michaeljcummings Reviews

Air (I) (2023)

A Symphony of Ghastly Wigs

[6/10 · 21 May 2023]

It's watchable and pleasant but fairly low energy and missing that certain something that gives you goosebumps-except during the engineering scenes when the movie comes alive and picks up.

However, it deserves kudos for maintaining suspense in a story that most people know and is mostly series of two person acting scenes with a low budget patina, a montage of bad wigs (Affleck, Davis) and a prosthetic gut (Damon). The music is well selected-not the usual cliche soundtrack-and I assume music ate up a huge percentage of the bloated $90 Million budget-but it's overpacked and a poor substitute for dialogue: next time they can simply make an opera. This is what is considered an instant classic in the post Covid-19 era.

Dopesick (2021)

Falls Short

[5/10 · 8 June 2022]

Imagine the movie "The Big Short" but about Purdue Pharma and the opioid epidemic instead of the 2008 housing crisis. Well, Dopesick isn't that. It's overlong and devolves into the kind of production where music cues the audience on how it's supposed to react. There are many implausible relationships and unconvincing characters, both major and minor. Multiple characters repeat the same lines in the same scenes...to make sure we get the point.

The time jumping-which many viewers are complaining about-actually makes Dopesick somewhat watchable. If the story was told in chronological order, it wouldn't hold water. Many of the smaller roles are cast with amateurish actors who would be more at home in network police procedurals. Ironically, the long running time should mean a rich tapestry and a deep dive into characters and situations...instead, time is squandered and Dopesick is marred by simplistic dialogue where characters are constantly providing exposition as to what they are about to do / what they are doing / and what they just did.

Paranormal Activity: Next of Kin (2021)

Pushy Millennial Gets Comeuppance

[2/10 · 31 October 2021]

Insipid lead with a chronic case of up-speak and hints of vocal fry makes poor decisions then squeaks "oh my gosh!" Excruciatingly dull. Extremely unconvincing portrayal of Amish. Pass.

Clickbait (2021)

Episode 4, then Boom!

[8/10 · 27 August 2021]

I'm convinced people watch one or two episodes, then review. Yes, "Clickbait" was slow to start and seemed a little basic procedural at first and some of the supporting actors seemed like they were learning on the job, however this begins to get explosive in episode 4 when it began to focus on new characters/changed the format. I have seen nothing in recent memory that captures how "deranged just below the surface" so many people who function with jobs and seemingly regular lives (the mistress, the brother) can be. The episode with "Maggie Oxley's" brother is wild. Anyway, I had low expectations, especially with the title and after the first batch of IMDb reviews, but this is very good. I also continue to be a Zoe Kazan fan, she is in a lot of quality projects and is a good, low-key actress.

Mr. Corman: Happy Birthday (2021) Season 1, Episode 3

Mother & Adult Son Dynamic

[9/10 · 15 August 2021]

Not too many writers handle the "single mother / adult single son" dynamic, unless it's for broad comedy. Mr. Forman handles it, in all its complexity. This, too me, is the heart of the show. I love watching their relationship and the musical interlude in this episode was a figment of their imaginations...what they both feel for each other yet cannot articulate to each other. The "God" conversation with his niece was also unique. Mr. Corman can't stop being himself and cannot lie to a child. In his mind it's poppycock and the child should be educated. Lovely episode.

The Plot Against America (2020)

Great Adaptation of an Excellent Novel

[9/10 · 18 March 2020]

This is an adaptation of a Philip Roth novel. Philip Roth was a great American novelist, possibly the last great American novelist. He died two years ago at 85. One of his themes is optimism turning to pessimism and then back to a more mature optimism. This is not a flashy story: you are not going to find "The Handmaid's Tale" here, nor any depictions of the Third Reich in the U.S.A. You are going to find a story about how U.S. isolationism could have changed the course of history from 1940 on, with devastating results. You are also going to find the quality of production that was once synonymous with HBO. Having read the book, I can say that the story is going to go in some fairly grim directions. But you shouldn't watch this expecting flash: instead, watch it for a vibrant story, brilliant characterizations, and great themes...such as what it means to be American. It doesn't hurt that some very good actors who have rarely been fully utilized have some excellent material to work with. I think Morgan Spector, Winona Ryder, and especially Zoe Kazan - she is the foundation of the story - are all outstanding.

