the Genisys application. Bad idea, folks, don't alienate the young demographic, don't bite the hand that feeds...

Here's the bottom line. I saw this flick for free on the TV loop in my stateroom of a recent cruise. It was enjoyable for free to watch as I pleased or not. If I'd had to pay for it, I think I might have been mad. See at your own risk.

Same Old Same Old

With the end of this summer's "Big Brother," featuring the dumbest cast of housemates in over a decade, it's time for the return of both "Survivor" and "The Amazing Race." The latter I can take or leave, mostly because I don't know the players. I will tag along watching for a few weeks and see if there's anyone I like, and then decide if I'll keep watching, based on whether there are teams I want to root for, or teams I want to see crash like train wrecks. That's how these types of competitive reality TV shows work for me.

This particular season of "Survivor" has cut out the middleman, so I'm all in. Everyone who is on this season is someone who has been on the show before, thus the subtitle "Second Chance." I already know the players, know who I want to win, and who I want to hiss. I'm in, and I'm enjoying it. This has been a great season of "Survivor" so far.

Some shows come back with the same old same old, and it works, and some it just doesn't. I watched, or tried to watch, the season five premiere of Showtime's "Homeland." I had the same reaction, although much stronger, that I have had in previous seasons. I wanted to shake 'crazy eyes' until she agreed to leave the show. Much like Damian Lewis finally left, it's time for Claire Danes to take off. Her time is done. Give Rupert Friend's Peter Quinn a chance to shine and make the show about action and espionage instead of mental illness and bad decisions.

Which brings us to "Heroes Reborn." We're getting the same old same old again, and again I suspect, there will be no pay off. In the first season of "Heroes," we were introduced to a cast of interesting characters all on a collision course. The final conflict featured them all together, and we all wanted to see them all together again. Seasons after that, until its first death, never delivered that again.

We're here again, with the same formula. We have interesting characters seemingly on a collision course, but I can feel the same tricks and traps happening. The show will fall in love with villains and give them too much screen time, and the heroes the viewers fall in love with will go through hell and lose time to these villains. It's never enough of what we want. We want the wonder of Hiro, not another season of Sylar.

As far as the rest of the offerings this new season go, here's a quick rundown. I like "South Park" better without an inner continuity. "Moonbeam City" is just one joke, and it real old in the first ten minutes. "Fresh Off the Boat" and "The Goldbergs" are still going strong and very funny. I just can't get into "Empire," it feels like a "Power" wannabe that never delivers. As far as the music business goes, I'll wait for HBO's "Vinyl." "Sleepy Hollow," really? They still make that?

"Scorpion," which I do like, despite its wide avoidance of the true story source material it's based on, has gotten both better, and worse. While the stakes are heightened and the action has been turned up, both good things, it has fallen into that relationship hell that killed "Moonlighting," "Lois and Clark," and "Cheers." Yeah, will they or won't they? And if they do, it's just about over.

And if anyone that mentions "Gotham" to me gets a slap. Oh, the potential. The producers should write a book about how to ruin a great show. How do you let a brilliant idea like a police procedural with Batman references fall apart?? It could have been so good…

Blunt Talk and Tunes

This past week featured the premiere of the new Starz series "Blunt Talk" starring Patrick Stewart and created by Jonathan Ames. I was looking forward to this one more for the creator than for the tenuous Star Trek connection. While it was fun to see Brent 'Data' Spiner show up in the first minute of the opening episode, I'm sure that the adventures of title character Walter Blunt, played by Stewart, may well turn off most Trek fans.

Stewart plays Blunt, a British war vet and newscaster who's come to America to do a news/opinion show, the kind that I hate so much. One drunken escapade with a transgender prostitute, and Blunt is in trouble, and continuing his downward spiral as he takes drugs and lies to his employers. This dark humor is what I tuned in for, not Star Trek.

I'm a big fan of Jonathan Ames. His novels, columns, and especially his HBO series "Bored to Death" are full of this type of sarcastic darkness, and I love it. Stewart plays well in this world, and is a comic delight to watch. One particular scene in an airport bathroom in the second episode had me in hysterics. Stewart has a real talent for physical comedy.

