LIVING WITH YOURSELF Review

Article first published as TV Review: LIVING WITH YOURSELF on Seat42F.

Looking at the poster of Netflix’s new series LIVING WITH YOURSELF, you might think you know what the show is. After all, Paul Rudd (Ant-Man) has made plenty of comedies, and many of us know what those are. They’re familiar and amusing, but not usually ground-breaking or particularly memorable. I’m not picking on Rudd here, and I enjoy the genre he works in, but there’s a certain predictability to a lot of that resume. Toss in the clone aspect, and it seems like it’ll contain even fewer surprises, with the duplicate jokes having been done on numerous occasions in the past.

If that first paragraph describes your initial thought, as it did mine, you could not be more wrong. LIVING WITH YOURSELF is a very complex and rich tapestry of a world and story, with characters who go through complicated issues and question their identities. It’s funny, sometimes, but that’s beside the point, as it is so much more than that. Like The Good Place, it makes you think about what it means to be a good person, and this one also gets into motivation, the paths not taken, how experience shapes us, the idea of a soul, being one’s best self, and a lot more.

Rudd is excellent as Miles Elliot, maybe the best role in his career thus far. Or rather, roles, as he plays two versions of Elliot. One has been worn out by some tough things in life, frustrated with his job, and fighting with his wife. The other has the exact same memories, but a fresh body unencumbered by aches, pain, and stress, giving him a totally different viewpoint. He’s the idyllic Miles, the person Miles could be if he started over with a clean slate. It’s interesting just how much an attitude makes a different, but it requires a huge thing like being cloned in order to gain that new attitude. It’s a testament to Rudd just how different these two parts seem despite being essentially the same individual.

The cloning process itself opens up all sorts of questions. The operation is secret and shady, and at least some clients don’t realize the operation involves killing the original human after the copy is made. In Miles’ case, an error causes the death not to stick, and thus the problems are born. These two Miles share one car, one job, one social security number, which isn’t a practical way to live. And they both want that one life. Not to mention, the guys that run the cloning experiment (James Seol and Successions’s Rob Yang) have their own stuff going on.

In early episodes, Miles’ wife, Kate (Aisling Bea, The Fall), seems like the one glaring problem with the show. Not because of anything Bea is doing (or not doing), but because she isn’t developed at all, playing a pretty straight-forward, one-note spouse, the type present in so many shows and films. But by the fifth half hour, which centers on Kate, LIVING WITH YOURSELF proves the final piece of its worthiness by giving Bea a showcase to shine. As soon as her part of the story is filled in, the plot gets even better, really fleshing out the world in a needed way. We quickly care as much about her life as we do Miles, and that makes things so much more satisfying.

Other characters, including Miles’ co-worker Dan (Desmin Borges, You’re the Worst) and sister Maia (Alia Shawkat, Arrested Development) add little bits that will surely pay off, and there is a fair amount of mystery baked in, too. It’s a delightful, engaging mess of a world, one that feels very lived in.

I cannot recommend LIVING WITH YOURSELF enough. This show is excellent, stand-out in a landscape filled with great programming, and has something new to say. Season one is streaming on Netflix now, so go check it out.

Going MUTE

Article first published as Movie Review: MUTE on Seat42F.

Netflix, besides making a ton of television series, has recently started putting out lots of original films, too. One of the newest is MUTE, which is written and directed by Moon’s Duncan Jones, also written by Michael Robert Johnson (2009’s Sherlock Holmes). It follows a mute man named Leo who runs afoul of mobsters as he searches for the woman he loves, who has gone missing. And, just to add some flavor, it is set in Berlin, Germany in the future, although the characters do speak English.

The setting is interesting, though not all that relevant to the story. Sure, the reason Cactus Bill (Paul Rudd, Ant-Man) is in the country is because of a war that hasn’t happened yet, so in that way it ties into the futuristic framework. Yet, there could be another reason for Bill’s presence without jumping forward, so I’m not quite sure why this film doesn’t take place today other than that the choice makes for some very cool visuals.

The story itself is a basic one at its heart, with some complexity thrown in to keep it interesting. Leo (Alexander Skarsgard, True Blood) deeply loves Naadirah (Seyneb Saleh, Dogs of Berlin). Leo is a lonely man, so it makes sense that he’d be even more invested in the relationship than most people in his situation might be. Thus, of course he’s willing to give up everything, his job, his personal safety, unconcerned of what anyone else might think of him to find her, his sole purpose. It’s a sweet, if familiar, tale.

