Mad Max: Fury Road Review.

By Henry Thackray

You may have noticed that the header picture is not the eponymous Mad Max. In Fury Road, Max is the audience's surrogate, their entrance point into the batshit crazy post-apocalyptic world. You see it through his eyes. And yet, despite this, the film is not about him. It's about Imperator Furiosa (One of Immortan Joe's trusted agents) . Charlize Theron's character is the emotional centre of the movie and it's ultimately her journey. Don't get your wires crossed, this is a feminist blockbuster, and it doesn't apologise for it.

Mad Max: Fury Road is the fourth movie in the Mad Max series, set in the Australian desert, but, refreshingly there is no continuity between this and the other three. It pits two unlikely allies, Max and Furiosa, against the Tyrant Immortan Joe. Furiosa steals his most precious cargo: The wives. Immortan Joe, safe to say, is rather flummoxed by this, and sends his entire army of War Boys (Males with only half-lives, due to radiation) to get them back. And so begins a gut-busting, metal chewing, oil and blood fueled two hours of insanity that is wholly worth the ticket price.

Max (Strangely the calmest figure in the film) tags along with Furiosa on her voyage. This is fitting as the entire film is effectively a chase sequence. A crazy, gloriously insane, adrenalin filled chase sequence. And it's the film's strongest aspect. Except for the beginning and a narrative pivot towards the back third, the film never slows down. George Miller, whose last action live action film was Babe: Pig in the City, has created an action film that simply surpasses anything released this decade. Max's world is "Fire and Blood" and you feel it, straight from the go. The first scene is a masterclass in establishing tone and setting. Later on, a scene involving a Truck and motorbikes is almost poetic in its choreography and to be honest, sheer awesomeness. The frame rate is constantly adjusted, allowing the action to become even more terse and kinetic.
Miller's return to his iconic character has been meticulously planned. He and his two co-writers (Nico Lathouris and Brendan McCarthy) created  3,500 Storyboards before writing the script. Namibia filled in for the outback during a 6 month shoot in which every day was a stunt day. This is a man whose been given a big budget (100 Million plus) and does not waste a penny. Working in-camera effects is expensive, dangerous and hard work. It works though. I can't remember the last action film in which the action itself felt so authentic and real.

Tom Hardy replaces Mel Gibson as Max Rockatansky. Hardy shines in the lone warrior role, grunting his lines, slightly Bane like. But this is where real action star charisma excels, and Hardy makes it work. It's a film that lacks dialogue (not in a bad way) but still allows for character development, it's just economical with it. You learn everything you need to know about Max in the first 10 minutes. 1: He's a lone wolf. 2: His Family/ Daughters death haunts him. Established with no dialogue. This is an action director working at the top of his game. Charlize Theron is Imperator Furiosa and plays the role with an intensity that also allows her to be human. She's drawn comparisons to Sigourney Weaver in Aliens, and it's not wrong. A special mention should go out to Nicholas Hoult (From Skins) who plays a War Boy with winning naivety. But to return to Furiosa. It's her journey because that's ultimately what the films about: an exit from the insanity of the patriarchy.

In terms of action, the film takes a step back, into the past of practical effects, and it's 100% in the right direction. In terms of female characters and sexual politics however, Mad Max goes on full steam ahead, more so then you would ever suspect from a summer Blockbuster. This is real meat of the film. It simply asks the question, 'What would happen to women if the protection they have gained from a civilised society is suddenly taken away?'. The wives are Immortan Joe's breeders. He uses them to create an heir for himself. So they escape with Furiosa. In their home they write on the wall 'WE ARE NOT THINGS'. It's meta in the way that the film treats the females as real characters, and the film is about women not simply being objects. Who would have thought what was originally an Aussie exploitation flick would be this progressive. Bechdel test? Passed. Females who are integral to the story and are not just love interests? Check and check. Awesome names? Well, Toast the knowing, so yep. Thematic relevance with feminist issues? Absolutely.

This is the genius of the film. It manages to be an absolutely frantic and sensational piece of action cinema, and still have this powerful and progressive subtext, without bashing you over the head with it. If you haven't seen this film, please go. We need a sequel.