The real bonus for me watching the first few episodes was the song "Miss Cindy" by The High Decibels in the first one. Sort of a hip hop rockabilly, it grabbed me right away, so after Shazam-ing and SoundHound-ing it, I sample-listened to the two albums by the band on iTunes. I dug it, a lot, and bought both. Seriously, there's not a bad song in the bunch. When was the last time you bought an entire album where you liked every track, let alone two? Great stuff.

Showtime's Spoiler Problem

Showtime isn't HBO, not by a long shot, but they really want to be. There's one thing they could be doing that would bring them closer to their goal, and that's not spoiling their shows before they air.

Showtime has fantastic programming, shows like "House of Lies," "Penny Dreadful," "Ray Donovan," "HAPPYish," "Nurse Jackie," "Shameless," and my favorite, "Episodes," just to name a few. The problem is that seconds before the airing of a new episode, Showtime gives you about ten seconds of highlights of the episode you are about to see, usually revealing major plot points and twists of said episode.

WTF Showtime? I'll speak to you directly now.

You do understand, Showtime, we are already tuned in, or recording via DVR, we intend to watch - there's no need to entice us to watch. We're already there. All this plot revealing preview does is ruin the show for us. Sometimes there's no point in watching after these spoiler previews. See, this is hurting you, and ruining your hard-paid-for programming for you.

Is the point that you don't want us to watch? If so, you're starting to succeed. Stop it, just stop it.

Entourage the Movie

HBO makes this promise a lot, and usually it only happens with "Sex and the City," never stuff we really want like "Deadwood," but lo and behold, here's the movie extension of "Entourage." I always enjoyed the show, and dug the adventures of Vincent Chase and the boys, so I was down, and caught the flick on a quiet afternoon the day it opened. In the theater it was me and about ten other guys, no women.

And that is understandable, as "Entourage" is definitely a guy show, one might even call it the antithesis of "Sex and the City" if one were being flippant. The guy majority of the audience was intriguing to me based on what got laughs and vocal reactions during the film, and especially the previews. Paper Towns got booed, while Spectre and Southpaw got cheers. Yeah, you got the vibe.

As much as I loved the TV series, and while I was entertained worth my seven dollar payout, this was really just a hundred-plus minute television episode. There was really nothing that made this stand out over and above any story arc of the series. Other than money, couldn't HBO have just continued the series? Don't get me wrong, I liked it, and loved seeing it on the big screen, but couldn't this have just been half a dozen episodes of the series instead?

I dug the cameos, the widescreen locations, and even the Turtle subplot with Ronda Rousey (the best and most believable of the subplots), but some of it seemed forced. Lloyd's marriage, Johnny Drama's 'victory,' and E's baby all seemed like extras to artificially up the ante for a movie format. It felt fake, unlike Vinnie's re-imagining of Hyde.

As always, Entourage is a tale of friendship, of guyhood, and of getting girls. It's an entertaining hundred minutes, but I'm unsure it has the pull or tenacity to gain new viewers in this outing. For fans.

The Jinx Obsession

I admit it, it snuck up on me. I like documentaries and used to groove on CourtTV when it was still around, but I didn't think I could be this obsessed or compelled as I am by HBO's "The Jinx: The Life and Deaths of Robert Durst."

The gist is this: Robert Durst, millionaire real estate heir has been accused of at least three murders in his life, yet been convicted of none. His sketchy low mild calm and emotionless tones infuriate prosecutors and interrogators alike. He appears to be a monster albeit with Teflon skin. And he has always shunned the press.

After seeing a movie made of his infamous adventures, All Good Things..., Durst sought out the director, Andrew Jarecki, who also had a crime documentary background. With Jarecki, Durst consented to be interviewed. The sequences with Durst and Jarecki are the highlight of this six-part documentary series.

I recently had a chance to see the movie All Good Things..., with names changed but much of the voiceover narration taken from court transcripts, and Ryan Gosling starring as the thinly renamed Durst. The film also stars Kirsten Dunst as his doomed wife and Kristen Wiig in a rare but brief serious role. Gosling captures realistically (or as real as can be believed) Durst's odd behavior patterns and tics.

