✔️ 2022-11-03 18:01:00 – Paris/France.
Since its first episode, the seriesand blockbuster he makes it clear that he will base his premise on a curious version of the metanarrative. Timmy Yoon (Randall Park) has to deal with a customer who reminds him that, for better or for worse, the store he works for is "old fashioned".
Especially since Netflix is everywhere. It's quite bold for the platform to enroll in the story of the last establishment of one of its close competitors. At the same time, he can rejoice – from a curiously simple distance – in his fall and his disappearance.
From this point of view, Netflix production could boast of a frank awareness of itself. After all, it's a story of a slow-moving commercial disaster that would open the doors to what the platform is today. The last vestige of a way of consuming entertainment that has already disappeared.
blockbuster
From its very first episode, the Blockbuster series makes it clear that it will base its premise on a curious take on the meta-narrative. Timmy Yoon (Randall Park) has to deal with a customer who reminds him that, for better or for worse, the store he works for is "old fashioned". The argument insists on the ephemeral character of all that can define a generation. But it lacks the subtlety for the message to be anything more than an almost watered-down, uninspiring misleading review. Director Payman Benz's camera carefully observes the recognizable shelves and the uniforms of the chain's employees. The idea is clear: the series is pure nostalgia. An elaborate confusion around the idea of how the entertainment world cannibalizes its own media and ultimately devours its own symbols.
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Rating: 3 out of 5.
blockbustera collapsing giant
The series lacks the audacity to do something similar. Instead, the argument blockbuster it emphasizes the transience of anything that can define a generation. But it lacks the subtlety for the message to be anything more than an almost watered-down, uninspiring misleading review.
Director Payman Benz's camera carefully observes the recognizable shelves and the uniforms of the chain's employees. The idea is clear: the series is pure nostalgia. An elaborate confusion around the idea of how the entertainment world cannibalizes its own media and ultimately devours its own symbols.
blockbuster – the chain – refuses to die. So, Timmy and the rest of the few employees who remain on the premises despite the company's collapse assume that overcoming disenchantment is a form of loyalty. Eliza (Melissa Fumero) accompanies him in the company of resistance fighters. The chemistry between the two characters is evident, and it's perhaps their bond that gives the series its best moments.
Good humor as peaceful resistance
Timmy is a convinced dreamer that despite the evidence, the past can co-exist with the future. Eliza has her doubts about such idealism, but she accompanies him as best she can on the journey to keep the place open. The dynamic between the two makes it clear that in blockbuster what really matters are human relationships. Especially since these survivors of the rapid transformation of entertainment are the bastion of a rare form of intimacy.
The duo is joined by Hannah (Madeleine Arthur), Connie (Olga Merediz) and Carlos (Tyler Alvarez), also carried by the triumph of disenchantment. Finally, Kayla (Kamaia Fairburn) is the voice of cynicism. His character is the only one aware that the importance of location is reduced to Timmy's insistence on resisting the inevitable. But even for her, the odyssey looks like a simple crusade.
The series somehow exploits the differences between the group of characters and the small antagonisms that inevitably arise. blockbuster it's a comedy that builds on its inner dynamics, but lacks the audacity to create a less predictable atmosphere. For its fifth episode, it is already evident that it will try to support the discourse of fighting adversity. In the best case, to avoid the harshness of change of good intentions and benevolence.
Nostalgia wins on criteria, but not on blockbuster
But the screenplay by Vanessa Ramos, David Caspe and Jackie Clarke does not have the strength to combine humor and nostalgia. Even less realize a production that realizes its own identity, in addition to a look at its essential points. blockbuster spends much of its time trying to justify itself as a production, which is nothing more than Netflix's look at its immediate past. Thus, at its end, it disintegrates into a sweet mix of mockery and sense of identity.
The combination gives an incomplete look at the passage of time. Especially when the argument remembers that it explores the notion of rapidly changing pop culture in a domestic environment. But instead of choosing to analyze blockbuster as a symbol, he does so as a disgraced giant.
Everything from the referential humor and countless nods to the downfall of a corporate giant for mistakes that are alluded to, but never shown. The essential interest of the production is to return, again and again, to the perception of the past as a source of wisdom and of the future, as a source of uncertainty.
For his last chapter, it is notorious that blockbuster is more interested in making people laugh with superficial jokes, than to explore his particular point of view on social transformation. In fact, it completely misses the point of its premise in favor of an unconvincing sense of lost innocence.
The series seems to need to take the thankless path of remembering that eventually the great emblems of the decades will eventually fall. But it does so with so little meaning, and far less ingenuity, that it ends up being a collection of platitudes about collective identity. A missed opportunity to reflect on the impending shifts in pop culture and how they further affect the world beyond multiscreen.
SOURCE: Reviews News
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