Amazon Prime Review – Good Omens (Season 1): It’s the End of the World as We Know It and this Show’s… Okay?

Neil Gaiman and Terry Pratchett’s collaboration is brought to the small screen.

SUMMARY

In the beginning, God (Frances McDormand) created the heavens and the Earth. This is generally regarded as a bad move. God then created people, which is just a giant mistake, because have you met people? Although, it did give us Douglas Adams, so maybe that’s a push. Well, in any case, people quickly got kicked out of paradise due to being tempted by a demon in the form of a snake. That demon, named Crowley (David Tennant), was sent to Earth by the forces of Hell to stir up trouble. Meanwhile, his counterpart, the angel Aziraphale (Michael Sheen), who was supposed to guard the gates of Eden, is stuck on Earth opposing Crowley. Over the millennia, the two have grown fonder of Earth, and of each other, than they are of either Heaven or Hell. However, it turns out that the apocalypse is drawing nigh, so the two are determined to work together to stop the antichrist (Adam Taylor Young) from accidentally ending the world, along the way meeting one of the last witchfinders (Jack Whitehall) and a witch (Adria Arjona) following a series of prophecies by her own great-great-great-grandmother (Josie Lawrence).

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Also, Jon Hamm buys pornography poorly.

END SUMMARY

I always compared Good Omens to the song “Under Pressure.” It’s thoroughly enjoyable, to be sure, and the product of a collaboration between two absolutely brilliant minds, but it’s not the best product of either of the authors. That said, it’s still a really fun book and has a lot of amazing character moments that clearly arise by having the creations of two very different writing styles interacting. One thing that consistently works about the book are all of the fun intercalary passages depicting the strange things happening as the world approaches the end times and all of the fun prophecies put forth by Agnes Nutter.

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She also has the hottest execution on record.

This TV show is a solid adaptation of the material, but the material is difficult to adapt. The beauty of much of the writing of Good Omens is the almost lyrical language that the two authors carry into the narrative and the multitude of fun, well-developed characters.  Even with the huge amount of narration in this series, it’s still tough to get the humor to the screen without literally reading the entire thing. The series manages to do this well enough, mostly through having a lot of clever cuts and framing devices for different scenes. The fact that most of the characters are color coded and heavily distinctly costumed also helps to elaborate on their backstories without having to dwell on them. I particularly love what they did with the Antichrist’s friends, coloring them as the horsemen of the apocalypse. The thing is, though, they still can’t quite visually represent the same level of quirky humor and the endearing descriptions that are found in the novel. The show is definitely cute and funny, but only a handful of the scenes have any real staying power and only a few of the jokes really showcase the strengths of the source material.

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The Hellhound gag is still amazing, though.

There are a few highlights, though. First, Tennant and Sheen are just freaking magical in their scenes together. They really manage to convey “best frenemies” perfectly, with each of them clearly caring deeply for the other while making a show that they don’t. It’s pretty much summarized by a scene in the first episode where Aziraphale fiercely says “Get thee behind me, foul fiend,” before politely inviting him to enter the building, saying “after you.” One of the best sequences in the series is a depiction of their history from Egypt through the French Revolution.

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The Crucifixion was awkward, much like in real life.

Another highlight is that some of the characters are really well designed, particularly the demons. Almost all of the demons who are associated with flies are found with some type of insectivore living on their person, which is just funny. The angels are similarly depicted as being fussy and obsessed with order, particularly Gabriel (Jon Hamm), who loves human suits.

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Something he’s never done before.

The side-stories aren’t quite as good visually as they were when being described, mostly because a lot of them were just designed to be quick jokes that just colored the world, whereas the TV format kind of forces a little more time on them just to justify the expense of setting up the scene.

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Granted, if you get the four bikers of the apocalypse in costume, you use them.

Overall, it’s not the best show on TV, but it is definitely a pretty solid one. It’s fun and that’s about all it needed to be. I’d say give it a try if you have the time.

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All Time or the Joker on the Sofa Reviews.

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Prime Review – The Tick: Seasons 1 and 2 (Spoiler-Free for Season 2)

Probably the most beloved superhero spoof of all time got his second (Patrick Warburton’s was short lived) live-action adaptation and it is filled with the sweet stench of mighty blue justice.

SUMMARY

Arthur Everest (Griffin Newman) is a mild-mannered accountant… except that he’s not particularly mild-mannered, more neurotic and borderline PTSD. When he was young, his father was killed by the world’s greatest supervillain The Terror (Jackie Earle Haley), who then singled him out for torment before eventually being apparently killed by the world’s mightiest superhero, Superian (Brendan Hines). Arthur believes the Terror is still alive and sets out to prove it, before running into a giant blue man known only as The Tick (Peter Serafinowicz). The Tick is amnesiac, super-strong, nigh-invulnerable, overly-dramatic, and pretty much insane, but with a good heart and a desire for justice. The Tick gifts Arthur with an experimental flying suit he found in a warehouse and, after some initial complications, Arthur agrees to become his sidekick. Together, the two dive into the world of superheroes and supervillains, encountering the villainous Miss Lint (Yara Martinez), the violent anti-hero Overkill (Scott Speiser) and his sidekick Dangerboat (Alan “I’m amazing” Tudyk), Arthur’s sister Dot (Valorie Curry), and culminating in them gaining fame for helping defeat the still-alive Terror.

