Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts

Sunday, October 6, 2024

Past Lives (2023)

 Got Past Lives out of the library and watched it last night, so now I've seen 3 of the Oscar-nominated films for Best Picture from 2023.  I think Barbie is still my favorite, but definitely enjoyed Past Lives.  There isn't much plot to speak of; in the opening scene we are presented three people at a bar and voiceover wondering how they're related to one another.  We then jump back 24 years to the childhood of two of them in South Korea, just before one of them emigrates** to Canada.  We then jump to 12 years later, when these two reconnect for a while online, and the one in Canada meets and marries a New Yorker.  Finally we return to present day, when the person who stayed in Korea visits New York.

Because Celine Song (the writer/director) doesn't invent events to create artificial drama, the story can focus on the thoughts and feelings the characters have and their interrelationships.  There are strong themes about living across/between cultures.

I fondly recalled the Before Trilogy while watching this, and prefer this style of storytelling to that of One Day, the series (I haven't read the book or seen the film), which I felt invented things for the characters to do and to happen to them to create artificial drama.  

** in the subtitles, they speak of "immigrating to Canada", but IMO while in South Korea they are emigrating from South Korea to Canada.  


Monday, September 30, 2024

Doctor Sleep (2019)

I got Doctor Sleep out of the library and watched it last night.  It's Ewan MacGregor's "reluctant mentor" warm-up before the Kenobi series?  It's the sequel to The Shining that I'm not sure we needed?  At 150 minutes, it's a little longer than the original film, but there's a lot of material to get through.

This film is a sequel to the Kubrick film, which departed in a number of ways from the novel, and so Doctor Sleep the movie must make some changes to account for the fact that the Overlook Hotel survived while Dick Halloran did not.  

The cast is excellent all around, with special kudos to Alex Essoe, Henry Thomas, and Roger Dale Floyd, who play Wendy, Jack and (young) Danny Torrance.

I would have liked some members of the True Knot to feel less like nameless goons.  Rose, Andi, and Crow Daddy get distinct personalities; I couldn't even tell you what powers the others had.  Rose would only let people into her crew who could contribute, so each member of the True Knot should feel like a more fully fleshed out character.  If there isn't time in a 2.5 hour movie to develop them, they should be cut. 

I think I was hoping for a more introspective story about Danny and his past; the poster, which shows young Danny facing grown-up Danny facing each other in a hallway of the Overlook Hotel, seems to promise this.  Instead, this is really Abra's story of fighting psychic vampires where the titular "Doctor Sleep" plays a supporting role as Abra's mentor.  Which is fine.  It's just not clear that this needs to be a sequel to The Shining, or could instead have been an independent story.


Saturday, December 21, 2019

Netflix DVD rental history

We joined Netflix in late November, 2004, with the 3 DVDs out at a time plan. Nadal had yet to play at the French Open; Federer won his second Wimbledon and the U.S. Open; Phelps won 6 gold medals at the Olympics; the Boston Red Sox had won their first World Series in 86 years. And we had a 6-month-old. So we were trendsetters and cut the cable.
Fifteen years later, we're dinosaurs holding on to an old service. Yes, we have Netflix streaming, but had been holding on to 1 DVD out at a time for the past five years in order to see new releases a little sooner. However, we knew we would want Disney+, and the local library tends to carry new DVD releases, so it was an easy switch this fall.
Now, of course, I wanted my Netflix DVD rental history, but Netflix doesn't provide a download, so I had to select, copy, and paste from a webpage.

The resulting file was not a nicely formatted CSV. This provided a nice opportunity to practice some general file processing.
Examining the structure of the file, each rental takes up several rows; each row in order contains:
  1. A number indicating the order of the rental, from the most recent rental to the oldest (exactly 1500 rentals!)
  2. The title of the rental
  3. A blank line
  4. The release date, rating, and runtime; concatenated into a single string
  5. A blank line
  6. The ship date from Netflix's processing facility and the return date
Some rentals have an additional three lines, indicating:
  1. Whether the original shipment was damaged
  2. A blank line
  3. The ship date from Netflix's processing facility and the return date for the replacement disc


