Desite its title, the show feels trapped in the past, a slave to the conventions of the ’70s British series on which it’s based.
The film is conspicuously devoid of any sops to the adults in the audience.
Evil is Samuel L. Jackson breaking into an Edward G. Robinson voice and wearing a black, 1920s-style gangster suit and fedora.
The problem with the film, as before, is that it’s rarely as lively and funny as it should be.
In this episode we watch both Don and Roger humiliate themselves, yet for seemingly opposite reasons.
Everybody in the episode is performing on one level or another.
The episode places itself in the midst of people trying to cope with the fact that everything is changing, both in the world at large and in their personal lives.
From down-home Christian horror to Disney?