The film features excellent performances all around, vastly superior to the average Lifetime movie it resembles at first glance. When you get right down to it, this is an unbelievable story, which is what makes the fact it's based on real events all the more chilling. This also makes the documentary even scarier, because it's real. This creepy guy got away with at least three murders.

When you see the real Robert Durst on "The Jinx," not realizing the camera is still running and his mike is still live, practicing and rehearsing his answers out loud - that's the core of this national obsession with the show. Here we have a mild mannered twitchy monster who has done unspeakable things, and continues to get away with it and lie about it.

Yes, I'm rushing to judgment. Yes, I'm forming opinion on circumstantial evidence. And yes, I'm basing it all on a TV show and a movie. But that's all part of the game, is it not? That's what they want us to do, and in inviting this documentary, it's what Robert Durst and Andrew Jarecki want us to do as well.

One of the more emotional moments in this series is when Durst's late first wife's mother expressed hope that this documentary will produce evidence to put away her daughter's murderer. I'm with her. "The Jinx: The Life and Deaths of Robert Durst" concludes this Sunday evening on HBO.

Bosch

I never would have believed it when I first got my Kindle Fire, but it's true. Amazon Prime has been a wonderful source of quality entertainment. Amazon, like Netflix, is producing some amazing television. One of these is "Bosch."

Based on the Harry Bosch book series by Michael Connelly about a homicide detective in Los Angeles, this Amazon TV series is overseen by both Connelly and one of the folks behind one of the best shows ever done for television - "The Wire" - Eric Overmyer. I've never read any of the Bosch novels (but now I will), but with just Overmyer's name I was sold on this.

The story is pulled from several of Connelly's Bosch books and is very rough and slick at once, a police procedural that doesn't feel like a police procedural. It has qualities of both the aforementioned "Wire" and HBO's "True Detective." Yeah, it's that good, and folks who know me know that I do not heap praise like that lightly.

Titus Welliver, a character actor perhaps best known for playing the Man in Black on "Lost," brings Harry Bosch to life in the first season, which pulls storylines from three different novels. Welliver is surrounded by an excellent ensemble cast in this series more focused on storytelling than the characters. I dug this a lot, and cannot wait for the second season. Check it out.

Betas

Yeah, so I have a new Kindle Fire, and instead of doing something useful like reading books, I've been binge-watching Amazon Prime with my free 30 days that came with it. I watched "Transparent," and "The Man in the High Castle," and most recently "Betas."

At first glance, less than ten minutes in, "Betas" appears to be a poor man's version of HBO's "Silicon Valley," just without the laughs. That just goes to show you how wrong first impressions can be. This show is great, and funny, and has as much in common with "Silicon Valley" as "Breaking Bad" has with "Weeds," yeah, two completely different shows.

The premise has a quirky group of young app developers trying to get their start-up off the ground. Unlike "Silicon," you not only get to know the characters, you feel for them and root for them. Subtle difference, but an important one. I really dig this series, but unfortunately Amazon has chosen not to grant a second season - a mistake as far as I'm concerned. I think I'd rather see this than some of the other shows up for this Pilot Season. Check it out, and decide for yourself.

What I Liked in 2014

There was a lot to like this year and a lot to dislike, but I'll try to keep this positive.

In television this year we probably witnessed some of the best TV ever made in HBO's "True Detective," a show that also did the impossible, and made me like Woody Harrelson. Probably the best take on a comic book superhero happened late in the year in "The Flash," which in turn spun out of "Arrow." Also in the comics realm and improving with every episode is "Marvel's Agents of S.H.I.E.L.D." Please click on the links for my regular reviews of those shows.

This year I also dug "The Affair, " "Black Sails," "Power," "Penny Dreadful," "The Newsroom," "The Comeback," and the sadly canceled and much-maligned "Selfie"

As far as movies go, I loved Guardians of the Galaxy and Captain America: The Winter Soldier, proof positive that the superhero genre in film has grown up and proved it can be more than it's been in the past. A close tie with those films would be the small and powerful horror flick The Babadook that I really loved. Also on my good list this year would be The Galapagos Affair: Satan Came to Eden, Jodorowsky's Dune, and Frequently Asked Questions About Time Travel. On the bad side would be This Is the End, which of course would be my main reason for not wanting to see The Interview.