From this file format, I wanted to create an initial output table where each row was a separate rental, and each column was a line from the file (I would further process the output table later). My initial parsing script needed to identify a new rental based upon whether the value of the line was an integer, read intervening lines as elements of a list, and so the rental history was a list of lists to be transformed into an output table.
The core of this parsing code is as follows:
with open(filepath) as fp:
    line = fp.readline()
    record = []
    viewingHistory = []
    while line:
        try:
            int(line)
            # print(record)
            viewingHistory.append(record)
            record = []
        except:
            record.append(line)
        line = fp.readline()
    # This final append is necessary in order to get the final record in
    viewingHistory.append(record)
With the output table, I could use some of the visual tools in Dataiku to further prepare the data. Specifically, I:
  1. Removed the empty "junk" columns
  2. Remove the initial empty row created by my parsing script; I didn't bother to think of a clever way to not produce it
  3. Parsed out the ship date and return date from the column containing that information
  4. Computed the difference between the ship and return date to give how long we had the disk out in days
  5. Parsed out the release date, rating, and run time from the column containing that information. This required using a Python code step, and manually checking the various MPAA ratings in an order that would produce the desired results.
def process(row):
    # In 'row' mode, the process function 
    # must return the full row.
    # The 'row' argument is a dictionary of columns of the row
    # You may modify the 'row' in place to
    # keep the previous values of the row.
    # Here, we simply add two new columns.
    ratings = ["PG-13","NC-17","TV-PG","TV-14","TV-MA","TV-Y7","PG","NR","G","R"]
    for rating in ratings:
        split = row["infoblob"].split(rating)
        if (split[0] != row["infoblob"]):
            row["releaseDate"] = split[0]
            row["rating"] = rating
            row["length"] = split[1]
            break
    return row
With the prepared dataset, we can do some visualizations. An obvious start is the number of rentals per year. As a coworker noted, 2010 was an exciting year...

We can also look at the number of rentals by release date. As expected, most are recent years, but we clearly had a backlog of old movies we were working through, too.
Note that this only has 958 records, instead of 1500, because television shows did not have release dates. Further work on the project might be to capture that information, especially since it's a third of the rentals.

This is a visualization of how we worked through the backlog of old movies. The Y-axis is the age of the rental movie in years, so it's not just the release date of the movie that matters, but the release date relative to the year in which we're watching it. For the first several years, there's quite a lot of scatter in the age of the movies, but this peters out as we work through the backlog, and by mid-2014, we're renting only the occasional "old movie" and are focused primarily on new releases. This is also when we decided to go to 1 DVD out at a time.

I'm not sure there's anything to build a model on. That may come later.

Friday, July 18, 2014

Man of Steel (2013)

The first 20 minutes of this movie should have been left on the editing room floor.  Everyone on Krypton understands the importance of the codex, and that natural childbirth hasn't occurred in generations, and so on, but it's all a mystery to us.  This is terrible storytelling.  If they wanted for these things to be a mystery, we should start with Clark, for whom it's a mystery, and follow his POV.  For that matter, all of the flashbacks could also be dropped (except for the very last one).  With those simple changes, this is a much tighter, stronger film.

Even then, there are lingering issues:

  • How much did IHOP pay to be featured so much in this movie? 
  • Why can't Zod restart the Kryptonian species in another solar system?  They seem to be trying to paint him as a complex character at the start, so why is he suddenly completely amoral?  Also, Michael Shannon is no Terence Stamp, and yes, I readily admit that assessment is entirely fueled by nostalgia.
  • Why does Superman have to fly up into the beam of the World Machine instead of smashing it from above?  Because it "looks cool".  Yawn.
  • The destruction of the World Machine, followed by the mano-a-mano fight with Zod, is waaaay too long.  And I don't buy the agony over what to do with Zod in the end.  Sometimes you have to put mad dogs down.


Friday, April 18, 2014

The Great Gatsby (2013)

Some beautiful visual moments.  The inclusion of anachronistic popular music doesn't work for me, especially when there's so much good music from the Roaring 20's to work with.  It worked for me in Romeo + Juliet to take Shakespeare's words and put them in a modern setting, along with a modern soundtrack.  It mostly worked for me in Moulin Rouge! to include the modern pop music, because the setting was tied to that place and not strongly attached to an era, and the inclusion of pop music was a bit of a conceit in a movie that had a lot of comic elements.  The Great Gatsby very definitely has a Roaring 20's-era setting, and is dreadfully serious about itself.