Marriage Story (2019)

Never Quite Takes Off

[7/10 · 11 December 2019]

This was an enjoyable movie, particularly if you like relationship dramas of wealthy people. And they are wealthy, although the film goes through great pains-and artifice-to distance itself from the clichés trappings of upper middle class life (so prevalent in 1980s Woody Allen movies) The production design is very pared down, as if the characters are so creative that they have no time for nice things, unlike those vulgar Wall Street people Anyway, good, emotional stories are in short supply in the movies these days, so "welcome" Marriage Story. But make no mistake about it, Marriage Story is very mechanical from the start. It announces its intentions immediately with Scarlett Johannson lit like Bibi Andersson in an Ingmar Bergman movie pose: this is going to be a story about motivations and emotional drivers with lots of fighting and tears-even male tears (!) Driver and Johansen are well suited physically. His performance outshines hers because he is the superior actor. She never quite escapes into her role and is clearly the movie star doing serious. When she acts, the words are flung back onto the page. The difference Is most pronounced during their epic argument which never really takes off emotionally. It all seems like a paint by numbers. In the annals of Breakup Porn, Kramer versus Kramer still wins. It has a lot more authenticity and heart and ½ dozen memorable scenes. But again, I did like Marriage Story. The supporting cast was marvelous, really too many to name. I fully expect a Supporting Actor nomination for Laura Dern and maybe even Alan Alda. He is a great reminder of how many wonderful octogenarian actors there are out there. Speaking of Oscars, I don't know about the leads. Perhaps it will be Adam Driver, who with his big odd face and imposing height, really is the next best hope for actors.

Couples Therapy (2019–2024)

Compelling and Emotional

[9/10 · 7 October 2019]

Anyone who has ever been in any therapy-couples or otherwise-should appreciate this show. People communicate differently, patterns get established, feelings are hurt. Some people need to talk "right now" when there's a problem in their relationship, and others need to stew for a while. This show captured it all. I was in couples therapy with my ex and, much later, my spouse. What I learned in the first go around definitely helped me become a better person and partner and what I learned in the second did even more of the same-and helped save my marriage. But you have to be open to recognizing your patterns, changing your behaviors, and listening. I think the four couples focused on are all very compelling. Personally, I liked DeSean and Elaine best because their issues were so relatable, but Mau and Annie are enigmatic and fascinating. I also liked this show because it really represents contemporary people in NYC very well: therapy is not for the rich, it is for everyone. The therapist is very good and I enjoyed seeing her discuss her concerns with her mentor. There were a lot of surprises with how things turned out with the couples. This is as real as it gets and it was a pleasure watching some of the individuals have moments of clarity in their sessions because that's how it happens in therapy. Sometimes you just see the light and realize something crucial. Loved this show and I hope it comes back.

Transparent: Transparent Musicale Finale (2019) Season 5, Episode 1

Smart, Loopy, Joyous Finale

[9/10 · 28 September 2019]

