Miles S

The Citizen Kane of blue collar reality TV shows.

Along with Brasil, this is Gilliam's finest directorial work and arguably Robin William's best performance in a film. Gilliam has always been an intriguing storyteller, but in The Fisher King he manages to weave together a narrative that touches on Arthurian legend, soul stealing tragedy and personal redemption; and by avoiding the hackneyed plot devices that plague so many current "woke" hollywood productions, he delivers it in a truly unique and engaging style.

A very poorly conceived and executed revenge thriller. The violence was overly graphic and did little to advance the plot other than to build audience revulsion for the ridiculously stereotyped, cartoon level villains. The plot was simplistic and formulaic to the point it was almost laughable; while most of the characters were straight out of a hollywood diversity and representation guidebook, including the brilliant girlboss who intimidates hardened criminals with her tough-as-nails stare down. The first of these films was kind of a new take on the "man with no name" trope so successfully pulled off by the likes of Clint Eastwood. But the two Equalizer sequels are so badly written and filmed, even Denzel Washington couldn't salvage them.