Thursday, April 3, 2014

One Last Dance (2003)

The opening scene of One Last Dance is highly promising, there's some beautiful dancing by the professionals, and a few great monologues delivered by Lisa Niemi, but the rest of the movie is a series of inexplicable mini-melodramas punctuated by some truly atrocious acting from Patrick Swayze.  I can't tell whether he can't settle on an accent or if he really talks like that.  This is a shame, because it's obviously a labor of love, and I wanted to like it a lot.

I did like that we finally get to see them dance (almost) the entirety of the piece without interruption, which is quite a long stretch of film, but in the end, I don't understand at all why the has-been dancers were the principals in the first place, rather than teaching the younger dancers the piece. Revivals are typically adapted to the current composition of a company.

Sunday, March 16, 2014

Romeo and Juliet (2013)

There are so many film adaptations of Romeo and Juliet that any new version must face the question: was this necessary?  Well, perhaps.  Since Zeffirelli's version, there have been three major adaptations that I know of:
  1. Baz Luhrmann's magnum opus Romeo + Juliet, which was true to the dialogue while messing with the setting,
  2. Shakespeare in Love, which messes with the story (I mean, yeah, technically it isn't Romeo & Juliet, but close enough),
  3. this one. 
So, perhaps it was time to once again have a version that was true to the setting.  Still, it's hard to compete with Claire Danes, Gwyneth Paltrow, young Leonardo di Caprio, Joseph Fiennes, and especially Harold Perrineau (there will never be another film Mercutio like his). 

So, what can the 2013 version do to compete?  Well, they:
  • have some fabulous locations and set design.
  • have a wonderful Benvolio in Kodi-Smit McPhee.  In the opening minutes when it wasn't entirely clear who the characters were, we were hoping beyond hope that he was Romeo.
  • scored Paul Giamatti as Friar Laurence.  Unfortunately, they've fallen in love with the fact that they scored Paul Giamatti as the friar, and give him more screen time than the role deserves (it's Romeo & Juliet, not Romeo & Juliet & Friar Laurence).
  • mess with the story, and appear to make Mercutio a champion of the Montagues, rather than a friend of Romeo's and essentially an innocent bystander to, and tragic casualty of, the feud, thus sapping all the energy from "a plague on both your houses". There is one change that I actually really like, but don't want to spoil it.

Tuesday, December 24, 2013

The Hobbit: The Desolation of Smaug (2013) -- what to like

Thar be spoilers below.
 
There's a lot to like here.  The transition from the end of the first film through Beorn's land is fairly brief, but manages to retain nearly all of Beorn's actual character from the book, right down to Gandalf reminding the dwarves to send the ponies back to their master rather than risk his wrath.  Mirkwood is handled as having a general, hallucinogenic quality to its effects on the company, rather than the somewhat individual and haphazard dangers presented in the book.  Lee Pace is fabulous as Thranduil, whose role is increased in order to better draw the relationships between himself and the dwarves of Erebor.  It's particularly wonderful to compare and contrast Elrond, Galadriel, and Thranduil, and how they have been consistently presented as elvish, but with very different individual personalities. Tauriel's Bizarre Love Triangle was completely unexpected and not unwelcome.  Gandalf's exploration of Dol Guldur and the necromancer's revelation as the Enemy has a great look and feel, as does Smaug.  I really enjoyed that there are more displays of dwarven manual dexterity as they toss objects to one another, even if it meant making the escape by barrel "exciting".  The choice to interpret the Black Arrow as a projectile fired from a ballista is a very interesting one, though I'm a little saddened that the movie history of the Black Arrow means that it's unlikely the thrush will be needed to carry a message from Bilbo to Bard.  I'm also a little saddened that Azog can travel from near the Carrock to Dol Guldur within what appears to be the same night, and that the dwarves can travel from Laketown to Erebor in less than a day, but... bygones.


Friday, November 1, 2013

Dilemma (Orson Scott Card division)

You may have heard of the controversy around the upcoming movie Ender's Game.

Here's my dilemma: Ender's Game and Speaker for the Dead, at their core, are all about man's inhumanity to other sentient life due to a massive misunderstanding of the Other.  These works have messages that should be celebrated, and run completely counter to Orson Scott Card's publicly stated beliefs.  It seems to me that we should definitely read and discuss the first two books (get them out of the library), and educate the populace to be like Ender, not like Card.


Monday, July 29, 2013

Frankie and Johnny Are Married (2003)

Now available in videocassette and DVD!