I haven't read all that many comics this year, but I would have to give serious props to Grant Morrison's Multiversity comics, which I not only read, but also enjoyed immensely. As far as real books, I would be remiss if I didn't mention Marie Gilbert's Roof Oasis and the newest South Jersey Writers' Group anthology Reading Glasses, and the two best books I've read this year are Wrapped in Plastic: Twin Peaks by Andy Burns and Murder on Edisto by C. Hope Clark.

For more of my views and those of the staff of Biff Bam Pop!, check out the newest Biff Bam Popcast on the best and worst of 2014 right here.

BoJack Horseman

Most Netflix TV series get a lot of publicity like "House of Cards," "Orange Is the New Black," or the recent tragic but wonderful conclusion to AMC's aborted "The Killing," but sometimes there are shows that just slide under the radar that are just as good. "BoJack Horseman" is one of them.

"BoJack Horseman" is an animated Netflix original from some of the same folks who do the Adult Swim programming on the Cartoon Network. It's about a washed up actor, who happens to be a horse, in a world full of both humans and anthropomorphic animals. The title character used to be in a wildly successful 1990s sitcom and is trying to make a comeback while having his memoirs ghost written by a rival's girlfriend.

Speaking of comebacks, it actually does remind me of HBO's brilliant "The Comeback," which is ironically coming back later this year. Aaron Paul of "Breaking Bad" is an executive producer and voices Todd, BoJack's friend/roommate/slacker/squatter. Will Arnett is in the title role, with other characters voiced by Alison Brie, Paul F. Tomkins, and Amy Sedaris.

I know the critics haven't been kind to it so far, but I love it. It's clever and fun, and hates Hollywood. And it does something that most network sitcoms don't do, it makes me laugh out loud. Give "BoJack Horseman" a shot, you might dig it too.

Captivated: The Trials of Pamela Smart

Captivated: The Trials of Pamela Smart ~ Before CourtTV, before O.J. Simpson, this was the trial that in the age of tabloid television started it all. There's To Die For, Anatomy of a Murder, and my favorite with Helen Hunt and Chad Allen, Murder in New Hampshire: The Pamela Smart Story. At least three films before this, numerous books, and dozens of TV shows - Pamela Smart is the godmother of television murder trials, and one could say it was almost by design.

Pamela Smart was a media teacher at her local high school, who conned her fifteen year old student boyfriend to murder her husband of less than a year. When the media storm started, before she was a suspect, Smart was the fashionable victim, always looking good for the camera, sometimes even directing the interviews. She was a natural, until she was caught, and then for the camera at least, she went from predator to prey. The media devoured her.

This is the aspect that filmmaker Jeremiah Zagar takes on in his HBO documentary Captivated: The Trials of Pamela Smart, how the media covered this super tabloid circus, and how it reflects on us today. He also contends that the sensationalism of the coverage decided the trial's outcome in the public eye no matter what occurred in the courtroom. This is done with the help of interviews with many involved, including Pamela Smart.

This is not a bad documentary, very watchable for folks who both know the story and those who weren't around when it was happening. My only complaint is that Zagar drives home his thesis like jackhammer in the early morning. It gets old and annoying very quickly. I don't think there's any doubt that Pamela Smart had her husband murdered, or that she was given a fair trial, but there you go.

The Hobbit 1966

I was surprised to find this treasure on YouTube as I had never heard of such a thing before. This twelve-minute short from 1966 is indeed the first animated version, predating the Rankin-Bass film by eleven years. Rumor has it the producer, William L. Snyder, had to make a movie before selling off the rights. By making a short, Snyder walked off with quite a profit, and then made more from the rights sale.

This version directed by Gene Dietch, while using rather primitive animation and designs by Adolf Born, is actually quite watchable. Gandalf is Gandalf but Bilbo is a bit like David Tennant with hairy feet, it's fun. The narration by Herbert Lass is somber and appropriate, almost like a serious Edward Everett Horton from "Fractured Fairy Tales." I like him, it's like velvet.

The only thing that may stop viewers in their tracks is a previous knowledge of the JRR Tolkien story. Snyder has irrationally changed character names, streamlined events, and eliminated a few dwarves and details along the way. It seems just fine to the uninitiated however.

