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Hemlock Grove


Tyler
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  • 1 month later...

Alan Sepinwall says that even if the new Arrested Development season is great, Hemlock Grove is a streak-breaker for Netflix.

...it's also a mess: a horror series with a weirdly slow build (you don't even see the lead werewolf character transform until the end of the second episode), a mix of campy performances and competent ones, and just enough intriguing ideas to make me wish the entire thing was a lot better than it is.
Edited by Jason Panella
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Sepinwall is usually reliable. I may check it out, but if it's a dud, there's always Teen Wolf!

There is this difference between the growth of some human beings and that of others: in the one case it is a continuous dying, in the other a continuous resurrection. (George MacDonald, The Princess and Curdie)

Isn't narrative structure enough of an ideology for art? (Greg Wright)

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Tyler wrote:

: Have you already forgotten about Lilyhammer?

Who hasn't? :)

(Disclaimer: I haven't seen Lilyhammer, so that's not a comment on the show itself. But in terms of buzz and popular awareness...)

"Sympathy must precede belligerence. First I must understand the other, as it were, from the inside; then I can critique it from the outside. So many people skip right to the latter." -- Steven D. Greydanus
Now blogging at Patheos.com. I can also still be found at Facebook, Twitter and Flickr. See also my film journal.

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But isn't AD start in May? Even if really great, they are kind of working with a # of days since last incident situation. smile.png

Edited by Thom Wade

"You know...not EVERY story has to be interesting." -Gibby

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Gave the first episode a shot. It's really bad. Like, not even CW-level. The acting and writing reminded me of Eerie, Indiana, only if you take out everything fun or scary or resembling human feeling and add awkward cursing, sex, and violence (though not that much violence, really).

This is the first TV or movie credit for showrunners Lee Shipman and Brian McGreevey, and it shows.

It's the side effects that save us.
--The National, "Graceless"
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