I love getting these "old" movies out from Netflix.  I mean, jeez, this is around when we ditched all our VHS tapes and cut the cable.  I guess they wanted as wide a distribution as possible in the home video market, because it grossed only $22k in the theaters.  Ouch, which is too bad, because this movie definitely deserves a wider audience.

Frankie and Johnny Are Married has some absolutely wonderful moments, I love the real-life married couple playing the semi-fictionalized versions of themselves, Stephen Tobolowsky provides a few good minutes for Michael Pressman to reflect, and David E. Kelley's two short scenes are great (especially the second, where Pressman asks him how Kelley and Pfeiffer manage their personal relationship amid the potential for professional jealousy).  

Overall, it's almost a very good film.  I recommend it, but be prepared for the rough patches where you'll find yourself checking the time.

Thursday, July 4, 2013

Street Smart; 1987

All you should need to know is that Christopher Reeve agreed to inflict Superman IV on the world in order to secure the funding to make Street Smart, which proceeded to recoup less of its budget at the box office than Superman IV.  Oi.

The plot is simple: journalist needs a story and makes one up; it turns out to be true, he gets in hot water for it, and has to find a way out.  It's a good plot, and there are lots of ways to use it, but since the story is about a pimp, it ends up being a gritty little movie about ugly little people. 

This wouldn't be so bad, but I didn't see this movie in 1987.  I watched it for the first time in 2013, and I've already seen Reservoir Dogs.  That movie isn't about pimps, but from 1987's perspective, it was the future of gritty little movies about ugly little people, and once you've seen something like Dogs, you can't go back to the plodding storytelling of Street Smart.


Thursday, May 2, 2013

Fixing Tangled, or, the Rehabilitation of Flynn Rider

+Vynce Montgomery got me thinking about Tangled again, and I decided the  comment that "No princesses are necessary here, and it feels like a missed opportunity" could use further elaboration.  So, to fix the main problems with Flynn's motivation:
  1. Gothel is the evil queen of the kingdom, and has been for many years, kept young by the magic flower in her garden.
  2. Rapunzel's parents are poor residents of the town, very active and beloved in their community.  Rapunzel's mother falls ill during her pregnancy, so they steal the flower from the queen's garden.  Their daughter is blessed with the magic hair, blah, blah, blah, Gothel needs the power of the hair to stay young, and so takes the daughter by force and hides her away in the tower.
  3. Flynn now grows up in a terrible place, ruled by Queen Gothel, and can have all sorts of reasons for stealing from her (heck, maybe he's orphaned because his parents were the ones who actually stole the magic flower for Rapunzel's parents, and Gothel has them killed for treason).  
  4. Much of the rest of the movie plays out as-is.** 
  5. With Gothel defeated, there is no monarch, Rapunzel is reunited with her parents, and their community Committee of Union and Progress establishes more democratic rule... and hopefully more like the alternate history committee portrayed in Behemoth and less like the real-life one responsible for the Armenian genocide.
No princess, no prince, and a stronger story with pro-democracy values.  Ta-da!

** +Sarahmac pointed out that the floating lanterns are one of the best things about the original movie, and it would be a shame to lose them.  No problem.  This ceremony, instead of a state-funded and sanctioned event, becomes a quiet, peaceful, and yet powerful act of defiance by the community against the Queen.


Tuesday, April 30, 2013

The Hobbit, the Indifferent, the Confusing

Note: I began this post right after seeing this in the theater in late December, but didn't decide to finish it off until netflixing it this weekend.
 
We saw the Hobbit, but somehow going to the theater didn't have the same sense of being an event like seeing The Fellowship of the Ring eleven years ago.  Are all of us, even the film crew, just older and more tired?  I mean, even though we knew a decade has passed, it was still a shock to see how old Ian McKellan looks (well, either that or they muffed the makeup), and I definitely noticed that Saruman remains seated for almost the entirety of his time onscreen (a kindness to Christopher Lee, who turned 90) -- I do like the addition of the Council of the Wise scene, if only because Saruman painting Gandalf as a dangerous schemer is a nice touch.

Given all the other edits -- and while there are many poorly chosen deviations from the original story, I won't belabor them here** -- the decision to keep the reunion of Bilbo & the dwarves after the escape from the Misty Mountains, but prior to being chased by the wargs, is extremely curious to me.  All the speechifying in that reunion breaks up the action and would have worked better at the very end of the film, because the same points are simply being rehashed. 

