Review: Surviving Death

Netflix’s Surviving Death, a docuseries adapting the nonfiction book by Leslie Kean, presents a variety of accounts of the afterlife that will not convince skeptics but are sure to provide a genuine perspective on the varied ways in which people look for answers and assurance when facing death and the loss of loved ones.

I’ve not read Ms. Kean’s book, although her UFOs: Generals, Pilots, and Government Officials Go on the Record is essential reading on the contemporary UFO phenomenon, not to mention her reporting on the subject. If nothing else, this new series makes me want to read what she actually wrote on the pursuit of evidence of consciousness after death, and I can only imagine it would be similarly informative. Ms. Kean does appear quite a bit throughout the series, offering her perspective on various phenomena–especially on the subject of mediums, for some reason.

Each episode of the series covers a different phenomenon: near-death experiences, a two-parter on mediums, alleged signs from the dead, ghosts and end-of-life visions, and reincarnation. While everyone might react differently based on their own biases, my own worldview made the stories about near-death experiences, end-of-life visions, and reincarnation most palatable. Even though the first two categories have many alternative explanations, they’re still interesting phenomena; conversely, the really good and verifiable examples of alleged reincarnation are very compelling, and the alternative explanations about as extraordinary as the idea of reincarnation itself. Even if you reject the (admittedly difficult to reconcile and impossible to prove) paranormal components, the universality of certain themes and narratives across generations and cultures is fascinating in and of itself. At its core, parapsychological studies of these types of stories read to me as a sort of anthropology, just focused on a type of folklore taken as true. So even if you reject them as true accounts of an afterlife out of hand, you’re still left with true accounts of belief and lived experiences that are remarkable even under the most normal of explanations.

Having two episodes devoted to mediums was hard, though. The show repeatedly acknowledges, through some of its interviewed subjects, that spiritualism and mediumship have long histories of fraud. And yet. And yet, two episodes are spent on what can only be read as an attempt to convince us that some level of mediumship must be legitimate. Nothing changed my mind, although I was rather fond of the man who went from medium to medium, attempting to communicate with his dad, celebrating the sessions that were eerily accurate and emotionally on-point, yet even then noting how they could be faked or otherwise staged. For someone to continue to engage with mediums with an open mind, yet never shutting out his critical thinking, well–that’s a man after my own heart. But most of our time is spent with a succession of mediums and true believers. They even have a physical medium, someone who claims to be able to produce physical forms of spirits through the use of ectoplasm. In 2021, a documentary is giving serious space to a woman who claims to use ectoplasm! Oh, sure, all those other physical mediums were frauds or at least highly suspect, but this one’s different? This one who leads seminars to train others to be mediums? Wild! Don’t get me wrong–if you were on the fence, or susceptible to believing in mediumship, this might push you over the edge with some of the more compelling readings, but there’s nothing here that proves mediums are real or that counteracts the obvious non-mystic explanations for all their stunts.

The episode on signs from the dead was fascinating because it really showed how desperately people look for comfort and reassurance when they lose someone. I felt for them. This episode was especially hard on my wife, because it’s basically a nearly hour-long presentation of people’s very raw grief. While it was not compelling evidence for taking signs seriously, it was a nice reminder that if you can take comfort from a perceived sign, there’s no harm in doing so, and a lot of people, even otherwise non-spiritual and rational people, can find comfort in this. In other words, it was just a very human story.

Finally, the episode on end-of-life visions also had a segment on ghosts and ghost hunters. The woman-of-color ghost hunter the series follows is more interesting than the jackass white bros we normally see; rather than pretending to be scientific (and they never are), she actually seemed almost like a shaman, someone who felt that her hobby was sacred work. She was still over-fond of tech gadgets that don’t ever detect or react in exactly the ways the ghost hunters think they do, but it was still a more sentimental and reflective segment than I was expecting given the usual ghost hunters on TV. The proposed “evidence” is all the same, though, and very non-conclusive.

While the episode quality varies, I did stay engaged throughout, even if scoffing at the people onscreen (which was rarer than I might have expected). It was compelling television, with a refreshingly human focus that showed the value in the experiences for the living, regardless of what those experiences actually said about the dead. As an intimate look at how humans respond to death and attempt to adjust to loss in the modern era, I would highly recommend this show.