5/5 Stars          



      

Big Summer Preview

By Lawrence Speaight

What springs to your mind when someone utters those two spiteful words 'Summer Movie'. Superhero's? Endless Cliche's? Tedious special effects extravaganza's? Money driven pieces of crap? Ok, maybe I'm being a little cynical, though I would say that the Summer Movie season has become a haven for lazy directors, with the majority of Hollywood moviemakers making little effort in the knowledge they'll make a fortune, however poor the film is. Having said that, there are still some diamonds in the rough to be found every year, and though the Christopher Nolan's of this world are sparse, films like 'Dawn of The Planet the Apes' prove that intelligent blockbusters still exist. And while there are bound to be fraudulent pieces of cinema like 'San Andreas' and 'Hitman: Agent 47' to go with inevitably underwhelming reboots of Terminator and Jurassic Park, 2015 also promises some gems to be found amidst all the garbage.

As well as the influx of superheroes, there are a good variety of other sorts of movies ranging from Thomas Hardy adaptations to numerous festival re-runs. So while I could fill this top 5 with documentaries and indie films just to piss off Henry, I figured it would be more fun and challenging to pick a few films that generally would not draw me to a cinema.

Honorable Mentions:

My problem with Marvel at the moment is that there's an annoying similarity to the movies they continue to churn out (with the exception of Guardians of the Galaxy). That's not to say they're all awful, in fact most of the recent hits have been well made and enjoyable, but I can't shake this feeling that I'm not seeing anything new and there just appears to be a lack of uniqueness in the franchise.

That's part of the reason I'm intrigued about Ant-Man. The preparation has been shaky, to put it mildly, with Edgar Wright leaving the project half way through. But watching the trailer it definitely seems more distinctive than previous Marvel movies, with a more obscure superhero and a plot that appears less traditional than say, Captain America or Thor. Of course, it could be terrible, but for now it's definitely aroused my interest.

As I stated, there aren't many Christopher Nolan's in this business, but Brad Bird's as close as you're gonna get. That's why his new sci-fi mystery, Tomorrowland, has got so many excited. The marvellous director of 'The Incredibles' and 'Ratatouille' now has a new project with much to be enthusiastic about. Not only does Tomorrowland boast a strong cast (George Clooney and Hugh Laurie), but more enticingly it has Damien Lindelof (Lost) in control of the story. After the controversial series one of The Leftovers some might be worried that Lindelof will tease us for the duration of the film before leaving the audience with a horribly unconclusive ending, but Lindelof is still a master of mystery in my book and I can't wait to see what he's got lined up here.

5. Self/Less

Tarsam Singh's an interesting director. His last two films were destroyed by the critics, but his 2006 piece 'The Fall' was described by some as one of the best films of the 21^st Century. The concept for his latest work, 'Self/Less' is certainly intriguing. In the face of his coming death, a wealthy aristocrat (Ben Kingsley) undergoes an extremely radical procedure to transfer his entire consciousness into the body of a healthy young man (Ryan Reynolds). But problems arise when he starts to discover the mystery of the previous body's origin and also faces the threat of losing control of the body to the resurfacing consciousness of the previous owner. So yes, it sounds pretty wacky, but it's my fascination with this strange plot that has drawn me in, that and the wonderful cast that accompanies it. This sci-fi thriller looks like it could be magnificent and now I'm just curious to see how it all plays out in the hands of Singh.

4. The Tribe

Because nothing screams Summer Movie season more than a miserable examination of a Ukranian boarding school for the deaf, with the entirety of the film in sign language and no accompanying subtitles. Right? Right?? Fine, maybe I was lying when I said this list would be entirely made up of the big guns, but in truth I've been waiting to see this film since the London Film Festival in October. At that point it was so high in demand that it sold out before 'Whiplash'. Yes, that 'Whiplash'. 'The Tribe' is effectively a silent movie relying on non verbal acting, with the film being set in a deaf boarding school where we are introduced to the institutional system of crime and prostitution that has engulfed the place. It's swept up a ton of awards in the festival circuit and promises to be a unique and audacious piece of work.

3. Mad Max: Fury Road

I've already expressed concern with a couple of remakes that will be appear in cinemas this summer, and in general I find that these endless reboots nauseating, but Mad Max: Fury Road should be different. The reason for my, and everyone's, optimism is the return of George Miller, who wrote and directed the previous installments, which should ensure this isn't a disgraceful ripoff. Judging from the trailer, Miller looks to have successfully recreated the nutty post-apocalyptic world thanks to three decades of technological advancement and a splendid cast, including Tom Hardy and an unrecognizable Charlize Theron. Sometimes I'm wary of a picture that's so fixated on producing an action spectacle, but the visuals for Fury Road look more breathtaking and transcendent than anything we've seen recently, that it's hard not to be giddy with excitement for it's spectacular release.