What does make the film a bit unique is that Leo is mute. The explanation involves a childhood accident and a deeply religious family that espouses surgery that could correct it. But the point is, Leo doesn’t talk to anyone in the movie. He occasionally signs, sometimes writes things down, but the majority of his communication is through body language and facial expressions. It’s a great role for Skarsgard, who performs it wonderfully. Though, of course, it’s a shame the production didn’t use an actual mute actor. But if they were going to choose a non-mute performer, Skarsgard is the right choice.

Where the story veers into weird territory is when it focuses on Bill, a layered character. He deeply loves his daughter and is devoted to getting her back to North America. To do so, he has to work for some bad dudes until they are willing to provide him a passport. (He’s a military deserter, so can’t go through normal legal channels.) Bill has an unexpected connection to Naadirah, which is interesting. He also has his own moral code which allows him to operate outside the law, and yet have some mixed values. For instance, he can remain friends with someone who’s behavior deeply offends him.

Between Bill and Leo, I really liked MUTE. Two great performances, two great roles. Smaller characters like Naardirah, her roommate Luba (Robert Sheehan, Misfits), and Bill’s buddy Duck (Justin Theroux, The Leftovers) make many of the scenes more colorful in the best of ways.

MUTE has been getting mixed reviews, some saying it’s a slog, gimmicky, or a mess. Honestly, I didn’t see those things when I watched. I found it compelling, visually stunning, unexpectedly creepy, and tantalizingly sexy all at the same time. My positive bias towards futuristic things could be at play here, but I’ve given other sci-fi less than stellar reviews lately, and I feel like MUTE doesn’t deserve that. It’s not a perfect film, nor will it make my must-rewatch-soon list. But I really enjoyed it for all the reasons above, a short story’s worth of material brought satisfyingly to life.

MUTE is available now exclusively on Netflix.

Be Sure to Attend WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP

Article first published as WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP Review on Seat42F.

I love that we live in the modern age where television can be done in many different models, not just the strict, twenty-some episodes per year for an indeterminate number of years commitment. If things had not been shifting as they are, we would never get a gem like WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP (premiering this week on Netflix) due to actor availability alone. Just look at the cast list, which includes Janeane Garofalo, Jason Schwartzman, Paul Rudd, Chris Pine, Elizabeth Banks, Christopher Meloni, Amy Poehler, Bradley Cooper, H. Jon Benjamin, John Slattery, Josh Charles, and many more. It would not have been possible to get them all together in a longer-format series.

WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP is actually a prequel to the 2001 film, Wet Hot American Summer. Whereas the movie covers the last day of the year at Camp Firewood, the eight-episode series is set eight weeks earlier, to the first day of the season. Practically all of the adult actors from the original, both major and minor characters, reprise their roles, with a new batch of kids tossed in, and a ton of guest stars who are often as famous, if not more so, than the central cast.

The question might occur to you, as it did me, is this necessary? The movie is terrific; I just re-watched it last night and laughed frequently. But it’s also irreverent, with a loose plot and relatively under-developed characters. It succeeds because of the jokes and the performances, not because of its depth.

Well, if the new version were an exact copy, I’m not sure it would work. Sure, we could enjoy a goofy sitcom over a longer period of time, but it would certainly get tiring if binge watching, as many Netflix subscribers prefer to digest their shows. Instead, WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP builds a much more complex story (i.e. can of vegetables), interweaving a number of running subplots, intriguing mysteries, and origin stories fans may not have known they even wanted.

Lest you worry that will take away from the style of humor that worked for Wet Hot American Summer, it does not. The silly gags are still present, Arty (recast) still the radio station, and the characters are the same as they ever were. They just have a little more to do, and what they do sometimes (but not always) has a little more importance. Continuity remains intact, as much as it ever was.

Given the short bits this four-hour comedy is broken up into, not everyone can show up right away. Most of the biggest stars are back in episodes one and two, with a lot of the smaller ones joining in episode three. The original ensemble is supplemented mostly by cast members from writer David Wain’s other TV show, Childrens Hospital (which also has Wet Hot American Summer stars), and Mad Men alum, along with Wain himself, so it takes even longer to get around to everyone.

Yet, it doesn’t feel crowded. Sure, Michael Ian Black, for one, doesn’t have a lot to do in the first few installments, but I’m optimistic that will change as the season goes on. Like the movie, WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP jumps around a lot, and that allows for lots of subplots.

Most importantly, though, it just feels like the magic is back. True, the actors don’t pass for sixteen-year-olds, but they didn’t in 2001, either, and the only adds to the conceit. I was enjoying the show so much, I couldn’t stop to write this after one or two episodes, and barely tore myself away after the third. As someone who loves the film, I think this iteration adds to, not takes away from, the work. I hope we eventually get to see even more of this terrific summer of 1981.

WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP was released last Friday on Netflix.

Parks and Recreation election results are in!

NBC's Parks and Recreation has had a heck of a spring, as the characters work tirelessly to help Leslie (Amy Poehler) campaign for Pawnee City Council. It all comes down to this riveting series finale, as Pawnee citzens vote, and a winner is declared. Yep, it's Bobby Newport (Paul Rudd). But not so fast! A recount is triggered, and when the smoke clears, Leslie is, in fact, the ultimate victor!

It's kind of hard to believe that "Win, Lose, or Draw" finds Leslie making a career advancement. The city council members have played very little role in Parks and Recreation thus far, so it's not exactly a natural move within the confines of the show. However, considering Leslie's background and loyalty, it will not be surprising if Leslie makes the Parks Department a priority for the council, which would bring her into the circle of the rest of the characters on a regular basis.

There are also some gaps that are going to need filled. For one, Chris (Rob Lowe) needs to pick a new second in command, since Ron (Nick Offerman) turns down the job. This isn't entirely unexpected, given Ron's penchant to try to keep things as static as possible. He is already going to have to deal with replacing Leslie as his number two. He doesn't want to move offices and actually take on responsibility, too!

Who would be an appropriate successor for Leslie? April (Aubrey Plaza) seems a logical choice. She pretends not to care, but her character has proven her worth many times over. She would make a very different leader of the Parks Department than Leslie has been, but it could be an interesting change. If that is the way Parks and Recreation chooses to go, then April will still need to be replaced, too, leaving room for a new character.

Andy (Chris Pratt) considers a change in "Win, Lose, or Draw," too. While comforting April for the colossal mistake she makes, it comes out that Andy would like to be in law enforcement. Becoming a cop might be a dream too far for the lovable dolt, though maybe not, given some small towns' low standards. However, he could at least become a security guard, albeit a bumbling, ineffective one.

Ben (Adam Scott) also contemplates a move, deciding, with Leslie's encouragement, to accept a job working on a campaign with Jennifer (Kathryn Hahn, who could continue to recur since Free Agents was canceled) in Washington D.C. This is a big step, as Leslie and Ben's careers just happen to be taking off at the same time, in opposing directions. If Ben does well, what's to keep him from staying in the nation's capital, instead of returning home to Leslie? Ben would not be the first boyfriend Leslie has lost to an out-of-town job. But their romance is so sweet. Too bad Leslie is years away from running for national office. Perhaps in the final season...

Ann (Rashida Jones) resists Tom's (Aziz Ansari) attempts to get back together with her in "Win, Lose, or Draw." That is, until she gets drunk and agrees to move in with him. Despite Tom's declaration of no take backs when she sobers up, is there any chance that this will stick? Their romance has been weird from day one, and only gets odder as it continues. Ann is great as Leslie's best friend, but as that is a small, unimportant role, her character is continually beefed up with subplots. Unfortunately, the perfect story has not yet been found for her.

"Win, Lose, or Draw," besides foreshadowing many changes for Parks and Recreation going forward, is also highly amusing. Chris and Jennifer have lots of sex. Jerry (Jim O'Heir) loses track of time and forgets to vote for Leslie. Donna (Retta) fixes April's big disaster in three seconds flat. Chris wisely denies Jean-Ralphio (Ben Schwartz) a job. And Bobby not only doesn't understand the joke he makes when he declares publicly that he is voting for Leslie, he also needs Leslie's help to operate the voting booth equipment.

Parks and Recreation continues to be funny and sweet; realistic and full of dreams. Does anyone really believe Ben didn't write Leslie a concession speech? Probably not. But it's a drama-y sitcom about a group of people striving for the lives the want, and willing to work hard to get them, with a few laughs along the way. The evolution coming next season will only further enhance the world created here, and the show should have no problem continuing for years to come. As the only NBC Thursday night sitcom to get a full season order next year, at least so far (aging The Office has yet to be picked up), it'll have to continue to bring its A game, being the network lineup staple for the time being.

A final note. These past few weeks, extended versions of Parks and Recreation have been available online. I highly recommend checking out these, on average, five minutes longer episodes, as they give more jokes to the delightful supporting cast, who deserve the extra screen time. Hopefully, this trend will continue next year.

If you like my reviews, please follow me on Twitter! To purchase Parks and Recreation DVDs and streaming episodes, please click here.

Jason Segel hosts Saturday Night Live

     The (currently) elusive funny episode of NBC's Saturday Night Live comes somewhat close this week, at least at times. This week's show opens with a look at Mitt Romney "Raw & Unleashed." Then it moves on to a monologue with guest appearances by several Muppets, a rerun of the Red Flag perfume commercial, and auditions to replace Regis Philbin. After that, there is another parody commercial, the return of the kissing family, Weekend Update with Seth Meyers, Kermit the Frog, and Jon Huntsman, and a retirement party sketch. Finally, a commercial for New Jack Swing, a digital short, Andre the Giant, and a local band.