Breaking through Baldur’s Gate

I finished Baldur’s Gate: Enhanced Edition. I’ve tried to play the first Baldur’s Gate before, but never got very far; it’s the only game in the series I’d ever tried. Beating the campaign feels like an accomplishment. And especially once my party was around level 5, the game did start being generally more fun, the truly challenging battles more memorable instead of just another in a long slog of painful party wipes and reloads.

I knocked out the Tales of the Sword Coast content along the way; while nothing in that was vital, I thought that it represented a general improvement in storytelling, with a concentrated hub town serving as a springboard for a variety of diverse quests, from a variety of events related to delving into a truly nasty dungeon, to sailing for a fabled shipwreck on a distant island only to find yourself in the middle of lycanthrope tribal warfare, to putting down a cult dedicated to a powerful demonic enemy. (There were probably more Ancient and Terrible Evils in the quests of Tales than in the entire base game–it did start to feel a little crowded). Two very different elements represented my favorite components of the expansion. Probably my single favorite was uncovering the layers of mystery and deceit associated with the shipwreck and islanders; having the option to befriend a local islander and a long-lost mage and having them both help me in the final moments felt surprisingly organic for a game whose mechanics typically grind away all too visibly. Second favorite was dealing with some of the puzzles in the lower levels of Durlag’s Tower, which really helped develop the setting and the tortured mindset of the dungeon’s creator and long-dead lord. The dungeon wasn’t just dangerous and torturous; it was created by a man who had suffered great losses, and his psyche left a permanent impact on its design and implementation. Both of these examples of favorite moments highlight where characterization and environmental storytelling won out over heavy lore dumps and hackneyed, conventional plotting; the latter, unfortunately, constituted the majority of Baldur’s Gate. (While I liked some of the lore I picked up from the game’s items, I object to the idea of lore descriptions for items. How are the characters gleaning this detailed information just from inspecting it? Meanwhile, the in-game history books, mostly short chapters of larger histories, suggest there’s almost too much lore for the relatively straightforward story being told in the game itself. But that point probably has more to do with the Forgotten Realms setting in general.)

I don’t really want to focus on the bad, though. It’s an old game, and I don’t want to just pick away at it. Still, it must be said: the plot largely serves as a vehicle for advancing your character in power and exploring new map segments. It’s (mostly) serviceable, but ultimately mundane and uninspired. That said, even the base game had its moments. I liked exploring the city of Baldur’s Gate itself and learning more about its mercantilist government topped by oligarchs. I liked learning more about how the disparate pieces of the story fit together into Sarevok’s master plan–which was more interesting than any boring old stuff about a Great and Terrible Destiny for the player character. I think my favorite moment in the base game was when you encounter the doppelgangers who take on the aspects of Elminster and Gorion in the dungeons below Candlekeep. Before that, the doppelgangers are very transparent, often clearly searching for a weakness if not outright hostile even before they reveal their true forms. But these two, for a moment, had me wondering what was real. Could Gorion have survived? What “Elminster” and “Gorion” said sounded sensible. I hadn’t confronted doppelgangers putting so much energy into convincing me of their worn identities, and their answers were plausible. What if I had fallen under the sway of a powerful illusion? Forcing me to pick dialogue responses there really made me consider my decisions and how I reacted. I had to remind myself that everything I’d seen before indicated that these two were fake. And of course, they were. But the game made me doubt myself, and I was anxious and uncomfortable with the prospect of choosing to fight them, even though I felt it was necessary. Seeing them revert to doppelgangers to start that fight was a huge relief a little too soon, so it’s possible that the game could have pushed harder. Imagine if they’d stayed in their forms and used spells you’d expect a mage to have up until the moment of their deaths! But it was still a very good moment where the emotional stakes were raised, however briefly.

As soon as you defeat Sarevok at the end, there’s a closing cinematic, the credits roll, and then, in the particular version I have, you’re immediately launched into the opening cinematic of the 2016 Beamdog expansion, Siege of Dragonspear. That opening cinematic does a good job of establishing the setting and the new antagonist. Then you’re dumped into a new dungeon, where a quick game-engine cutscene shows that you’ve pursued the final holdout of Sarevok’s followers to a decrepit tomb. Already, there’s a little more dialogue, and the characters of my party feel familiar and comfortable together. The relationships largely built up in my head with little textual support feel reinforced by that opening. What I mean to say is, the story was already more interesting to me, the characters more alive, in just the opening 5 minutes. Kudos to the writers–of course, they’d had almost two decades to let the first game permeate, and they could take into account the elements of the second game and developments in game storytelling over time. Still, I’m impressed. I’ve sunk many hours into Siege of Dragonspear since when I originally started this post, and the improvements to characterization, pacing, and storytelling have remained sharp. It’s not a perfect game, but it’s a colossal leap forward when compared with the original game.