This was a fitting finale. When they had to dump Tambor, what should they have done, gone on for a forced season or two more without him? That would have been contrived torture and the show would have died a slow death, like most shows that try to replace their leads do. Or just ended it cold turkey / pulled the plug? That would have been disturbing to fans not to mention they would have been dogged by reunion rumors forever. So, a departure from standard format and one that ties up loose ends seemed like a good idea for this loopy uber-upper middle-class Jewish family. The semi-mostly-musical episode was perfectly surreal-they even had a wild "The Brady Bunch" set piece/daydream sequence. I'm sure they must have realized they were going to annoy a few viewers, but I suspect the Transparent audience is a bit less provincial than that. The show was really about the characters and their neuroses anyway, so why not use the freedom of the musical theatre format to explore those neuroses further? It was a work of art and better to end as a work of art than as a cliché. The original songs and choreography were genuinely excellent and everyone's singing voice was serviceable if helped along a bit by autotune. The production was impressive: most numbers had a chorus, and a talented one at that. The big production numbers seemed like they were influenced by everything from Hair to Sweeney Todd to Annie to West Side Story to Fiddler to Chicago to Pippin. As usual, the acting was exquisite and even the tiniest of roles was cast with care. Speaking of roles, a lot of actors from earlier seasons popped in-like Alex MacNiccol, Kathryn Hahn, Melora Hardin, Trace Lysette, and Cherry Jones...and Rainn Wilson plays a character like his character in Six Feet Under. Judith Light, meanwhile, was superb and carried the show emotionally. Plus, there was shiva AND a bar mitzvah. This fun, smart, loopy show ended on a high-and joyous-note.

American Gods (2017–2021)

Season 2 Stray, then Fails

[6/10 · 30 March 2019]

American Gods Season 2 is a great example of how, if the entire creative team from Season 1 departs, you should just end the show. But of course today-with the endless hunger for content-that could never happen. But let's face it: Season 1 was sensational. The digital effects were off the charts-excellent, the roles were perfectly cast and the characters uniquely written, but most of all there was a dark, witchy energy seldom seen on television: the Gods were intimidating. Not to mention aloof, cold, imperious, dangerous, seductive, scary, and sexy. All of that is gone in Season 2, replaced by a show that seems to aspire to the chirpy patter of "The Magicians" and shows the Gods with far too many smiles, laughs, and soap opera-worthy facial expressions. This new effort by the team and the actors to humanize the Gods is not working at all and completely spoils the secret sauce. They become less God-like every episode. Not to mention, the effects are terrible. It's so odd to watch a Season 2 show that has so evidently had its budget cut. Aren't budgets supposed to go up? Meanwhile the writers seem to know of the problems: in Episode 3, when Media reappears, rechristened as New Media, after Tech got wind of her new incarnation, he asks: "how is that an upgrade?" A clear reference to the fact that Kahyun Kim-really through no fault of her own, and enduring a tired harajuku girl costume-doesn't hold a candle to Season 1's brilliant, departed Gillian Anderson.

Searching (III) (2018)

Law & Order: Social Media Edition

[6/10 · 24 March 2019]

This was compelling enough but if you strip away the novelty (how most of our behavior is recorded today by some digital means or another) it's not much of a story. You can tell who the prime suspect should be right away and the red herrings are fairly obvious. If you relax and let yourself not overthink the story, you will enjoy it. The novelty of all the sites, channels, accounts, and found (online) footage was certainly interesting to a degree, but at times it seemed like a research project I had to endure. But my biggest problem was the acting. The minor roles took it downhill: work colleagues, the 911 operator, the piano teacher, some of the students...many sounded very "Law and Order" with the overacting and over-articulation, especially the voice-only roles. John Cho as the father was earnest enough, but he didn't exactly set the screen ablaze. Ditto Debra Messing. But it may have been their characters, neither of which was written to allow even the suggestion of a smile to appear across their faces, because, y'know, people in serious situations are not allowed to smile, lest it confuse the audience. Sara Sohn, however, as Pam, was excellent. The sheer number of "555" telephone numbers was also a buzzkill. One instance of the old, safe 555 number takes you out of a movie, momentarily, but having an abundance of them nearly launches you permanently out of the mood. People get so many obtrusive calls from telemarketers and scammers today, I hardly think that someone calling a telephone number because they see it in a movie is going to cause much of a ripple. Dumb practice that should be retired.

Now Apocalypse (2019)

Fun, Loose, and Goofily Sexy

[8/10 · 24 March 2019]

"Now Apocalypse" is fun and sexy and young - and a good,30-minute diversion. It's kind of a better version of the disappointing and cumbersome "Here and Now" in that it involves some "is he or is he not psychic?" poppycock. But I find the characters all goofily likable, although clearly cast based on looks. Some of them seem like they are learning to act as they go. And Gregg Araki does not make easy roles: the tone needs to be just right, kind of self-conscious and arrogant and earnest. In other words...very young. The plot is insignificant: the show is all about Gregg Araki's style and the use of color, light, and young flesh. And how everyone looks (almost) naked. Very 1980s.

