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Tag Archives: Michael Stuhlbarg

Boardwalk Empire (Season 1): 1920s prohibition drama mostly following the racketeer Enoch Thompson, who controlled Atlantic City. There are lots, and lots of factions and institutions interacting with each other, not to mention around a dozen well-rounded, complex characters. It’s extremely well-cast; nobody stands out as being too little or too much, and with this many characters, they’re all physically distinguishable – a great job from the casting team. There are too many outstanding performances to mention in this cast of accomplshed actors, but I felt most sorry for Michael Shannon who does a magnificent job with the hardest character, a Prohibition Agent of extreme (almost comedic) faith and morals… Shea Whigam as Sherriff Eli Thompson also impresses with unbelievably great acting, and Jack Huston is superb as a ruined, deformed WWI vet. There’s an impressive level of throwaway period detail in the background, costumes, homes and through conversation. The visual effects to recreate the era are also impressive, and when tag-teamed with some brilliant old-fashioned music/entertainment it’s a solid nostalgia trip. Strangely, there’s an outrageously high level of gratuitous nudity for such a solid TV show, somewhat unnecessary, but hey, I ain’t complaining. This isn’t dip-in / dip-out TV, nor is it for the easily offended or faint hearted – it’s graphic, there’s adultery, sex, debauchery, racism, religion… and that’s just for starters. Boardwalk Empire is entertaining, dramatic, funny, and fascinating for the duration, and never really puts a foot wrong. Must see TV.

Score: 9/10

A Serious Man: the monumental breakdown of a weedy, pushover, atheist Jew as he searches for the ultimate answer, why him? The humour is the ultimate in dry / deadpan / dark / awkward and the story’s as bleak as anything else I’ve seen – so much so that handfuls of people walked out of the cinema around the 30-40 minute mark. The slow pace of the film didn’t help matters much and neither did the over-the-top ‘Jewishness’ – with lots of Yiddish vocabulary being used. The opening act didn’t seem to have anything to do with the rest of the film, and ended up being a distraction – whereas the finale is as  open-ended as No Country. It’s shot well, remaining pretty stylish and retro throughout and the acting’s of a pretty high standard – there’s also a few tactically placed laughs to slightly lighten the mood. Overall it’s totally pessimistic, bleak, relentless & overwhelming with no likable characters and not enough funnies to balance it out. Very difficult to watch, unless you’re a diehard Coen fan or were Jewish in the 1960s.

Score: 4/10