Review: Ghosts

Ghosts is a very funny British comedy about, well, ghosts. It’s currently available on HBO Max, which is where I watched it. And it’s only got two seasons–or series, I’d suppose they’d call them–of six episodes each. So it’s very easy to binge and definitely worthwhile.

The premise: a young couple, Alison and Mike, inherit an old, decaying manor. They fall in love with the idea of turning it into a hotel, so they quit their day jobs and move out to start live-in renovations. However, the house is haunted by several ghosts, who would rather not have a bunch of mortals in and out. They try to scare the newcomers out, but they’re not really able to do much– one can cause the smell of burning if walked through, another can cause lights to flicker, a third can (with immense effort) touch or gently push physical objects, and the others are more or less useless. The tactile ghost decides to give Alison a push at an opportune moment as she reaches out a window, knocking her to the grounds a couple floors below. She survives but her near-death experience gives her the ability to see ghosts. While this leads her to want to move out and sell the place, Mike has already taken out loans whose early payment penalties would bankrupt them. And so Alison, Mike, and the ghosts must find a way to tolerate each other.

The characters gradually come to be fond of each other–except for Mike, who remains scared of the dead people he can’t see–but the series thrives even more on a lot of cringe-inducing situations emerging out of their various self-sabotaging and conflicting actions. It’s all very, very funny. From the first episode, my wife and I were laughing early and often. But getting to know each of the ghosts and their pasts was another reason to keep watching, definitely. There are certainly some fun subversions of expectations and twists of perspective along the way.

The show also manages to poke a lot of fun at spiritualists and ghost hunters, drenched in the irony that the charlatans and fools are so close to being right in this case, even as they ultimately conclude that the house is in fact not haunted (due to the overeager, greed-motivated actions of Alison and Mike to put on a show for some visiting paranormal enthusiasts). So often, the show’s playful spin gives a reason for why ghosts would be so fickle, inconsistent, and unresponsive. Of course ghosts have trouble communicating–it’s exhausting trying to tap out responses when even tapping a key on a keyboard is a strenuous effort! Of course ghosts sometimes manifest and sometimes don’t–they’re people too, and they aren’t there to amuse you, if they’re interested in you at all! Whether you’re a true believer or a hardened skeptic, whether you’re deeply engaged in the paranormal or couldn’t care less, you’ll find something humorously rewarding in the viewing.

I’ve said enough though. It’s just twelve episodes! Watch it!

A comfortable gaming routine

While I’m still struggling to pick up a regular reading habit again, I have found a very comfortable gaming routine. I try to spend some time in Ring Fit Adventure every day. I aim for 8 PM every night, but in reality this ends up being one of the last things I do before I get ready for bed most evenings. Then, my weekends get split between two games. A good chunk of at least one day is spent playing a single-player RPG; currently, that’s involved the Baldur’s Gate franchise, but I have a lot of other unplayed options lined up. Then I’ll spend a couple hours with some friends playing Star Wars: Squadrons on the other day of the weekend. It’s a satisfying cycle.

I’ve barely touched the single-player mode in Squadrons. If I ever get around to finishing the campaign, I’ll probably write a short review. But I’m there for the multiplayer, which is so very unlike me. We’re usually flying with a near-full squadron of friends at this point. The dream will be all five slots filled with friends. It’ll be a while before we’re doing more than battles against AI opponents, though. I made two important changes to how I play: I’ve switched from mouse/keyboard to a 360 controller, and I’ve finally figured out how to effectively use targeting and call-outs. Really basic. I would never claim to be a natural at these sorts of games! But now it feels like Star Wars, with really fun dogfighting, working together with a buddy to take on the enemy squadron, coordinating our strikes and retreats for resupply, swooping in to try to pull enemies off our companions or to draw attention away in anticipation of a bombing run. I’m sure I’d be absolutely shredded against a human opponent, of course! But it’s great fun and something to look forward to every week.