The Inventor: Out for Blood in Silicon Valley (2019)

Should Have Been Better

[6/10 · 21 March 2019]

Well, Elizabeth Holmes is still a mystery. Every media incarnation of hers (from magazines/newspapers to the book to this doc to the film version currently in production with Jennifer Lawrence) Holmes becomes a little more clear - and it's good to hear her infamously deep voice - but "The Inventor" hardly solves her. Didn't anyone know her in high school or college (short a time as that may have been)? Can't the filmmakers interview them? What about family? Surely someone must be willing to talk about her psyche. The people they interview is more or less the same as the book and hold no surprise in this medium, although Rochelle Gibbons was very powerful to hear, more so than the book. There were also opportunities in the doc to explore themes like Gen Y arrogance, the power of branding, and the cluelessness of companies like Walgreens - which did not do any vetting in the least...but they focused on the Silicon Valley Unicorn theme. It was a good watch, overall, especially if you like learning new and awful things about humanity and seeing some really awkward footage...like Elizabeth Holmes in a bouncy house. But the most harrowing segment-where "The Inventor" almost took off- was the focus on the (literally) hot mess inside of the Theranos machine. A lot of spilled blood, broken glass, and basic slime...all with the risk of transmitting fun stuff like Hepatitis to the many Theranos lab techs. But "The Inventor" is mostly a soft peddle of the Theranos story. It should have made much more of an emotional impact. I also suspect the folks whose health was damaged by Theranos's false diagnoses in the Arizona testing facilities are suing and therefore could not be filmed. Their filmed experiences would have been amazing. Overall, I would have appreciated more theorizing on the motivation of Theranos and Elizabeth Holmes, although this doc suggests that she is basically bananas.

Party Girl (1995)

Lower East Side, House/Dance Music, and Parker Posey

[6/10 · 24 February 2019]

In the very early 1990s, low budget movies were rebranded as "indies" and 'Party Girl' is a prime example. You have to be really into one of three things (preferably all three) to get the most out of this movie: early 90s house and club music; a nostalgia for that pre-Internet, recession era-ish NYC of the early 90s when people could still be poor and live in Manhattan; and Parker Posey: of whom this is a total star vehicle for and who carries the entire movie, appearing in nearly every scene. The rest of the cast manages-with varying results. There are a few good lines and almost-developments, but overall nothing really happens plot-wise. It has a lot of style, NYC Lower East Side club scene authenticity, and the Director Daisy von Scherler Mayer seems interestingly influenced by her brilliant, golden-age-of-Hollywood, real-life grandfather: a frequent collaborator with Ernst Lubitsch. An oddly charming bore that you want to love but it never really connects and delivers...although at times it sorta seems like a low budget 'Legally Blonde' if you swap out 'lawyer' for 'librarian.' But hey: there's a male stripper in a jock strap at a birthday party at the end.

Velvet Buzzsaw (2019)

Satire of Art World

[7/10 · 20 February 2019]

This is a straight-up satire of the amoral denizens of the contemporary art world. It is also infused with a loopy, early 1970s AIP (American International Pictures) sensibility (such as in the "Dr. Phibes" movies) where a bunch of snooty, awful people get their comeuppance in a variety of creative manners. Add a little dose of television's "Rod Serling's Night Gallery" (where inanimate objects were frequently coming to "life" and wreaking havoc) and a splash of "Final Destination" set pieces and there you have it. Taking this movie as anything but a very dark comedy is a mistake. Does it succeed? Somewhat. It's certainly a lot of pretty people and lovely cinematography but I can see how it suffers from an identity crisis.