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He is very abdominal in this episode.

The second season focuses on the Tick and Arthur dealing with the return of the government agency A.E.G.I.S., the best S.H.I.E.L.D. knock-off on film so far, and trying to find their place in the new order.

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He also does the funniest costume change on film.

END SUMMARY

This show is one of the few Amazon Prime shows that were picked up based on their pilot and I don’t think I can tell you how happy that made me. It makes me even happier to say that they really fixed some of the problems that were present in the pilot almost immediately. See, the pilot’s core joke was basically “what if we stuck The Tick in a gritty reboot, but we didn’t make the Tick gritty or serious?” Admittedly, that premise was funny and every second The Tick was on film was amazing, particularly him dealing with realistic criminals in his goofy manner. The only problem was that the world itself was just a hair TOO gritty. One of the best parts of every version of The Tick is the other goofy characters that populate it. The show quickly managed to fill that void with a bunch of great supporting characters, many of whom are comical exaggerations of the “gritty” superhero image, particularly Overkill.

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He has to talk in a deep, gravely voice or his Alexa doesn’t recognize him.

The first season was flat-out hilarious to me once it found its rhythm, although it did take a few episodes to really get it. Griffin Newman and Valorie Curry both subtly adjusted their characters to fit a little better within the post-pilot world the show was developing. Arthur became more similar to his animated counterpart, though with a lot more realism and backstory, while Dot became a badass. Jackie Earle Haley, on the other hand, played the perfect self-indulgent villain from start to finish. I think few things will ever stick with me as well as his line “You don’t kill people because they call you names; you kill them because it’s fun.” It’s literally the most evil but also surprisingly reasonable thing you can say: Evil should be about enjoyment whether it’s at the expense of others or not. After all, why be evil if it’s not fun?

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He literally stops in the middle of a mass murder to harass a child. For fun.

I will say that there are two things in the pilot which did convince me that the show had a lot of potential. The first is the scene of The Tick effortlessly defeating a bunch of warehouse thugs while using his typical goofy dialogue. Second, at the end of the episode, The Tick is monologuing about his future with Arthur as superheroes and says “Destiny’s got her hand way up in their puppets.” That’s basically the perfect line for The Tick’s very specific brand of insanity and spoofing.

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Even the hero poses are perfectly exaggerated. 

The Second Season has the advantage of being able to introduce more of the bizarre and goofy characters that we were looking for because the world has now been expanded enough for someone to just randomly appear with superpowers. They also having a running plotline about coercion that plays out very well.

Overall, I love this show. It’s just a solid spoof of superheroes, particularly gritty reboots. Peter Serafinowicz is a treasure and is just as good in the role as Patrick Warburton was (though that show’s writing was nowhere near the level of this one, Warburton was amazing). If you’ve got a Prime subscription and love comedy, just power through the first 2-3 episodes and then get ready for a great time.

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All TimeCollection of TV EpisodesCollection of Movie Reviews, or the Joker on the Sofa Reviews.

If you enjoy these, please, like, share, tell your friends, like the Facebook page (https://www.facebook.com/JokerOnTheSofa/), follow on Twitter @JokerOnTheSofa, and just generally give me a little bump. I’m not getting paid, but I like to get feedback.

Reader Request/Amazon Prime Review – Attack of the Killer Tomatoes: A Spoof Before Its Time

The 1970s decided that everything on Earth could be a threat to humanity: Jaws, Piranha, Grizzly, Frogs, worms in Squirm, an octopus in Tentacles, and even bunnies in Night of the Lepus. So, a team got together and decided to make one of the most absurd spoofs ever by making a movie about people dealing with the least threatening monsters on film.

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Yes, this movie exists. 

SUMMARY

So, the beauty of this film is mostly in the absurdity, largely presenting the characters and the world through ridiculous scenes that parody other films or genres. Nothing I can do can convey the insanity of the plot, the dialogue, the sight-gags, or the settings of this film. That said, here’s the actual plot:

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Here’s a Random Black Hitler. Yeah, it’s that kind of movie. 

Tomatoes are killing people. Some eat people, some crush people, some poison people who drink their juice. The President’s Press Secretary Jim Richardson (George Wilson) claims there is no threat, but the President (Ernie Meyers) puts a man named Mason Dixon (David Miller) in charge of a taskforce to deal with the tomatoes. Dixon recruits disguise expert Sam Smith (Gary Smith), deep sea diver Greg Colburn (Steve Cates), and olympic swimmer Gretta Attenbaum (Benita Barton), as well as para-soldier Wilbur Finletter (Senator Stephen Pea… wait, Senator? Holy hell, Stephen Peace became a California State Senator).

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Scuba guy is less than useful.