So I’m finding fitness, socialization, and immersive storytelling all in gaming. Now to find ways to implement more reading into my days!

Review: Camp Cretaceous Season 2

I watched the eight episodes of season two over their release weekend, but I didn’t feel particularly compelled to put my thoughts down right after. I think that impulse reflects what season two turned out to be: a pleasant but forgettable bit of television comfort food. I suppose that this puts it rather in line with my impression of the first season, but the first improved over the course of its run and set up exciting possibilities for the second, and I just don’t feel like the follow-up season really ran with anything or even attempted anything new. It did, at least, have several exciting action sequences!

As I mentioned in my first review, this show is rather character-focused over anything else. So, after having grown fond of the kids in the first season, I was simultaneously pleased with and disappointed by their portrayals in this season. This time around, there were more moments where the kids could almost relax, where they tried to just act like kids, but there’d always be some harsh new reality to force them back into survival mode. They’ve grown as characters, and they all get opportunities to shine. They’re also a rather tightly knit found family, although the constant stress does lead to inevitable infighting at times. All that said, sometimes the show forced an arbitrary regression of a character to suit the plot of a particular episode. In finding a situation for the star athlete Yaz to truly learn that sometimes she couldn’t help, sometimes even her best wasn’t enough, and sometimes she had to rest, the writers forced spoiled rich kid Kenji back into his obnoxiously lazy and selfish role to act as a foil. Sure, Kenji’s dumb and self-centered, but he’d come a tremendous way in the first season, and this felt like an unnecessary step back for him. At the same time, the show does appear to want to show what trauma looks like for these children, and having moments of regression does seem natural. Clearly, the show didn’t always convince me that that’s what was going on, though.

The best character development this season goes to Ben, presumed dead by the other campers (though the show made clear enough he’d survived at the very end of season one). Once he’s reintroduced as a wannabe-commando figure to a couple of his friends, the show focuses a whole episode on his arc of surviving on the island alone for however many days (or weeks) have elapsed. He was forced to find his own inner strength and courage, he prevailed over a series of hazards, and he eventually reached a point of power and competence. Yet he’s still Ben, the skinny, dweebish little kid, and so he’s also developed the amusing quirk in which he believes that he’s tougher than anyone else, all evidence to the contrary. With a whole episode devoted just to his survival story, however, it was still a little goofy that it conveniently skips over the point at which he’d made some serious outfit adjustments, and it just as conveniently has a brief falling out between Ben and Bumpy that allows Bumpy to mature into a full-size Ankylosaurus off-screen. (Bumpy remains as adorable as ever, even fully grown, and I still cheered for Bumpy whenever she did anything at all.)

The plot is more disappointing. The first season focused on the attempt to reach the evacuation point in time; the group failed, of course. This season again finds the kids attempting to reach a target for rescue–actually, two targets. The first one is an emergency beacon that can call for help. That objective is accomplished rather handily with the group’s new survival skills and teamwork. However, typical chaos ensues involving a Tyrannosaurus, and the kids aren’t sure if their message got through. They soon after stumble upon a small party of “ecotourists” who have made their way to the island in the days since the park shutdown. These yuppie adventurers promise the kids access to their yacht in a few days when it returns from refueling. They’re lying, and how the kids react to their alleged rescuers–and how the rescuers respond–becomes the major point of conflict for the remainder of the season. It’s all for naught because (spoiler alert) the kids find themselves stranded on the island once more, yet again barely missing a boat off the island.

The stakes felt lower this season. The adults could serve as dino food, but the show largely stepped back from any real sense that any of the kids would ever actually die. This made many of the dinosaur attacks (so, so many dinosaur attacks) thrilling rather than horrifying, but if the action-adventure show about killer dinosaurs doesn’t really have killer dinosaurs, it loses its edge fast. Likewise, there weren’t really any great moments of wonder this season. The closest would be the discovery of a watering hole shared by several dinosaur species, but it’s populated with dinosaurs we’re already familiar with, and something about the lighting or dinosaur models or design just made it feel like a bunch of CG dinosaur assets positioned around a flat surface. (Yes, of course, they’re always CGI effects, but the quality did not support the emotional effect needed from the scene.) On the other hand, many of the dinosaur attack sequences looked very real, as though the dinosaurs occupied physical sets, although in a somewhat jarring manner, as though they were claymation.

