If you need something to take your mind off politics, get the complete set of “Schitt’s Creek.” Sure, Moira Rose ran for office, but there’s so much here to consider it’ll completely wipe the slate of angst and anger.
A winner of nine Emmys (including Best Comedy), the Canadian-made series combines a bit of “Northern Exposure” with a dose of “Green Acres” and emerges a real original. If you need something to binge during those quiet nights at home, “Schitt’s Creek” fills the bill.
And when you get to the final episode (which was responsible for many of those Emmy wins), you’ll long for more. It’s the week’s big winner.
Look for a film sequel to follow.
Also in the offing – another Bill and Ted sequel: “Bill and Ted Face the Music.”
The convoluted comedy brings back Alex Winter and Keanu Reeves as those iconic slackers. But checking in on them for something as unbaked as this is a bit like going to a class reunion with folks you don’t really care to see.
Now living in suburbia with their wives and daughters (who act much like their fathers), Bill and Ted are playing music in dive bars and holding fast to their dreams. Family members insist they get “real” jobs; the wives wonder why the bro bonds are stronger than the marriage ones.
While juggling the family cards, the two are met by a visitor from the future (no, not George Carlin, but Kristen Schaal) who give them the means to write a song that will unite the universe. Their daughters, Billie (Brigette Lundy-Paine) and Thea (Samara Weaving), are sent to recruit an epic band. They settle on Mozart, Louis Armstrong, Kid Cudi and Jimi Hendrix and run into many of the snags their fathers faced in two earlier films.
Because they pop into the future, too, Winter and Reeves give us a glimpse of the Bill and Ted of tomorrow. It’s not a pretty sight, but it does suggest the two actors are able to make fun of themselves.
“Bill and Ted Face the Music” falls when it doesn’t give newcomers enough backstory to understand what this all means. When Death (William Sadler) turns up, there’s not enough information to understand his history with the two. He’s very funny, but he’s also an introduction to Dennis, the killer robot (Anthony Carrigan). The two clearly steal focus when Bill and Ted aren’t making “excellent” references to their bogus past.
Directed by Dean Parisot, “B&TFTM” doesn’t have enough humor to really justify the return engagement. The two actors deliver in ways we wouldn’t expect, but there’s not enough with the next generation to really make this any more than a money grab. What, for example, might it have been like if the daughters were more intelligent and unwilling to follow in their fathers’ footsteps?
By the time the gang is done time traveling, there’s no real tension – or reason to get that killer song out into the ethos.
It ranks a distant second to “Schitt’s Creek.” Totally.
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