Wednesday Review: Nancy Drew Meets The Addams Family

There are holes, of course, nothing sewn up like an old corpse would be complete without them. One character is very unmonstrous, from a family of anti-outcasts who were burned at the stake as witches in the 17th century. However, this person uses the supernatural, invoking both dark magic and the magic of Mary Shelly. Frankenstein. This should make it solid going into Wednesday, but the crack remains. Internal logic is tested on a few fronts.

Ortega brings extreme confidence, determined that Wednesday stand out in the midst of an overwhelming desire to be ignored. Socially awkward by design, Wednesday is a teenager, sarcastic, sarcastic and adamant in his judgments, and Wednesday It’s a coming-of-age story. Named for the day of woe, she sees things in black and white, with an emphasis on black, and looks like a vivid black and white Instagram filter.

The Wednesday Addams character was originated for the TV series by Lisa Loring, who is still the creepiest. Chloë Grace Moretz, who voiced the character in the animated film the addams family movies, is the most ookie. The craziest reinvention may be Melissa Hunter, who played her in the sadly ignored YouTube series. Adult Wednesday Addams. The gold standard, however, is the incarnation of Christina Ricci in the Barry Sonnenfeld movies. She appears in the Netflix series to support and defend a new generation with a tougher vision. Ortega’s Wednesday is the most overtly narcissistic of the portraits, veering from borderline state right into the headlights of sociopathic indulgence. We really feel that Wednesday wants to be the most outcast of the outcasts, the most dangerous monster in a school uniform.

As this is a Wednesday show, she is granted independence from her parents, even the ghosts in crystal ball calls. While Morticia Addams (Catherine Zeta-Jones) plays an entire arc in the short time allotted to her, we just can’t get enough of Luis Guzmán’s Gomez. This has little to do with screen time. He was looking forward to Guzmán’s portrayal, hoping it would be a new outing fueled by abandon and a desire to put an individual stamp on an iconic character. He brings lust and a soft heart, all the better for piercing, but leaves the madness behind. His eyes bring more sadness than mischief when he’s not lost in love entanglements. He should be given more to do if Wednesday goes to a second season.

Fred Armisen’s Uncle Fester leans toward Jackie Coogan’s performance, subtly mimicking the voice, but openly playing with electricity. He’s in town “undercover,” but rides a Dalmatian-colored motorcycle with a matching sidecar because he wants to stand out. He is the black sheep of a very colorful family. Filling out the dynastic character’s props, George Burcea plays Lurch, a perfect butler, in this case, because he never gets in the way and hardly takes up any frames.

Danny Elfman’s score is a major character, not just thematically, but as an emotional delivery system. He makes the creepiest goosebumps, the funniest jokes, and the most tangible tingles. The introductory music still features the harpsichord, but does not copy melodically from the original theme. The series leaves the snap to the secret society.

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