** Well, maybe just Radagast***...  for me, the most disappointing bit about Radagast's role in this is that it seems to break an important connection between Thorin and the Necromancer: Gandalf acquired the map and key from Thrain in the dungeons of Dol Guldur!  Thus, he already knew about the darkness gathering in Mirkwood; thus, Radagast's filmed role was unnecessary.  Then again, perhaps it will turn out that Gandalf did already know what Radagast reports, and was simply being coy.  That's probably too much to hope for.

*** No, no, we just got to Bert, Tom, and William.  They've taken a great scene in the book and turned it into a stream of bodily functions jokes.  I had blocked out just how terribly awful this is.

Now I'm sad again that Jackson doesn't seem to truly understand the importance of song in Tolkien.



Tuesday, April 2, 2013

Talk to Me; 2007

Don Cheadle stars as real life convict-turned-DJ Petey Greene.  

The first act of the movie, tracing Petey's rise from prison to a leading voice in D.C.'s radio scene, is excellent, and about as good a biopic as you could ask for -- I especially liked the cuts that provide links between Petey and Dewey, and the prison inmates and the protestors on the D.C. Mall. 

The problem is that, after Petey's coverage of the death of Martin Luther King, Jr., the filmmakers struggle to manufacture second and third acts around the fracturing and eventual mending of Dewey's and Petey's relationship.  Petey's failure to perform on the Tonight Show and Dewey's eulogy at Petey's funeral, aside from being entirely fictional events, simply don't carry the same emotional power as the events surrounding King's death, so the latter parts of the film drag.

The solution, I think, is to start wrapping up the film shortly after King's death, at the emotional high point.  It would be a good challenge for a film student, but you could probably even do this by re-cutting the existing film from 120 minutes to 90 minutes.

Thursday, March 21, 2013

Skyfall; 2012

I heard good things about this movie.  We saw it last night, and now I don't understand why there was any positive buzz.  The good things are that Adele sings the theme song, the colors are gorgeous, and Ralph Fiennes is brilliant in a small role.  Unfortunately, there are a lot of god-awfully stupid things the characters do in the service of "plot".  

Javier Bardem purposefully gets captured so that they'll try to crack his laptop so that it will hack their system so that it will open all the doors so that... he can escape from being captured??!!! so that he can go shoot M at a gov't hearing.  Why can't Javier Bardem simply go shoot M?  With nothing other than his freedom at stake, he doesn't have the pretext the Joker has for getting caught in the Dark Knight.

But no worries, Bond manages to stop Bardem, who flees the scene as reinforcements arrive.  With the area secure, it's now vitally important for Bond to rush M away from this secured area to Wayne Manor (I mean, Skyfall) so that they can go mano-a-mano against Bardem, armed only with shotguns, while Bardem arrives on a helicopter and armed with minions, machine guns and explosives.  Why he didn't bring these to his first attempt on M's life?  Your guess is as good as mine.

But no worries, Bond blows up his ancestral home while M and Albert Finney escape through a priest hole.  Bardem is totally confused as to where M went until he sees her torch!  So the head of MI6 doesn't know not to turn on a light when hiding in the dark.  Bardem catches up with M and coos over the wounds she received in the firefight with his henchmen, giving time for Bond to show up and throw a knife in his back. 

Even though she didn't even appear to be in shock moments before, M then dies dramatically, because Dame Judi Dench chose not to come back for the next movie, and Bond returns to the "new" MI6, which appears to have gone back 50 years in time to a low-tech setting of leather-lined walls and Miss Moneypenny at her little desk because... it's been 50 years of Bond, I guess?

Friday, March 8, 2013

The Gamers: Dorkness Rising; 2008

I netflixed this for background noise while working on my scenario for PrinceCon, but unfortunately didn't get much work done on the scenario that evening, because The Gamers: Dorkness Rising is as fine a movie as can be made on the subject of tabletop roleplaying.  I'm not being facetious, either.  Yes, the production is amateurish (the sound is especially weak; you can hear when they switch from one recording of dialogue to another), but the script shows a deep understanding of gamer culture, exposing its little peccadillos (so much of the movie is hilarious if you have ever gamed) while also respecting that culture -- I like these characters, and I like their story.

Naturally, since I didn't know about this movie until recently, I missed the Kickstarter campaign... I'd be a little worried that Dorkness Rising was catching lightning in a bottle, but here's hoping.