Black Monday: 365 (2019) Season 1, Episode 1

Not Worth the Time

[4/10 · 21 January 2019]

Nothing works on the "Black Monday" pilot - which is all I have watched thus far. Perhaps it will improve but right now it seems like a good example of the bottomless pit of content necessary to feed the beast. Almost anything gets picked up today and if has a pedigree - like 'Black Monday" with Seth Rogan producing and a quality cast - it's almost guaranteed a second season. But "Black Monday" is mostly not funny, boring, has low production values, overdoes it with the pop culture references - completely missing any snap, crackle, and pop - and derivative of so much...from "The Wolf of Wall Street" to "Pose" (late '80s setting). Cheadle, King, and Rannells have no rapport with each other its torture to watch them in scenes with each other. It is nice to see Julie Hagerty - although she had more to do on a 30 second gap ad 5 years ago than on the pilot. I hope this gets better.

The Only Living Boy in New York (2017)

A Love Letter to Being a Twenty-Something Artist in New York City

[8/10 · 16 September 2018]

This is a unique little movie and has very limited appeal...of which I am part of the limit...hence the 8 out of 10. Its content is similar to both The Squid and the Whale (although not as richly realized) as well as The Mysteries of Pittsburgh (but less self-conscious). Without relying on period pop music, it manages to capture a very specific moment in New York City...back when living in the lower east side was considered radical and right before the Internet and mobile and 9/11 changed everything. At least that is the way it felt. There is more contemporary technology evident...but it felt added on. The story follows a handful of characters, none of whom are particularly sympathetic and all of whom occupy rarefied terrain, either via their education, career, creativity, or family name. Callum Turner-in the lead- had the most clearly drawn role and made the character endearing and not arrogant. He is interesting physically, too...at times looking like Keith Gordon, at others like Richard Gere. Other pluses: its running time is under 90 minutes and it uses some exceptional New York City locations (such as the Brooklyn Museum and the Oyster Bar). Finally, this is really a movie about fathers and sons (and mentors)-a very under-mined topic in film.

The not so good news? The aforementioned time stamp issues...when does this film take place? There are clues but they do not add up under scrutiny. Or is it supposed to take place within the "idea" of a different era? I don't know but they should have gone full late 80s/early 90s period piece. More importantly, the characters are too broadly drawn...and the actors work with what they have. Brosnan, Nixon, Bridges, Clemons, and Beckinsale all do their best with the material they have, rarely share scenes together, and all seem to be unclear as to whether they are in a comedy or a drama. Meanwhile, it occupies some space in between comedy and drama... It's a small movie that has some very big cinematic moments, largely due to the exquisite cinematography by Stuart Dryburgh: a Londoner who clearly loves New York City.

Insatiable (2018–2019)

Misunderstood...and Very Funny

[7/10 · 16 August 2018]

This is an interesting show that has been marketed all wrong. Most critics are missing the point: this isn't a teen show; it's a biting satire on ego and ambition and rivalry, kind of like a mash-up of 'Vice Principals' and 'Popular.' It is also equally Dallas Roberts's show and he is brilliant...playing an extremely complex - yet always drolly funny - character. Nothing is what it seems on this show and it gets better every episode. The cluelessly homoerotic tension between Roberts and Christoper Gorham is underplayed and hysterical. All the social issues are merely devices to propel the conniving. This show is extremely subversive and the writing is generally good; ultimately it's one of the more original shows but trapped in some overmined scenarios.

The Glass Castle (2017)

Missed Opportunity

[6/10 · 11 August 2018]

Great subject matter marred by its production. Pedestrian direction; highly artificial sets, costumes, and make-up; and three miscast leads who never jell together and exhibit absolutely no chemistry. What a missed opportunity. Imagine what someone like Mike Nichols could have done with this material?

A Quiet Place (2018)

Very Good

[9/10 · 6 April 2018]

I saw this tonight and the production values elevated it beyond the typical "end of the world / monster" flick. Horror fans should like it - the creature effects are very good - and, if you're looking for suspense - it's unbearably tense. One thing I completely disagreed with? (If you read some reviews this was already mentioned so it's not quite a spoiler - but if you did not, stop reading.) The pregnancy. I get that it could have been an accident but in an environment like that, one would think they would be very careful: babies cry a lot! Overall, a good, tight, short (!) movie. The only other thing that bothered me was Emily Blunt's obvious dye job.

