‘Pokémon Concierge,’ post-apocalyptic sci-fi classics and more to stream this weekend
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The first week back after the holidays is never easy: Days are woefully short, waistbands are stretched, and just about everyone under the sun is “circling back” on that unanswered email. In this week’s Screen Gab, we have streaming recommendations for both ends of the post-New Year’s spectrum, whether you want to visit a Pokémon resort or glimpse the end of the world.
Plus, staff writer Michael Ordoña says “Maggie Moore(s)” deserves another look and actor Elaine Cassidy stops by to tell us what she’s watching.
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Turn on
Recommendations from the film and TV experts at The Times
Postapocalyptic Sci-Fi (The Criterion Channel)
“Testament” takes place on a suburban block in California far from the impact of a nuclear bomb — but not far enough, as parents watch their children wither and die from radiation sickness. “Threads” shows a young pregnant couple trying to redecorate their new apartment even as civilization crumbles around them. When Tim Grierson revisited these mid-’80s nightmares in November for a Times piece titled “The three filmmakers who saved the world,” he found their directors still haunted 40 years later. Lynne Littman, the maker of “Testament,” said the movie ended up paralyzing her. “What it did was make me realize how much I had to care about what I was doing,” she said. Mick Jackson, director of “Threads,” told Grierson, “It took me a long time to get those PTSD-like flashes out of my head.” Immensely important and, sadly, just as timely, both movies can now be streamed as a part of Criterion’s “Postapocalyptic Sci-Fi” series. Throw on “Escape From New York” as a palate cleanser if you need a break. —Joshua Rothkopf
‘Pokémon Concierge’ (Netflix)
I have a soft spot for cozy shows and “Pokémon Concierge” is my current favorite comfort watch. The four-episode stop-motion animated series follows Haru, a young woman who has left her unfulfilling office job behind to join the staff at an island Pokémon resort. As she figures out how to best care for various Pokémon guests and their individual needs, she also starts to unlearn the routine (bad) habits and insecurities that carried over from her previous life. (The lessons are on the nose, but no less appreciated.) To those of you who do not know the difference between a Mudkip and a Munchlax: Don’t worry, the series is plenty accessible for Pokémon novices as long as you can appreciate adorable creatures. Until I stumble upon a job opening at a Pokémon resort, I will keep hoping for more episodes of this too-short series. —Tracy Brown
Catch up
Everything you need to know about the film or TV series everyone’s talking about
When “Maggie Moore(s)” (Hulu) came out in June, it was tepidly received. But I submit to you that what makes the film hard to categorize — and caused some critical complaints — is also its greatest strength.
The fact that the film doesn’t easily fit in a genre box is a positive. It has elements of a Coen brothers-esque comic thriller with shocking peril; it’s a character study; it’s even a surprisingly clever mystery. (Though we see the cogs as they turn, the pleasure is in watching the stupid-but-deadly machine fall apart). Most of all, unusual for crime pseudo-comedies, it’s an emotionally intelligent relationship film, one featuring strong performances by stars Jon Hamm and Tina Fey, plus Nick Mohammed (“Ted Lasso”) in a memorable turn.
In the film, two women named Maggie Moore are murdered within a few days of each other in a small New Mexico town. Hamm, as the town’s low-key-but-smart chief of police, and Mohammed, as his observant deputy and friend, investigate; Fey plays a witness who becomes romantically entangled with Hamm. But that description doesn’t do justice to the film’s complexity. After a clumsy start, the characters begin to develop. Hamm is sympathetic as the traumatized but good-hearted cop. Fey is layered as a divorcee working through issues, but recognizing a shot at happiness. Mohammed is as likable and smart as in “Ted Lasso” Season 1, but with more substance. Happy Anderson makes an effective bad guy.
The disastrous shambling on of events is well-orchestrated and the cops’ untangling of the web intelligently handled. But what stays is the film’s understanding of Hamm and Fey‘s characters’ predicaments — widowhood, divorce, sex and dating at their age, unfinished business. Paul Bernbaum’s script doesn’t let either of them get off easy, and the two veteran performers turn in some of their best big-screen work under longtime actor John Slattery’s assured direction. That elevates “Maggie Moore(s)” above more easily categorized specimens. Recommended. —Michael Ordoña
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Irish actor Elaine Cassidy may or may not have been “manifesting” her latest role since she was a child watching “Bewitched” — but either way, it’s a juicy one. Following up another supernatural turn in “A Discovery of Witches,” she’s currently starring in “Sanctuary: A Witch’s Tale” [Sundance Now, AMC+] as Sarah Fenn, a witch in the peaceful English town of the title. That is, until the death of a young athlete reveals just how tenuous that peace has always been, and leaves Sarah and her daughter Hazel as targets in a terrifying campaign of vengeance. Cassidy stopped by Screen Gab to talk about the dynamics of witch hunts literal and figurative, what she’s watching and more. —Matt Brennan
What have you watched recently that you are recommending to everyone you know?
I am currently watching “Transparent” [Amazon Prime Video], created by Joey Soloway. I’d heard about it from Kirsten Sheridan and couldn’t believe I hadn’t watched it long before now. It really is the gift that keeps on giving. The show grips you from the opening title sequence as wonderful images of the past flicker on the screen supported by such a brilliant score. Then as an audience we are rewarded with performances that are tragically brilliant, real and funny. The writing and directing is so astute and yet it is so effortless and real. The success of the show is really a testimony to all involved.
What is your go-to “comfort watch,” the movie or TV show you go back to again and again?
I don’t tend to rewatch films or TV as there’s so much out there that I have yet to see, I’m eager to embark on new titles. However when I was younger I pretty much knew “Annie” [AMC+] and “The Commitments” [Redbox] word for word. The films were watched and rewatched so many times that the tape on the VHS became flimsy and damaged.
I don’t want to spoil anything for readers, so I’ll just stick to the series’ own description here and say that “Sanctuary” involves a modern-day witch hunt — which certainly has plenty of non-supernatural relevance. Having now played it, what do you think is scariest about the atmosphere of a witch hunt?
The hysteria for me is the scariest aspect of “Sanctuary: A Witch’s Tale.” How hysteria can be organically real and terrifying and the consequences within any community can be tragically fatal. This was brilliantly portrayed in Arthur Miller’s “The Crucible,” which I kept vividly seeing and feeling during the prep and production of our piece. I had the pleasure, many years ago, of playing Abigail in an RSC production of “The Crucible” directed by Dominic Cooke.
What’s your favorite film or TV series about witches outside of your own and why?
The first show that comes to mind is “Bewitched” [Freevee, Tubi, VOD]. I watched this as a kid on TV. I remember always wanting more magic in the show. Who knows… maybe I’ve been manifesting playing Sarah Fenn since then?
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