Colin Farrell, donning a rather “Joaquin Phoenix in Her” disposition and attire, sits on the couch, facing away from his presumed wife as she tells him the details of the man for whom she’s leaving, doesn’t say much.
The good news is that the so-called “orgy episode” of this season is not nearly as gratuitous and exploitative of women as it could have been in a worst case scenario. The bad news is that it is still pretty gratuitous and unnecessary once it is made clear what exactly the show is trying to accomplish throughout the party.
The only truly frustrating part about “Other Lives” is that if the entire season to this point had been even a fraction as good, so many of the acting missteps and story misjudgments could have been more easily forgiven. Much of what works in this fifth installment of the season are things that could have been easily fixed before filming a second episode after the premiere, which is all the more infuriating now that things are even marginally smoothed out.
The procedural crime thriller, tales of murder investigation and corruption, a hallmark of hard boiled fiction from the 1970’s onwards, has tailed off. This is particularly frustrating when such a film emerges that should really have been a shot in the arm but was instead a bullet in the head. Step forward the hugely promising and ultimately disappointing Pride and Glory, a true Jekyll and Hyde.
We are living in a golden age of animation, yet so many people working at Hollywood’s studio-funded animation companies are content working in the realm of the familiar. Too frequently, new mainstream animated films are like a big bowl of soup, with countless flavors that you’ve tasted before tweaked only slightly to not be total carbon copies of something bigger and often better.