2. The Look of Silence

Joshua Oppenheimer's 'The Act of Killing' was a groundbreaking piece of filmmaking. While the film was loosely advertised as a documentary about the Indonesian genocide of the 60s, what made the film so captivating was how Oppenheimer invited Anwar Congo (one of the chief executioners of the genocide) to recreate the killings for the camera. The result was a remarkable and terrifying picture which examined the nature of these killers and the impact of these atrocities. If ever a film was essential viewing, it would be 'The Act of Killing'. 'The Look of Silence, a follow up of sorts, turns the focus to the victims and survivors of the genocide, specifically focusing on a family whose son was killed during the purge. Just like it's predecessor, 'The Look of Silence' has swept awards during the festival season and is set to be another must-see documentary.

1. Inside Out

This is a rather personal pick for me. I grew up watching Toy Story and Monsters Inc. and Pixar has really continued to have a profound effect on me ever since. It's not just the nostalgia evoked by watching the films you loved when you were young, it's that Pixar's movies are made with such emotional intelligence that they connect not only with kids, but grown men too. Toy Story 3 was probably the last time I wept actual tears in a cinema and UP was pretty close. The disappointment, however, is that since Toy Story 3, Pixar's produced a couple of duds (the 'Cars' franchise!). But hope is eternal that 'Inside Out' will be a return to it's golden age and the signs are good. The plot is undoubtedly one of Pixar's most intriguing yet, with the narrative revolving around the emotions inside a young girl's head. The emotions (Joy, Fear, Anger, Disgust and Sadness) are thrillingly brought to life in the film as they advise the girl from the 'Headquarters' (her mind). Pixar made it's name from kid's films that were touching and warm, but also immensely creative. Inside Out would seemed to have carried on that legacy. 

London Film Festival Report: The Falling & Mommy

By Lawrence Speaight.

The London Film Festival may not be the most prestigious in the world, and clearly doesn't match the reputation of Cannes, Venice or Toronto, but there's still some excellent film-making to be found. I certainly had an excellent experience last week where I saw an dark-horse Oscar contender, the newest offering from one of the most talented young directors in the game and two very impressive low-budget British films. In my next article I'll be focusing on 'Second Coming' and 'Whiplash' but first of all, here are reviews of 'The Falling' and 'Mommy'. 

The Falling - 4 Stars

My first visit at the Festival was to the stylish Curzon Mayfair, where I saw the talented Carol Morley's first feature length film 'The Falling'. Morley's absorbing debut focuses on a fictional all-girls school in the 1960s that has been gripped by a mysterious fainting epidemic. The hysteria that subsequently sweeps through the teenagers is compelling to watch and has echoes of Arthur Miller's 'The Crucible'. Just like in Miller's play, where the society in question rejects what is unfamiliar to them, the heads of the school refuse to accept that the girls are in any way ill.

One of the more pleasing aspects of the film is the wealth of young British actresses, many of whom are first-timers. The cast is led by Florence Pugh and Maisie Williams (Arya from Game of Thrones), who are both extremely impressive as Abigail and Lydia. Interestingly, most reviews of the film have picked out Pugh as the star turn, however I'd argue that Maisie Williams puts in a far stronger performance. The character of Lydia is an undeniably complicated one, but Williams uses this to her advantage displaying grit, power and a sense of ambiguity throughout, whilst also giving the audience some truly moving moments towards the end. This is not in any way to knock Florence Pugh who shows terrific screen presence throughout, but Maisie Williams deserves more plaudits than she is receiving. Lydia's strange and confusing behaviour is present in all the girls at the school and the audience is constantly at a crossroads wondering just how genuine their illness is. Morley does an excellent job at highlighting the difficulties of perception and how hard it is truly to understand someone.