Jeepers Creepers III (2017)

Unsatisfying Letdown

[5/10 · 26 September 2017]

I'm sorry to say that I found this disappointing and unsatisfying with some glimmers of what might have been. I'll keep this short. I saw this at a one-time only showing at Regal Cinema tonight (9/26/17.) This film takes place right between 1 and 2. I'll cover what I did not like, first, then go into the positive. It had far too many different characters and settings. That was way too ambitious and was just distracting. Some of the characters just fell off the radar and were not seen again. The pacing was off. Maybe because we had multiple set-ups and settings with the previously mentioned multiple characters. It was generally not scary. Literally no fear or desperation. Aside from some jump scares, a scene in back of the creeper's truck, and a very good scene with four guys on motorcycles (that scene should have opened the movie), this was not a remotely scary movie. There was no ground gained in the Creeper's origin, although it was teased.. Not enough Gina Phillips. Some truly terrible overacting by some actors and barely a heartbeat with some others. The story was not bad but the filming of the scenes felt unfinished, unrealized…I kept thinking things that should happen…"those horses are going to come into play," "we're going to get a great flashback," "we're going to have an awesome attack on the Creeper", etc. But nope. Not good. Ending was also very abrupt and pointless.

What was good? Meg Foster was very good and the scenes with her son were good. The film was shot beautifully and Victor Salva is technically skilled. I loved the daylight scenes of the Creeper but…the facial makeup effects were not awesome. Very mask like in some shots. Getting to know the Creeper's truck intimately better was great and seemed like the most realized part of the movie. The aforementioned motorcycle scene was good, the Bernardi's (ranch?) scene was pretty good, the hand subplot — all promising...but all fell short. Overall, I think I rated it a 5 out of nostalgia and being a fan. If I had not been a fan...I don't know...probably lower.

Prelude to a Kiss (1992)

Unique, Romantic, Odd

[8/10 · 29 April 2017]

"For better or for worse." Cliché but seldom are we tested. This is a very unusual story. You think you're watching a romantic comedy at first, albeit one with ominous overtones. It then veers into a very mystical love story. In my opinion, both Alec Baldwin and Meg Ryan give the best performances of their careers - and are both absolutely stunning-looking and charismatic. The tone is somewhat "Witches of Eastwick" - though not quite as supernatural - and a little bit "Death Becomes Her" - but less absurdist. The supporting players are all excellent, albeit in very lean roles. A few things to keep in mind: the movie is adapted from a 1990 play and can seem a bit stagey at times. Alec Baldwin recreates the role he had created on Broadway. (Mary Louise Parker had created the role on Broadway but the studio insisted on Ryan - Ryan was restrained and very good but her participation gave the impression to audiences that they were in rom-com territory: expectations were set - then dashed - as this is not a rom-com and is at times is very disturbing. Although she was not well-known at the time, MLP may have made this film remembered more fondly.) The writer/director team is also the same as the Broadway play and the writer and director had previously collaborated on Longtime Companion. That is important because deep- down Prelude to a Kiss is a metaphor for loving someone whose clock is ticking - loving someone despite the illness and decay. About true love - and its limits - and appreciating what we have while we have it - it's a little gem of a movie although you need to suspend your disbelief and focus on the three (yes, three) lead performances.

The Walking Dead: Coda (2014) Season 5, Episode 8

Weak End to a Weak (1/2) Season

[5/10 · 1 December 2014]

Like a lot of Season 5, Episode 8 either does not ring true with some of the character behavior; plot elements seem too neatly tied up; and much of it is predictable. Almost the whole season has the tone of a Roger Corman B movie mixed with a very talky, stagy, off-Broadway play.

It has none of the emotional punch of prior seasons finales.

