by Josh Sewell
Space Force
(Rated TV-MA for language. Available on Netflix.)
Expectations don’t come higher than those placed on Netflix’s new comedy series Space Force. That’s because Greg Daniels and Steve Carell, the creative minds behind the show, are reuniting for the first time since they made sitcom history with the American version of The Office.
That beloved show, which originally aired from 2005-2013, remains one of Netflix’s most popular offerings, but it’s leaving later this year for its new home on NBC’s new streaming service. So you can understand why the company paid big bucks to bring Daniels and Carell back together for this workplace comedy about a stubborn general (Carell) selected by the president to establish a new military branch in outer space.
Those excited to binge the show this weekend should know one thing up front: manage your expectations. Although part of the creative team is the same, this isn’t The Office in space. It’s not a mockumentary, there are no Jim Halpert-style glances to the camera and no talking head interviews. This is more of a straightforward sitcom in the style of Silicon Valley or The Good Place.
However, one aspect Space Force does have in common with its iconic predecessor is growing pains. Much like that show’s brief first season, it doesn’t feel like Daniels and Carell have settled on what kind of show they want this to be. Some plotlines (like the one in the genuinely hilarious second episode) are pure slapstick.
Other episodes aim for satire. There’s a joke about the postal service late in the season meant to represent an extreme version of our modern political climate, but instead it proves reality is getting so absurd that fiction can’t keep up. (That’s one of the reasons HBO’s Veep had to end.) Still other subplots are more interested in character-based humor, but that’s a problem when the characters’ personalities vary wildly from episode to episode.
When all these different styles are thrown into a blender, the resulting smoothie is an acquired taste. I was optimistic at first, because I laughed harder at the first two episodes than I have in a long time.
However, Space Force has the same issues as most of Netflix’s other original series. There are too many episodes and almost all of them are 5-10 minutes too long. There’s a brutal lull mid-season, although it recovers well near the end, when the plot gets a little more serialized and dramatic.
Fortunately, the outstanding cast smooths out many (but not all) of the show’s rough edges. It’s great to see Carell back in a comedic role, and he has strong moments as Gen. Mark Naird. However, the character is all over the place depending on the episode.
The show’s true MVPs are the supporting cast, especially John Malkovich as Dr. Adrian Malloy, the constantly frustrated scientist working alongside Naird. His dry, deadpan delivery is the best thing about the series so far. Tawny Newsome is fantastic as a helicopter pilot turned astronaut, as is Jimmy O. Yang, playing Malloy’s incredulous second-in-command.
Lisa Kudrow and Diana Silvers show promise as Naird’s wife and daughter, but they don’t get enough screen time to fully flesh out their characters. Finally, it’s bittersweet to see the late Fred Willard pop up a couple of times (hilarious to the end) as Naird’s senile father.
Because of the cast and the final episodes’ encouraging upswing in quality, Space Force shows enough promise that I’ll hang in there for another season. Hopefully, the series will find its footing like The Office did.
Grade: C+
The High Note
(Rated PG-13 for some strong language, and suggestive references.)
One of my favorite tropes in movies about musicians is watching the joy of the creative process unfold. Visualizing the development of collaboration, pushing through frustration, and figuring out how all the lyrics and melodies fall into place is almost guaranteed to put a smile on my face. That’s what makes films like Sing Street, Hustle & Flow and That Thing You Do! great, and there’s also a terrific real-life example in Taylor Swift’s recent Netflix documentary, Miss Americana.
Now I can add The High Note (which hits streaming rental services on Friday) to that list. Although it’s not the same level quality, there’s a moment of recording studio magic when everything clicks into place for the characters and the film coasts on charm right through the end credits. It’s a lot of fun.
In fact, it’s the first time I’ve been truly disappointed that the pandemic is forcing a movie to debut on VOD instead of in theaters. The High Note is the kind of solid mid-budget movie for adults they don’t make much anymore. I bet it would’ve been a big hit in the ‘90s. Although it’s a combination of two standard premises – think Music and Lyrics meets The Devil Wears Prada – the outstanding cast and terrific music make it worth checking out.
Set in the Los Angeles music world, The High Note centers on Maggie (Dakota Johnson), the harried personal assistant to superstar performer Grace Davis (Tracee Ellis Ross). Maggie dreams of becoming a producer and she gets her chance when charismatic newcomer David Cliff (Kelvin Harrison Jr.) gives her a shot. However, Maggie finds herself at a crossroads when Grace’s manager (Ice Cube) presents the icon with a major opportunity – one Maggie thinks would limit her boss’ future.
The High Note is definitely an example of a talented cast and crew elevating the material. Flora Greeson’s screenplay and Nisha Ganatra’s direction are solid, but they get a major assist from cinematographer Jason McCormick and editor Wendy Greene Bricmont. I’m also glad they were able to nab these specific actors. I’m not sure it would’ve worked as well otherwise.
Ross is a blast to watch and she has an incredible voice (no surprise, considering her legendary mother). Johnson is delightful, radiating charisma and clearly eager to put those dreadful Fifty Shades movies behind her. Finally, Harrison is all kinds of charming – it’s great to see him lighten up a bit after standout performances in much heavier fare like last year’s Luce and Waves. His work here is further proof that he’s on his way to becoming a huge star.
Although I’m still bummed we won’t get to hear the great music booming out of giant theater speakers, I recommend renting The High Note this weekend. It’s a happy, feel-good movie for these not-so-fun times.