Because the film was being screened at the London Film Festival I was lucky enough to enjoy a Q and A session with director Carol Morley and co-lead Florence Pugh after the performance. Morley made numerous interesting points about the film, most fascinating though was what she said about nature. Throughout the movie much of the cinematography seemed to focus on the wildlife around the girls, and Morley confirmed that she was interested in displaying nature as some kind of relief to the teenagers. In a modern world dominated by social media and technology it's refreshing to see Morley present a world where nature plays a valuable role in young people's lives. With the film being set in 1969 it's understandable that some may have concerns about how the film could be related to the present day. However, due to Morley's subtle direction, the film has an almost timeless feel to it and the hormonal relationships between the girls appear fairly similar to those experienced by 21^st century teenagers. It could be said, therefore, that this is a film that would strike a more personal connection with women rather than men. This may be true, but either way this is a brilliantly bold and original piece by Morley, whose burgeoning career only seems to be heading in one direction.

Mommy - 5 Stars

Xavier Dolan is special. There's just no other conclusion that can be drawn from the Canadian's early career, one that has spawned a remarkable five films, all of which have been critically acclaimed. His latest, and surely best, continues with the maternal theme of 'I Killed My Mother', though unlike Dolan's aforementioned debut, 'Mommy' puts a greater focus on the mother figure. The mother in question, Diane Despres (Anne Dorval) is forced to take care of her violent, unpredictable son Steve (Antoine Oliver Pilon), who has just been released from the hospital treating his ADHD. Steve's battle to control his problems encounters many ups and downs, though his condition seems to reach a turning point when he receives support from shy, mysterious neighbour Kyla (Suzanne Clement). However, Steve's issues never quite escape from view.

It's Dolan's unique vision as a director that makes this such a masterpiece, a film that is beautiful both visually and emotionally. To highlight Dolan's distinctive style, the film is shot in 1:1 ratio, meaning the visuals are seen in a square frame with black bars on either side. Unconventional to say the least. Yet this unusual format proves a masterstroke as the dimensions force us into the centre of the screen and, hence, place more emphasis on the characters themselves. Therefore their emotions are depicted far more clearly and we feel a greater connection to them. Dolan confirmed that this was the idea behind the 1:1 ratio in a recent interview, 'No distractions, no affectations are possible in such constricted space. The character is our main subject, inescapably at the centre of our attention'. This unique effect wouldn't be possible without the outstanding performances of the three leads. Antoine Oliver Pilon is tremendous as Steve, displaying all of the complexities one would expect from someone with his behavioural problems. Pilon seems angelic at times, making Steve appear a sweet-hearted boy with hope for the future, but it only takes a moment for him to take on the guise of psychopath, grabbing his mother viciously by the throat. Pilon's portrayal of Steve is exceptional, but the performances of Anne Dorval and Suzanne Clement are equally majestic. Dorval was extraordinary as a not-so-dear mother in 'I killed my Mother', but she's just as good here as the thick-skinned Dianne who struggles to keep control of Steve all by herself. Luckily for Dianne and her son they attract the attention of high-school teacher, Kyla, living across the street, who gives Steve the educational support he needs. Suzanne Clement, playing Kyla, is the most introverted of the three, but still manages to give a compelling performance that is heartwarming and occasionally tragic.

With a director as wacky as Xavier Dolan nothing is ever going to be perfect, and with 'Mommy' self-edited by Dolan himself it's probably far longer than it needs to be. Yet despite the film's length there was never a dull moment and, such was the enthralling nature of the story, I never found myself willing it to end. The score has also caused debate, with Dolan generally picking mix-CD pop tunes from the likes of Celine Dion and Oasis. Once again this doesn't follow what might be considered the norm, but at times it works beautifully and the montage that accompanies Wonderwall in the middle of the film is one of the moments of the year. It's no surprise that 'Mommy' received a 13 minute standing ovation at Cannes as this is an truly astonishing piece of film-making, and one certainly wouldn't be shocked to see this walk away with best foreign language film at this year's Oscar's.

Next years big boys: 2015 preview. Part 1: American Sniper

By Henry Thackray

2015 is rather large year for film, or more correctly, movies. There is an awful lot coming out next year, and when I say loads  I mean, LOADS. Jurassic World, The 2nd Avengers, a small independent film called Star Wars. Next year is packed with popcorn movies from beginning to end. Some could see this a negative. They spout of about the death of Cinema, the end of the auteur. Films are now directed by studios.  Kevin Fiege is the devil. Well that last bit may actually be true. Any how. I try and look at the whole situation glass half full. This year has actually been fantastic for popcorn cinema (that's an oxymoron if ever you heard one) with the release  of The Lego Movie, in which everything was indeed awesome,  Edge of Tomorrow, The New Captain America and Guardians of the Galaxy.