Monday, February 25, 2013

Dredd; 2012

If you like graphic violence porn and pretentious slo-mo effects, Dredd is for you.  But not for me.  

I really wanted to like it, partly because of the Training Day meets Die Hard potential**, but mainly the parts of it where people get to, y'know, act?, are pretty good -- what Karl Urban does just with posture and the lower half of his face should be required viewing***, his rapport with Olivia Thirlby made me forget my wish to see their roles gender reversed, and Lena Headey makes a great villain.  

** Instead, all too often I felt like I was watching a rip-off of The Raid: Redemption.  

*** I'd really like to see the alternate reality in which Karl Urban was the Batman in the Christopher Nolan films.

Sunday, February 17, 2013

Wedding Crashers (2005)

I hate to admit it, because I thought it would be terrible, but I actually liked Wedding Crashers.  I don't remember why it went in the queue, but Owen Wilson and Vince Vaughn have good chemistry, and the raunch is an occasional injection, rather than a constant factor.  Oddly enough, my favorite thing about the movie is Bradley Cooper (whom we knew as Will Tippin), who steals every scene.  I *hate hate hate* the character (I mean, we're supposed to, but still), but he's absolutely amazing in walking the fine line between playing a character so despicable that it brings the comedy down and going not quite so far over the top that he's simply ridiculous and can't be taken seriously as an impediment to the romance.  Also great is Rachel McAdams (whom we knew as Irene Adler from the Downey, Jr. Sherlock Holmes), though maybe I'm just reacting to how they've done her up so that she looks like an all-American daughter of Cora Crawley.

Friday, January 18, 2013

Brave; 2012

My snarky desire to comment that it was too soon to remake Brother Bear** in the Scottish Highlands is at war with my natural bias in favor of redheads is at war with the sneaking suspicion that my agreement with the gender politics behind the movie*** is affecting my judgement of its artistic merits.

But what the heck; I really liked Brave.  So did the kids.  In fact, it's now my 4th-favorite Pixar movie, after The Incredibles, Ratatouille, and Up, roughly in that order.


** or maybe that it was too soon to do another remake of Brother Bear, since the plot of The Princess and the Frog is also "be unwillingly transformed into something non-human and learn about yourself", though really we should probably consider all three of these remakes of The Emperor's New Groove... but not quite Beauty and the Beast, because Belle is the main character and she has no idea there's any hope for Beast's salvation?  Likewise, Arthur is willingly transformed in The Sword in the Stone... but then, is Brave different from The Emperor's New Groove because Merida isn't the one who undergoes the animal transformation???.  In any case, why the heck has Disney suddenly gone animal transformation crazy in the last twelve years?

*** I'm all in favor of normalizing stories with heroines that don't get married right away and are perfectly happy.

Saturday, December 8, 2012

Breach (2007) and Hollywoodland (2006)


Sarahmac and I may be the only people who watched these movies simply to get our Caroline Dhavernas fix**.  Even better, by the time they percolated up to the top of the queue, we had forgotten why they were in the queue, so "discovering" that she was in the movies made us all the happier.

Breach is actually a pretty good little film with a solid story and performances all around.  My only, fairly minor, complaint is that they seem to have overstated Hanssen's cunning for dramatic effect; reading his wikipedia entry gives the impression that upper management's lack of ability to follow up on reported suspicions had more to do with Hanssen's success at avoiding detection than his own brilliance.

Hollywoodland has good performances, but suffers from a lack of people we can root for (aside from Caroline, but her character leaves a scene, and the movie, about halfway through).  Initially we kinda like George Reeves and Toni Mannix, but he gets jaded and surly over his lack of "real" acting roles and she gets creepily possessive.  The story of Louis Simo's personal life never manages to mesh with the noir mystery.

Now we're waiting for netflix to pick up Mars et Avril (which doesn't look particularly promising, but better than Passchendaele)...



** Wonderfalls was our first, and probably greatest, experience with the netflix recommendation engine, early in 2006, and we recently went back to rewatch the series, and it was just as much fun six years later.  I've found that I really like these short-lived, completed series because there's much less time investment*** than waiting... and waiting... for the next season of Game of Thrones, or even getting on the Buffy train for seven seasons.

*** especially once the series goes south.  It seems rare for a series to maintain quality for more than 2-4 seasons