Grade: B+
Space Force
 |
| Courtesy of Netflix |
(Rated TV-MA for language. Available on Netflix.)
Expectations don’t come higher than those placed on Netflix’s new comedy series Space Force. That’s because Greg Daniels and Steve Carell, the creative minds behind the show, are reuniting for the first time since they made sitcom history with the American version of The Office.
That beloved show, which originally aired from 2005-2013, remains one of Netflix’s most popular offerings, but it’s leaving later this year for its new home on NBC’s new streaming service. So you can understand why the company paid big bucks to bring Daniels and Carell back together for this workplace comedy about a stubborn general (Carell) selected by the president to establish a new military branch in outer space.
Those excited to binge the show this weekend should know one thing up front: manage your expectations. Although part of the creative team is the same, this isn’t The Office in space. It’s not a mockumentary, there are no Jim Halpert-style glances to the camera and no talking head interviews. This is more of a straightforward sitcom in the style of Silicon Valley or The Good Place.
However, one aspect Space Force does have in common with its iconic predecessor is growing pains. Much like that show’s brief first season, it doesn’t feel like Daniels and Carell have settled on what kind of show they want this to be. Some plotlines (like the one in the genuinely hilarious second episode) are pure slapstick.
Other episodes aim for satire. There’s a joke about the postal service late in the season meant to represent an extreme version of our modern political climate, but instead it proves reality is getting so absurd that fiction can’t keep up. (That’s one of the reasons HBO’s Veep had to end.) Still other subplots are more interested in character-based humor, but that’s a problem when the characters’ personalities vary wildly from episode to episode.
When all these different styles are thrown into a blender, the resulting smoothie is an acquired taste. I was optimistic at first, because I laughed harder at the first two episodes than I have in a long time.
However, Space Force has the same issues as most of Netflix’s other original series. There are too many episodes and almost all of them are 5-10 minutes too long. There’s a brutal lull mid-season, although it recovers well near the end, when the plot gets a little more serialized and dramatic.
Fortunately, the outstanding cast smooths out many (but not all) of the show’s rough edges. It’s great to see Carell back in a comedic role, and he has strong moments as Gen. Mark Naird. However, the character is all over the place depending on the episode.
The show’s true MVPs are the supporting cast, especially John Malkovich as Dr. Adrian Malloy, the constantly frustrated scientist working alongside Naird. His dry, deadpan delivery is the best thing about the series so far. Tawny Newsome is fantastic as a helicopter pilot turned astronaut, as is Jimmy O. Yang, playing Malloy’s incredulous second-in-command.
Lisa Kudrow and Diana Silvers show promise as Naird’s wife and daughter, but they don’t get enough screen time to fully flesh out their characters. Finally, it’s bittersweet to see the late Fred Willard pop up a couple of times (hilarious to the end) as Naird’s senile father.
Because of the cast and the final episodes’ encouraging upswing in quality, Space Force shows enough promise that I’ll hang in there for another season. Hopefully, the series will find its footing like The Office did.
Grade: C+
The High Note
 |
| Courtesy of Focus Features |
(Rated PG-13 for some strong language, and suggestive references.)
One of my favorite tropes in movies about musicians is watching the joy of the creative process unfold. Visualizing the development of collaboration, pushing through frustration, and figuring out how all the lyrics and melodies fall into place is almost guaranteed to put a smile on my face. That’s what makes films like Sing Street, Hustle & Flow and That Thing You Do! great, and there’s also a terrific real-life example in Taylor Swift’s recent Netflix documentary, Miss Americana.
Now I can add The High Note (which hits streaming rental services on Friday) to that list. Although it’s not the same level quality, there’s a moment of recording studio magic when everything clicks into place for the characters and the film coasts on charm right through the end credits. It’s a lot of fun.
In fact, it’s the first time I’ve been truly disappointed that the pandemic is forcing a movie to debut on VOD instead of in theaters. The High Note is the kind of solid mid-budget movie for adults they don’t make much anymore. I bet it would’ve been a big hit in the ‘90s. Although it’s a combination of two standard premises – think Music and Lyrics meets The Devil Wears Prada – the outstanding cast and terrific music make it worth checking out.
Set in the Los Angeles music world, The High Note centers on Maggie (Dakota Johnson), the harried personal assistant to superstar performer Grace Davis (Tracee Ellis Ross). Maggie dreams of becoming a producer and she gets her chance when charismatic newcomer David Cliff (Kelvin Harrison Jr.) gives her a shot. However, Maggie finds herself at a crossroads when Grace’s manager (Ice Cube) presents the icon with a major opportunity – one Maggie thinks would limit her boss’ future.
The High Note is definitely an example of a talented cast and crew elevating the material. Flora Greeson’s screenplay and Nisha Ganatra’s direction are solid, but they get a major assist from cinematographer Jason McCormick and editor Wendy Greene Bricmont. I’m also glad they were able to nab these specific actors. I’m not sure it would’ve worked as well otherwise.
Ross is a blast to watch and she has an incredible voice (no surprise, considering her legendary mother). Johnson is delightful, radiating charisma and clearly eager to put those dreadful Fifty Shades movies behind her. Finally, Harrison is all kinds of charming – it’s great to see him lighten up a bit after standout performances in much heavier fare like last year’s Luce and Waves. His work here is further proof that he’s on his way to becoming a huge star.
Although I’m still bummed we won’t get to hear the great music booming out of giant theater speakers, I recommend renting The High Note this weekend. It’s a happy, feel-good movie for these not-so-fun times.
Grade: B+
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