Interesting Thoughts About the new ‘The Invisible Man’

The good news: The Invisible Man – the newly released version gog-only-knows.0 – is a hell of a film, and in spite of the title the hero is a woman played by the wonderful Elizabeth Moss.

The not so good news: In order to get the film made, the filmmakers had to do the “Man” title thing.

Ah well, someday, right?

by Jonas Schwartz

A vital horror remake needs four components to succeed. A compelling lead, taut direction, smart dialogue, and a purpose for being remade, so that the new version is relevant to the times and not just a cash grab. Leigh Whannell’s new The Invisible Man has all that in spades. Not a perfect film, but there’s enough craft and ingenuity to invade people’s psyches.

Late at night, Cecilia Kass (Elizabeth Moss, Mad Men and Handmaid’s Tale) retrieves her hidden bags and sneaks out of her fortress of a house from her abusive boyfriend Adrian Griffin (Oliver Jackson-Cohen, The Haunting of Hill House). Adrian has treated Cecilia like a possession, and he attacks her for wandering off like a dog. Resourceful and determined, she manages to get away, nonetheless. While recovering with a cop friend, James (Aldis Hodge) and his daughter, Cecilia continues to suffer from battered wife syndrome. Learning that Adrian committed suicide and left her all his money gives Cecilia some solace. However, Cecilia begins to feel stalked even though Adrian has died, and before long, she knows that an unseen presence is putting her back in peril. But everyone else thinks Cecilia has just lost her mind. She becomes isolated by her loved ones and deemed dangerous. While they pity and fear Cecilia, her friends had better watch their backs, because an invisible spector is right behind them.

The Invisible Man would never have worked without an actress of Moss’ caliber. The film is from her perspective and the audience must be fully invested in her nightmares and her ability to fight back. Moss allows herself to play that line between determined and unraveled. Her behavior needs to appear nuts or all her friends who abandon her would just seem like jerks, so the audience wouldn’t care that they too are being menaced…..

Read it all at

The Hudsonian talks about ‘Zoey’s Extraordinary Playlist’

Joshua Hudson AKA Josh Hudson AKA The Hudsonian returns with another review that we think you’ll find intriguing. We know we did.

by Joshua Hudson

So Zoey’s Extraordinary Playlist popped up on my Hulu yesterday. After seeing a few people post about it and having some time to kill yesterday, I decided to check it out.

I don’t know why, but I thought this show was a comedy. Sadly, I only LOLed once — “I wish I could report this to HR” was funny in context when Zoey (Jane Levy) sees her coworkers break out into song and dance to DJ Khaled’s “All I Do Is Win”. Then I saw it was an hour and did a double take. So I rewatched it with a different set of eyes.

Then I saw the second episode.

I enjoyed it.

It feels original and reminded me a lot of one of my favorite episodes of Scrubs, “My Musical”. NBC really has a thing for song and dance in their shows. (Side note: I enjoyed Smash way back when.) The premise is simple: Zoey finds out that her father has succumbed to a rare neurological disease and her mother convinces her to get an CT scan to see if she is at future risk. The doctor puts on a playlist for her to listen to during the scan. Suddenly, an earthquake hits and now she hears people’s inner most thoughts– through song.

With her father unable to speak and communicate as a result of the disease, this little gift comes in handy because Zoey can “hear” him sing to her. She also uses it to get close to a coworker she’s had a crush on. The only person she’s able to talk to about this is her neighbor, Mo, a musical encyclopedia who surprisingly believes her. Their Odd Couple relationship is amusing, to say the least.

Peter Gallagher (Zoey’s dad) and Lauren Graham (Zoey’s boss) are the big names but they’re supporting players here. To the average audience, names like Jane Levy, Skyler Astin, Alex Newell, and John Clarence Stewart won’t resonate but they’re fantastic.

If you like singing and dancing, you’ll enjoy the show. If you don’t, enjoy the story of a female working in a man’s world (coding) and her journey towards balancing work and family. (Yes, the story is basic and overdone, but it works here.)

Turns out, something great can come from an earthquake. Who knew?

Thanks for this, Josh. Here at TVWriter™ we’re happily looking forward to your next review, and your next, and you…you know. (If that doesn’t care im off, nothing will!)

Our Favorite Review of ‘Birds of Prey’

Way back in the mid 20-teens, Joshua Hudson did quite a few interesting and popular TV and film reviews for us. Imagine our joy when we discovered this particular one on his Facebook page. Hi, Josh!

by Joshua Hudson

Finally saw Birds of Prey yesterday. My initial reaction: it was a fun movie and the action sequences were fantabulous.

However, upon further dissection:

DC really struggles telling a cohesive story. The story jumps in this movie struggled to stick the landing.