Captain was a fantastically well directed action superhero pic that actually was far more 70s thriller than special effects bonanza, whereas Guardians was a loving hark back to the Saturday morning, cartoon influenced, films Indiana Jones and Star Wars. Edge of Tomorrow was just so much more than Groundhog Day meets Starship Troopers. Tom Cruise is just so well cast and totally nails playing up to the whole smooth talking dickhead version of himself that is often perceived (He then proceeds to be shot in the head about a dozen times. A bonus, some would say). You could argue that perhaps not all studios are getting it wrong. Marvel for one is definitely on a role, in fact it pretty much has been since The Avengers came out: Iron Man 3 was good, Thor 2 maybe not so much, but both Guardians and Captain were fantastic. So there's definitely hope that at least some of these huge films will be decent. So this little article will be your fine guide on what to watch, on what looks good, on what looks bad  and if Chris Pratt is the real deal. Enjoy.

January 16: American Sniper 

What's going on? 

The first big release of 2015, American Sniper, based on the 2012 autobiography "American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History", tells the tale of Chris Kyle, a native Texan who racked up the highest number of confirmed sniper kills in U.S. history. It stars Bradley Cooper as the Eponymous Sniper, and also Sienna Miller and Luke Grimes. Clint Eastwood directs.

Why you should see it:

 Chris Kyle is a pretty remarkable person. He has the highest number of recorded kills in US military history, over 160, but even this is considered conservative. By his own accounts, and those of his Navy SEAL squad he killed at least twice as many. After his four tours of duty he finished with two Silver Stars and five Bronze Stars with Valor, three gunshot wounds and two helicopter crashes. By all accounts this is a fascinating tale to tell. Bradley Cooper has surprisingly decent dramatic chops (Two nominations in two years), and it has a young fresh cast. Also, its limited release is on December 25th, meaning that at least someone thinks this is Oscar worthy.  

Why instead, maybe you shouldn't:

 Someone thinks this is Oscar worthy. To be honest this kinda seems like Oscar bait. Chris Kyle, was accidental killed a year ago, and this, not to be disrespectful, gives the film its sob-story. Also: Clint Eastwood. Not that Clint Eastwood is a terrible director, its just he is very rigid and its most likely this film will play like a best of album, Forest Gumping its way through Kyle's life. Hopefully its going to be more of a Lone Survivor action pic, as it would suit the material far more.

Chance of awesomeness: 2.5/5 

Community: A exploration of meta excellence, or self-congratulatory bullshit?

By Henry Thackray

'Cool. Cool, Cool, Cool'

TV shows are an odd thing. They started out as good old-fashioned family fun: I Love Lucy and The Hooneymooners were classic examples of this, the proto-versions of sitcoms with laugh track. Friends is an obvious modern example of this. Then came something different. Something new. Fox heralded in a cultural Gem, Arrested Development. Well heralded is maybe the wrong word, unwittingly birthed and then beaten over a head until it had been killed is a tad more accurate. Despite its brutal treatment from Fox it is perhaps the best written comedy of all time (This is not hyperbole, seriously, it is actually so tightly written that you can watch it again and again and again and again ad infinitum, and still catch new stuff). This led to a new kind of comedy series, one that was multi-layered, that didn't try to appeal to a large demographic, the lowest common  denominator; TV shows that knew they were clever TV shows and flaunted it. They were also TV shows that always one step away from cancellation. Arrested Development left the air after only 3 Seasons  http://tinyurl.com/nqwhy7x and much like 30 Rock only managed to avoid cancellation due to its outstanding critical acclaim; Arrested Development picked up 4 Emmys, whereas 30 Rock picked up 135 award nominations. These two TV shows are Community's biggest influences. Yet, it sits in an awkward position between them. Its not as tight as Arrested Development, and it can't keep up with the number of references that 30 Rock can throw down. Yet ultimately it reaches a different high than either of these shows. It's something warmer, the belief that people can become better than they already are. No matter how much you love Liz Lemon and Michael Bluth, its hard to find them as endearing as those who populate Community.                    