We get some new dinosaurs, but mostly it’s reused assets from before. That means that at some point, it begins to feel like the park is dominated by Parasaurolophus, Brachiosaurus, Stegosaurus, and Sinoceratops (especially unusual given that the ceratopsian is supposed to be a recent addition to the park, yet we don’t really see Triceratops or Styracosaurus). Where are the herds of diverse dinosaurs present in the films? I recognize the answer to that is that the show has a limited budget compared to a movie, but I can’t help but think how diverse and lifelike the dinosaurs look in Jurassic World: Evolution, a video game that also simulates animal and tourist behaviors, weather effects, and a park economy. There are some new dinosaurs, carnivores pulled from the films: Ceratosaurus and Baryonyx. However, the former only has a couple appearances. Meanwhile, the Baryonyx has been reimagined as a very social pack hunter and terrestrial pursuit predator, which raises the question: why did they use Baryonyx at all? It felt more than a little like the showrunners really wanted a predator to fill the gap left by the Velociraptors, so they just forced an animal into the role. Fallen Kingdom‘s introduction of Baryonyx was already far enough from the real animal, but the creatures in Camp Cretaceous seem rather out of step with the semiaquatic, piscivorous but opportunistic spinosaurid that the real animal appears to have been. (And why do you pick Baryonyx for this role when Allosaurus is also in the park, similarly sized, and an actual big game predator that might have actually coordinated in social groups?! Or why not Ceratosaurus, already an asset in the show??)

All that said, it might seem foolish to once again be hopeful about the next season. But there are several elements in play here that should finally push the story in new directions:

  1. The kids have decided to try to find their own way off the island, rather than being dependent on rescue, and they all now have the survival skills to potentially achieve that without always being on the run.
  2. The kids do not know if the emergency beacon worked, but the audience knows that a successful transmission was sent–to whom remains the big question.
  3. The kids accidentally unleashed some new experimental creature on the island, which will almost surely be a focus for the third season. (Is it a prototype Indoraptor or something else entirely?)

We have the pieces but I can’t see what this jigsaw puzzle is supposed to form. I’ll be interested to see what answers the show arrives at.

Pit stop on Ring Fit Adventure

I finally missed a day in Ring Fit Adventure last night. Work’s taken up a lot of my time and mental capacity lately, and I was exhausted by the time I got home. The tendency to get home after dark, which is so easy to do in the winter, doesn’t help with that. My wife and I ordered delivery from our favorite Chinese restaurant and finished off a familiar movie we’d started the night before, and I fell asleep shortly after the end, reclined in an armchair. When I awoke a bit later, I felt too exhausted to even attempt the game, so I went to bed, feeling a bit guilty about skipping.

But I hopped back into the adventure again today, and I was greeted with the same cheery welcome as ever, with an oft-repeated bit of advice reminding me that breaks are important. It was random that I happened to get that advice today, but it felt nice. The guilt dissipated quickly, I had a good workout, and I moved on with my day. No negative vibes from it at all, just a continued positivity. Just what I needed to rebuild my motivation moving forward.

Review: When Whales Walked

There’s a delightful little documentary about some of Earth’s evolutionary history on PBS called When Whales Walked. Looks like it was originally released in June 2019, though I just stumbled across it a little bit ago. It uses a combination of nature footage, extensive interviews with scientists, views of fossil digs and museum displays, and a bit of paleoart and CGI reconstructions to tell the tale of the evolution of crocodiles, birds, whales, and elephants. It’s just under two hours total, with roughly a quarter dedicated to each story. I rather enjoyed it.

You might think I’m here for the dinosaur content, with the origin of birds, but that’s a story I know reasonably well, and so while I think it was well-told, it was the least intriguing section for me personally. But I learned a bit about crocodiles, whales, elephants, and their ancestries, and it was all enjoyable and engaging. The interviewed scientists worked in a variety of fields, including biology and paleontology and genetics, and it seemed that the producers tried to seek out more diverse voices, even though I believe white men still represented the majority of speakers. The show hops around to a variety of locations, like an underwater cave in Madagascar in search of the remains of horned crocodiles, European fossil collections of ancient whale ancestors and Asian collections of early birds, and sites in Africa to observe living elephants and fossil digs of their ancestors.