They made a mistake combining Birds of Prey with Harley Quinn. They should’ve split them because BoP takes the focus away from Harley, the more well known IP.

I don’t understand why Renee Montoya was so much older than the other “heroes” (though I thought Rosie Perez did well in the role). The Huntress was a badass when she was fighting, but outside of that, was a boring character.

Canary was solid but they only gave us one real nod to her comic book counterpart.

Black Mask was an okay villain, but hardly menacing to a point where they needed a big team up to take him down.

There were plenty of fun moments with Harley and her zany persona making it feel to me like I was watching a Jimmy Palmioti/Amanda Conner comic in live action.

All in all, I’d recommend seeing it if you take it for what it is. But financially speaking, DC really dropped the ball on something that could’ve been a much greater financial success.

So glad you posted this, Josh. We completely agree. Which reminds us. When are you going to return to TVWriter™? When? When? And, yeppers, when?

Diana Vacc sees “Star Wars: The Rise of Skywalker”

by Diana Vaccarelli


As an avid Star Wars fan I was pumped to see the new film, especially based upon the title, The Rise of Skywalker and that it is the end of the Skywalker family saga.

Walking into the theater I admit to the nerves and butterflies because I expected so much.

This final film in the Skywalker franchise brings back the biggest baddie in the galaxy Emperor Palpatine, which bothers me because the first six films of this space opera deal with the rise and fall of powerful Jedi Knight Anakin Skywalker as he becomes arch-villian Darth Vader, and then his ultimate redemption through his son Luke, who defeats and ultimately kills the very same Emperor Palpatine.

To me, bringing the Big Bad back takes away from the whole story arc. So a definite face palm to writer-director JJ Abrams, and the corporate hacks at Disney and LucasFilm, for taking that oh-so disappointing route instead of following up on so many other opportunities.

For example:

One big moment the film explores is when all the Jedi guide Rey (Daisy Ridley) in the final battle against the Palpster.

Anakin Skywalker, voice performed by Hayden Christensen, should have appeared as a  force ghost with her.  I mean, the title is The Rise of Skywalker, right? So shouldn’t the film have gives us a good look at the very first Skywalker?

Who knows? Maybe there is a deleted scene doing just that (or something very much like it) and we can all be thrilled and surprised when it’s included in the inevitable DVD. I certainly hope so.

Another missed opportunity is the chance to explore the moral conflict Kylo Ren/Ben Sold/Grandson of Vader (Adam Driver) feels throughout his journey as Supreme Leader.

I understand that Carrie Fisher’s unfortunate death kept JJ and the Gang from basing the film on her deeply missed character’s arc, but making better use of Driver, who pretty much is the plot’s prime mover, could have elicited the kind of genuine emotional excitement every great film needs.

It certainly would have excited me more than having to watch all those minor characters stand up, sit down, and go rah, rah, just to tie together their old stories.

As far as I’m concerned, ST:ROS had a lot of entertaining scenes but never achieved the greatness worth of the Star Wars name. I hate to admit it, but if I’d never seen this film I’d never have missed it.

EDITOR’S NOTE: In case you think Diana, who usually loves just about everything she watches, is picking on poor JJ and company, here’s a short review by TVWriter™ buddy Robert Glenn Plotner:

My review of “The Rise of Skywalker.”
Spoilers, I guess.
The Rise of Skywalker is a head spinning blender that keeps one amused/distracted with wizardry until one is inoculated against the flimsiness of the baseline truth or narrative.
There are people riding musk oxen dropped from star ships onto a capsized star destroyer in the middle of a swelling ocean who gallop around for awhile and are forgotten about when things go boom.
Also, it isn’t clear why Billy Dee Williams or whoever is in Rebel Command thought it was a helpful idea to transport musk oxen into this penultimate battle.
Also, those drop ships are going to have some serious musk oxen poo cleanup.
Also, “get yer ghost cameos here. Ghost cameos here!”
Also, you know when as a kid you scooted across carpeting in your socks and you touched something and got a static electric shock through your fingertips? There’s a LOT of that.

LB’S NOTE: If this film isn’t a true metaphor of life as lived in the year 2019 by myself and hundreds of millions of other human beings, then nothing is. And, yes, by this I mean, “Woah! This was a very bad year…and an awful movie as well.


What Makes ‘Into the Spider-Verse’ so Loved

We all love Into the Spider-Verse, yeah? This TVWriter™ minion even knows a rival major studio head who thinks it’s the best film of the year so far.  The following video looks into what makes Spider-Verse work so, you know, we all can do it and make everybody who ever turned us down as envious as my studio head friend.

More excellent film analyses at HoustonProductions1