Rick runs over the cop and shoots him dead. OK. Does not seem like the way Rick rolls.

The minister is so freaked out by walkers yet he lingers outside the school? The leg's maggots look unrealistic. There are never just three maggots.

It's completely predictable that he runs and leads them back to the church. He could have gone underground. They could have left him to meet his fate, like his parishioners. They could have closed the church doors in time. They could have pushed the rectory door closed. The only interesting thing is that Michonne seems to have lost her fire for mass zombie killing.

The firetruck pops up just in time.

The entire hospital / society plot is so odd and inexplicable and boring to me. There are plot elements you need to think about and then there are vague messes. This is the latter. We never get a reasonable explanation. Do they kidnap people on purpose to be their "slaves / concubines" or not? Is it some elaborate caste system like in an Atwood novel? What is Dawn's motivation? The whole arc is infuriatingly obtuse. All the cops remind me of "Assault on Precinct 13." The only thing missing is the familiar John Carpenter music.

Why is Beth sitting with her legs dangling in the elevator shaft? Does she not give a damn anymore? It's too much like walking on train tracks with ear buds on. Seem like a contrivance for a good camera angle.

Why does Beth never ask how she got there?

Everyone talk about how messed up Dawn looks and behaves yet she seems strong. Is it all some head game / play for power? Who knows?

There's a bone crunching sound effect that I heard both times I watched when Dawn and the cop were fighting. It clearly implies he broke her arm. Yet, later, she is fine. As a matter of fact, later, she looks and moves as if she just check out of Canyon Ranch Spa.

I did like Dawn's roundhouse kick and Beth's push of death, however. I noticed last time someone was pushed down the elevator shaft the walkers took a little while to sniff around. This time, they were right there.

The 4 female cops (Dawn / Not Dawn / No Lines-Not Dawn / Kidnapped Not Dawn) all look way too similar to me. Couldn't they stick in a black woman or some redhead or short hair to mix it up? Or was this supposed to be some statement on their homogeneity?

Why is the doctor in with the group of cops during the trade?

Dawn asking for Noah you could see happening from a mile away. Noah should have seen that coming. Totally predictable. I still liked it because it is twisted.

I don't get Beth's motivation? She had to know a tiny pair of scissors would have no impact especially considering it was basically just stuck in her uniform. Did she want to die? Didn't she want to see Maggie again? Was she just done with life? Why did she hate Dawn so much? And did Dawn mean to shoot her or was it reflex? I would have been so much more into it if Beth hugged Dawn like she had with Noah and stuck the scissors in her throat.

I like how they all came to their senses instead of having a bloodbath. Wasn't Carol basically 90% dead? A little bed rest helped her? Isn't she going to be screwed in the "real world?' She also looked half dead in the wheelchair then is standing and energized in the hall after Beth is shot.

How does Noah go from "we're surviving here" to joining the group?

The firetruck shows up just in time, again.

I thought it was a really unsatisfying, unheroic, lame ending for a character such as Beth, who had a lot of growth.

The Walking Dead: Slabtown (2014) Season 5, Episode 4

Beth, I Hear You Calling

[7/10 · 2 November 2014]

This was an intriguing episode-long on "huh?" and "what did he/she just say?" moments and short on action and it doesn't so much as explain the Beth Situation as create more questions: Who are these people? Is their story really as simple as it appears or is there something much more insidious beneath the surface? At times, I grappled with the tone of the episode and with some of the minor characters I was unsure whether they were "wow, that character is clearly faking it and not what meets the eye!" or "that character is exactly what meets the eye and is just kinda a so-so actor who you can tell is acting." The tone was also a little Roger Cormanish/B-movie - which I really didn't mind - maybe it was all the uniforms and accents and a hospital setting but I kept expecting the female "cop" leader to pull off her wig like Kimberly in Melrose Place. And please: enough with "The Young and the Limbless"-I am having phantom pains in all of my extremities this season. Finally, like the other episodes this season, it was just a little predictable and tied up just a little too neatly. Welcome to Beth 3.0!