     Any fault within the hour is surely not to be blamed on Jason Segel. He is versatile enough to handle the handful of characters he is given, and musical guest Florence, of Florence + the Machine, even participates in a couple of bits. Both are charming, and deserve praise for their appearance.

     Segel kicks off his monologue with a song, and is joined by a number of his Muppet movie co-stars. Their interaction is playful, but not too childish, getting back to the root of Muppets with attitude, a key element in the early, great Muppet films. They also remind viewers that Muppets are in the earliest episodes of Saturday Night Live, so it is fitting that they return.

     Segel is very clever with his "Andre the Giant Chooses an Ice-cream Flavor," bringing back a man many have not seen in quite some time. Odd, nostalgic bits like this are usually quite good, and without having to be timely, are more likely to be funny. Plus, who doesn't enjoy a giant with a tiny ice-cream cone? Who?

     Jason Sudeikis has really honed his Mitt Romeny. It still feels a bit too colored by Sudeikis himself, but the material is getting better. The opening, featuring Mitt "Raw & Unleashed" is quite good, playing up the blandness of the expected Republican presidential candidate. SNL is frequently best around election times, and this act is a positive indication it may be so again in next year's cycle.

     The final sketch of the night, featuring a Massachusetts bar band that references many local things in their music, is only OK. But the joy in that bit comes from cameos of a couple of Muppets, Florence, and Paul Rudd enjoying the tunes. They save the sketch from being a complete waste of time.

     Even in the worst Saturday Night Live episode, Weekend Update delivers, and this week is no different. Seth Meyers gets some great zingers in, including a particularly unexpected one with a Lego that is sure to crack up. Jon Huntsman's actual guest spot is kind of lame, but only because the man isn't very funny in his delivery, and his appearance reeks of desperation to stay in the race. That is not a comment on his politics, just his presence in a sketch comedy series. However, then Kermit shows up to do the wonderful "Really!?!"  recurring segment with Seth, and all is put back right in the world. Perhaps Kermit should be more of a regular co-host.

     Digital Shorts tend to only be really good when there's a song involved. This week's is just not up to par. Except for a cool cameo by Olivia Wilde (House, Cowboys & Aliens), there is absolutely nothing memorable about the short. One longs for another hit like "Lazy Sunday," "D*** in a Box," or "I'm On a Boat."

     The major problem this week is recycled material, bringing back recurring sketches that are not funny the first time, and milking them for yet another laugh that isn't there. The kissing family is only novel in the first place because of the originality and gross factor. But upon reusing it, it loses much of its luster. Even Paul Rudd's return cameo as a member of the clan doesn't help it to live up to expectations.

     On a similar note, the Red Flag commercial is amusing at first viewing, but does not bear repeating. This isn't even a recurrence of a former sketch, but actually airing the exact same, pre-filmed spot. Saturday Night Live does tend to reuse its commercials from time to time, but that's a little sad, given that new sketches are cut to make room for them. Does that mean there just isn't any more funny material waiting for airtime?

     The "Time Life New Jack Swing" commercial may not be exactly a repeat, but it sure feels like one. In recent years, SNL just trots out a bunch of fake musical acts in a certain genre and proclaims it funny. It's not. It's tired and has been done far too often. Time to ditch the conceit.

     A segment about a retirement party falls completely flat. Segel's character is interesting, but Kristen Wiig, the cast's go-to girl, just comes across as annoying in this go round. Her parts need to be better considered, as she really is brilliantly funny, but often used in the wrong way.

     Finally, the Regis replacement auditions could have been really great, but instead, seem like a flimsy excuse to trot out the best impressions the cast has to offer. There is nothing wrong with that, as there are some spot-on parodies of Ricky Gervais, Garrison Keillor, and the return of Wiig's brilliant Kathy Lee. However, because so many others are squeezed in, it just doesn't flow. For a segment like this, there needs to be fewer, and longer, impersonations for it to really soar.
es
     Ah, well. There are still plenty more chances to get things right, and with the election just around the corner, it seems more likely. Watch Saturday Night Live Saturday nights at 11:30 p.m. ET on NBC.

     If you like my reviews, please follow me on Twitter!

     To purchase Saturday Night Live streaming episodes, DVDs, and more, please click here.

Article first published as TV Review: Saturday Night Live - "Jason Segel; Florence + the Machine" on Blogcritics.