There were some enjoyable depictions of various prehistoric creatures, but thankfully the show was more focused on letting scientists talk about how they’ve learned more about these animals and their connections, so it was as informative as it was entertaining. And the show managed to use the evolution of these creatures to point out how precarious their living lines are, how close to losing many of them forever we are. It made the prehistoric past immediately relevant to the present, and after seeing how special these animals are, the idea of losing them forever really hits home.

When Whales Walked is a great nature/science documentary that inspires curiosity and care. I’d recommend it to anyone!

Reviews – Adventure Time: Obsidian, Soul, and WW84

Adventure Time: Obsidian is even better than BMO, delivering an even more emotional story that continues to show the healing relationship that Marceline and Princess Bubblegum continue to work at. I was surprised and delighted by how clearly, unmistakably queer and romantic their relationship was here (where it was only subtly implied through most of the show), and by how normal that relationship was portrayed as (you know, the weird part being that one’s a vampire/demon and the other’s a sentient candy avatar).

Obsidian also really showed how both Marceline and PB had grown and overcome many of their earlier traumas. They were more mature and able to adapt to tensions and stressors to become stronger together by the end. That’s not to say that this is purely focused on emotions and relationships (though there were some tearjerker moments for me); there were some excellent action sequences throughout and plenty of weird and imaginative characters and creatures.

I really want to scream about the implications of the appearance of some characters at the end of the episode, but since I’m rounding up a few short reviews here, I’ll keep that spoiler-free. But oh boy, there are some interesting questions raised.


Soul was a really good movie about what it means to find purpose and meaning in life, offering up a bit of introspection in the context of a unique portrayal of the spiritual realm. The film tracks a middle-aged music teacher and aspiring jazz artist (portrayed by Jamie Foxx) who dies just after landing his big break. Determined to get back to his body and fulfill his perceived purpose, he escapes the imminent Great Beyond and falls into the Great Before, where souls’ distinctive traits are forged. He eventually encounters an old soul (Tina Fey) who refuses to ever leave for a life on Earth, and they agree to work together so that he can go back and the old soul can stay out of living for good. They both figure out some things about themselves, about what makes life worth living and fighting for, and about when you have to let something or someone go. It’s a Pixar movie, so I sobbed hysterically at the end. My wife and I realized that the last time I’d cried so hard at a movie, it was Inside Out. But then I also cried at Onward and Coco and The Good Dinosaur just in the last few years, so I guess the point is that (A) I cry a lot and (B) Pixar movies are crafted in a way to really hit me (and I think most people) right in the gut. If you have Disney+, watch Soul!


Wonder Woman 1984 was fun to watch, it had a strong theme (unchecked desire leads us to lie to ourselves and warp the best of intentions to bad ends), it had some good fight sequences, it had a couple of emotional moments, and yet it was troubled by some head-scratching plot beats and an over-liberal usage of deus ex machina.

There was a particular type of perceived problem, however, that I didn’t feel actually existed in the film. I’d seen concern expressed on social media about apparent racist undertones to the movie, particularly a vilification of men of color in favor of a narrative about white women’s empowerment, but I felt that those concerns were overstated and somewhat misleading in favor of generating outrage and controversy. I recognize that as a white man, I have blind spots to issues like race and gender, but the concerns raised seemed to inaccurately characterize what happened in the movie.

I thought the film’s very transparent examination of desire was interesting. Set in the consumerist excesses of the ’80s, Wonder Woman’s biggest battle is not with an enemy but with desire, her own and others’. She makes a desperate plea at one point to not give up her greatest love again, declaring that she gives so much and she deserved this one thing. She must ultimately make that sacrifice nonetheless to be the hero she needs to be. I thought that was an interesting opportunity to hold the mirror up to our own lives, how we tell ourselves that we deserve something or other because of all we do, how commercials often suggest that we have earned a special reward or convenience we can purchase simply because we exist and do the things all humans must do. It gives you something to chew on after the movie, I suppose, but it’s hardly a revelatory concept, and I imagine the point will be rejected by many (and is more than a little ironic in an industry context, given its method of delivery in a major blockbuster superhero movie that will serve as escapism for many and primarily exists to generate profits for the studio and its corporate backers).

My wife loved the movie, but she’s not the one writing the review. I thought it was fine, though I get what appealed to her about it. I’m sure this movie will continue to generate a lot of reactions, if not a lot of deep thought or serious conversation. It’s not a vital film, but it remains entertaining throughout.