I am reminded of HBO's "Happily Ever After: Fairy Tales for Every Child." This is fun, and an oddity for the Tolkien fans, worth checking out.

Garfunkel and Oates

I love the comedy team of Garfunkel and Oates. I dug their digital show on HBO a few years back, and was delighted to hear they were getting a full-time series on IFC. There's no doubt that Riki Lindhome and Kate Micucci are talented and funny, but the question in my mind was could they fill a half-hour on their own?

There were some shaky moments with bad acting and weird pacing that could very well be planned to be awkward examples of cringe humor, but it's hard to tell. About ten minutes in, I was wondering if they could do it or not, having only previously experienced two minute songs and five minute episodes. I really shouldn't have worried. By the end of the first episode, I was convinced, happy, and ready for the next one.

This is a show about them, or fictional versions of them, in the stand-up comedy world, and yes, the hilarious not-safe-for-family-or-work songs are there - they couldn't leave out the best part, could they? This series has the raw absurdity of "Louie" and the real brutality of "Seinfeld." I'm all in, you should be too. "Garfunkel and Oates" airs Thursday nights on IFC.

Whoopi Goldberg Presents Moms Mabley

Whoopi Goldberg Presents Moms Mabley ~ I know I must have seen her or heard her at some point, growing up in the late 1960s and 1970s, but the truth is I didn't really become aware of Moms Mabley until I was in college.

At the Community Center where the radio station was at Camden County College there was a very large but friendly security guard named Don. He was a good guy, but understand me, he did not need his uniform to intimidate someone. Don could have made an excellent living as a bodyguard or a professional wrestler. As far as the Center went, and the radio station, being a security guard, he came and went as he pleased.

I came in for a radio shift one night and found Don in the production studio laughing heartily at a record he was playing in there. He'd found it in the record library and had to hear it, rushing right in there to put it on the turntable. It was Moms Mabley, specifically Moms Mabley Live at Sing Sing, and Don told me as we listened for a bit that she was the funniest woman in the world.

I believed him. She was damned funny, and more than that, she was real - she was telling it like it is. As for Don, I had never heard a man laugh so hard and happily before, and rarely since. That was my introduction to Moms Mabley.

Now, some thirty years later I find this documentary on HBO Go called Whoopi Goldberg Presents Moms Mabley. Whoopi, who for a time impersonated Moms in her act, puts together a nice biography of the lady. Meshing her life story with actual footage and interviews with contemporaries and those influenced by her, we're given a fair depiction of Jackie 'Moms' Mabley.

Despite (or some might say because of) her race, her age, and her sexuality, Moms Mabley made her way in a world against her, breaking down barriers that barred many in her time. She did it with humor and truth, a role model and inspiration for us all.

If I had any complaint about this doc, it's that it needed more footage and/or recordings of Moms. I'm going to go find some now, you should to, whether you see this terrific documentary or not. Recommended.

Rio 2

Rio 2 ~ Other than being very colorful, having some great Brazilian carnivale music, and explaining exactly what was going on in Angry Birds Rio, the first Rio didn't do much for me. If I remember correctly, I may have even dozed off during it. While the sequel has its faults, I think it was a bit better.

This time I think I got some of the subtext, intended or unintended, of Rio. This is a 1930s musical. It's got everything - stars, dance numbers, songs, romance, comedy, chase sequences, action, lots of subplots, and even a bit of action - it's the perfect 1930s musical. You can even see the casting, an all-star cast, fitting into a modern version of that style. The bits by Bruno Mars, Janelle Monae, and Kristen Chenoweth steal the show. On that subtext, I really loved this.

As a movie however, like I said, it's got faults. There are dozens of characters, and at least a half-dozen subplots, not to mention the tiresome preaching about saving the rain forest and how bad man is. There are so many characters I gave up trying to keep track of them about halfway through. The subplots are spaced so far apart I sometimes forgot what was going on. The writers need to watch some HBO to learn quick cutting between scenes.

The kids will probably love it. If I ever get back to Angry Birds Rio, I might like it a bit more, but I probably won't see it again. I will buy the soundtrack though, I can't get enough Janelle Monae. And if you can't either, be warned, she gets about thirty seconds in this flick, as opposed to the soundtrack.