It’s discovered that the regular-sized tomatoes seen thus far in the film are, in fact, cherry tomatoes and that regular tomatoes have now become massive. To combat this threat, the President sends Richardson to get ideas from an ad agency headed by Ted Swan (Al Sklar), who pitches a bunch of slogans but no useful plans. A masked assassin attacks Dixon, revealing himself to be with the tomatoes, but Dixon escapes. Meanwhile, a Senate committee tries to address the problem (hilariously ineffectively), but instead leaks the committee guide to the crisis to a newspaper, which sends reporter Lois Fairchild (Sharon Taylor). Finletter mistakes Fairchild first for a prostitute and second for a spy and tries to kill her, but fails. He also tries to catch the masked assassin when he strikes again, but loses him.

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His ads are so powerful they appear in the film!

Gretta gets killed by the tomatoes and the Army is defeated by the giant fruits. One tomato chases Dixon, but it jumps out the window when Dixon hides in a young boy’s room playing the awful song “Puberty Love.” Dixon spots the assassin and chases him, but is captured. The assassin is revealed to be Richardson, who, though he didn’t create the tomatoes, figured out their weakness and can now control them. He’s about to reveal his secret when Finletter appears and kills him. Dixon realizes that the secret is “Puberty Love” which has driven off the tomatoes throughout the film.

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This Senator just stabbed someone to death on film. Good start to politics.

Dixon gets all of the tomatoes into a stadium and tells Finletter to bring all the people left in the town to fight. However, only crazy people are left in town (everyone with sense left), so all the people that show up are in funny costumes. Dixon plays “Puberty Love,” which cripples the tomatoes, allowing the crowd to destroy them, except for one tomato who found earmuffs. The last tomato attacks Fairchild, but Dixon saves her by having the tomato read the sheet music to “Puberty Love.” The two profess their love for each other. Then, the carrots start talking…

 

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Our heroes… several of whom are dressed as Groucho Marx.

END SUMMARY

This was one of my favorite films when I was a kid. It had jokes that I was positive were “adult,” goofy over-the-top characters, a weird soundtrack, and the kind of oddball humor that I never could quite figure out. Plus, there was a TV Show on Fox Kids in the 90s, which was when television was awesome. Admittedly, it was based on the sequel film Return of the Killer Tomatoes and the best part of it, John Astin’s Dr. Putrid T. Gangreen, wasn’t in this film, but… well, the title was the same. 

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See the sequels. He is freaking amazing.

Attack of the Killer Tomatoes was a huge critical flop when it came out and it’s not hard to see why, in 1978, this film didn’t do well. It’s a surreal farce in the vein of Airplane! or Police Squad!, but the comic timing (and talent of the performers) wasn’t near the level of those two. This isn’t to say that the performances or the writing are bad, in fact, they’re pretty good, but this was essentially trying to make a surreal humor spoof a few years before the ground was really broken and this movie is even more surreal than most. Audiences probably weren’t ready for this yet. We needed a Star Wars to break the ice, but instead we got… I’m gonna say The Last Starfighter.

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Which is still pretty good.

However, if you watch this film, you realize how influential it was on later media. A lot of gags that you see in this film are repeated in other, later, comedies, most notably the “Slow Car Chase” scene and the “Too-Small Meeting Room.” Hell, the idea of a song killing the evil monsters by being truly terrible would later be ripped off by Mars Attacks (though Howard Stern claimed to have come up with it in 1982… 4 years after this movie came out). Also, fun fact, “Puberty Love” was sung by Matt Cameron, drummer for Soundgarden and later Pearl Jam.

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The intentionally goofy battle scenes are great.

I have to admit that I had forgotten a lot of elements of this film, because some of the scenes are a little forgettable due to their disconnect from the rest of the movie. For example, I had forgotten most of the scenes with the Ad Man, Ted Swan, which include some interesting musical numbers and a parody of the extremely stupid “Whip Inflation Now” campaign… something I didn’t know existed as a kid. That’s definitely one of the reasons why this film is a little weaker, since a lot of the vignettes are connected to the tomatoes, but not directly to the central plot of the film. They’re funny, but they’re not outstanding enough to be remembered independently.

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There’s like 5 scenes of this senate committee doing nothing.

Overall, I really did enjoy re-watching this film. Despite being made in the 1970s, there aren’t a ton of things in it that aged poorly, including the (intentionally) awful effects and camerawork. Sure, some of the contemporary references are hard to catch, but most of the movie is pretty timeless. Is it the best horror spoof? No, but it’s pretty damned fun. If you’ve never seen it, you definitely need to. Much like with Airplane, a lot of what makes this film work are the non-sequiturs and the clever gags. 

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All TimeCollection of TV EpisodesCollection of Movie Reviews, or the Joker on the Sofa Reviews.

If you enjoy these, please, like, share, tell your friends, like the Facebook page (https://www.facebook.com/JokerOnTheSofa/), follow on Twitter @JokerOnTheSofa, and just generally give me a little bump. I’m not getting paid, but I like to get feedback.