Now, lets be honest here, at first glance Community doesn't sound that intriguing. An ex-lawyer has to go to Community college in an attempt to get a real bachelors degree. He forms a study group that consists of a high-school drop out, a divorcee, a high-school quarterback, a former drug addict, a millionaire and a film enthusiast. This is the description that was posted with Community when I first discovered it. So its an ensemble sitcom. Great. Apart from Joel McHale (From the Soup) and Chevy Chase its a cast of relative unknowns. Nothing about this really stood out.

However, there are many reasons why this description is just so wrong on many many levels. To say something obvious, and please bear with me, Community is TV about TV. It really is as simple as that. While at first it presents itself as a simple sitcom staple that just seems to be a little too self-aware, it quickly evolves into hilarious satire of the pop-culture society that we live in today.To give a completely out of context example that will no doubt confuse the un-educated reader and even avid watcher, In episode 2 of Season 1, two characters fall out , leading too, of course, hilarity. What makes this moment that much better is another character, whose purpose at first seems to be simply highlighting the fact that their lives are erringly similar to that of TV characters, observes, 'Conflicts like these will ultimately bring us together as an unlikely family'. This brings out the entire meta-textual level of Community, its self-awareness as a TV show, and is a new fresh twist on a old sitcom trope.

Those who don't understand and probably think I'm a douche bag (Fair enough) meta is simply taking something and 'Shoving it up its own ass' ,such as a play within a play, or in this case, TV within TV (Abed, who actually mentioned the meta-joke from earlier, is seen as becoming more and more aware of his existence as a TV character).  30 Rock has been doing this for years, but while it would often lampoon itself and the world of TV (Its especially critical of NBC, which is hilarious because both 30 Rock and Community are actually NBC shows), Community has a far greater ambition. It starts of with a tired concept, that simply puts seven people in a room and lets them bounce of one another (and so the Breakfast Club becomes the shows first cultural reference). The pilot begins with ass-hole Jeff Winger (McHale) attempting to get a bachelors degree after he was discovered to have faked his way into become a rather successful lawyer. (McHale is perfect in the role, being immensely  likeable despite exhibiting less than sympathetic characteristics) In doing so he sets up a study group who effectively can do his work for him. This is the premise. Ultimately though its rather about an ass-hole trying to become less of an ass-hole through this social group he creates. However, the show moves on from a wacky, fast paced jaunt in a community college into a huge, far, far too ambitious show that attempts to ridicule and parody modern pop-culture. At its best, from the back end of Season 1 to the middle of Season 2, Community could be considered or at least compared, to the Simpsons in its heyday: a fantastic mix of pop satire with a viscous heart at the centre.

Forever 30 Rock was my one true love. It was something I could always come back to a couple of months after I had watched it in its entirety, and then watch it again in its entirety. Community offered me something new, something witty and something that you could really care about.  Season 6 comes out in the new year on Yahoo.

Welcome to my Blog

Welcome!

This is my first blog, ever, and to begin I wanted to introduce what its about and what I'm trying to achieve through the blog. As a HUGE fan of TV and Film I felt that just talking about films wasn't enough. I want to discuss them, go into great depth, and put my opinions out there for people to see. Film and TV are an art form, perhaps the most evaluated and lauded art form out there, and are just ripe for evaluation. TV has extended itself to such a point that it now has to be equal, if not better than its Film counterpart. While it may be an incredibly ironic statement, Film has become more and more commercialized to the point of saturation. Original projects are few and far between, while artistic integrity is shunned and rejected by studios attempting to make more money. While TV is of course a commercial format, the rise of quality has allowed greater original projects to arise and be successful, which is something that just isn't possible in the world of Film. In a sad way, I'm writing this blog to commemorate my favorite TV show that has recently just been cancelled. It's death and other shows continued existence on the airwaves proves that even now in the so called 'Golden Era' of TV, generalized mass-target audience TV still makes way, over the corpses of smaller yet infinitesimally better TV shows.

Hope fully the first of many posts. In the near future I'll be mainly concentrating on TV and the rise of the Single Camera Comedy. Some of the TV shows I'll be discussing:

• Community 
• 30 Rock 
• Parks and Recreation 
• Brooklyn Nine-Nine
• Girls 
• Louie  
• The Office (Both English and American)
• Arrested Development