Movie Review: Blindspotting (2018)

Life is fucking messy. You might think you have it figured out, but then something comes out of god damn nowhere and screws with you. You couldn’t see that coming. There are a lot of blindspots like that.

Ladies and gents… “Blindspotting”.

Collin (Daveed Diggs) has recently been released from prison on probation, and has to try to keep himself out of trouble so he doesn’t get thrown back in. This causes him to reevaluate his life and in turn his relationship with his best friend (Rafael Casal). What I find interesting about “Blindspotting” is its various subject matters and the way(s) it tackles them. There is some dark stuff throughout the movie, but the filmmakers also show us some of the more lighthearted aspects of the lives of these guys. And the way these tones are balanced throughout is incredible. Yes, I’ve seen movies mix drama and comedy before, but the way “Blindspotting” does it, I’ve never really seen. It’s quite a fresh and compelling story that I loved following.

The characters in this are flawed, nuanced, and just really interesting. Daveed Diggs plays Collin, the guy who the movie mostly focuses on. He’s a good dude who’s done some bad stuff, and seeing him try to keep his life from going down that path again is utterly compelling. And Daveed Diggs is fantastic in the role, really bringing a lot of depth to the role. Rafael Casal plays Miles, Collin’s best friend since they were boys. He’s a bit of a wild card, and I’ll just leave it at that, and that he’s a really interesting foil for Collin. And Casal is great in the role. We also get supporting work from people like Janina Gavankar, Jasmine Cephas Jones, Ethan Embry, and more, all doing very well in their respective roles.

The music in “Blindspotting” largely consists of hip-hop, and while I don’t think I’d listen to most of the tracks in my spare time, I do think they all contributed to the movie in some interesting way that worked for each scene. There is apparently also a score by Michael Yezerski here, but I don’t remember hearing something like that, so I can’t really comment on it. The rest of the music though… Good.

The movie was written by its two stars, Rafael Casal & Daveed Diggs, with directing duties being handed to Carlos López Estrada. And the passion behind the craft here is infectious, which adds a lot to the technical talent on display. The way Estrada brings us into each scene with the characters often makes it feel like I was a bit of a fly on the wall of each conversation, I felt truly transported into it. Estrada also shows on multiple occasions how good he is at building suspense, making for some truly great sequences. And as I alluded to early on in the review, this movie is part comedy. And I found those bits to be really funny, which I did not expect, as I kinda thought this’d be more of a straight up drama. But yeah, the comedy in this is hilarious.

This movie has been very well received. On Rotten Tomatoes it has a 94% positive rating and a “Fresh” certification. On Metacritic it has a score of 77/100. And on imdb.com it has a score of 7,4/10.

“Blindspotting” is a clever, unique, and refreshing dramedy that shouldn’t be missed. It has a great plot, great characters, great performances, good music, great directing, and hilarious comedy. Time for my final score. *Ahem*. My final score for “Blindspotting” is a 9,88/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Blindspotting” is now completed.

Choose a life, choose a job, choose a car- Wait, that’s “Trainspotting”…

Movie Review: BlacKkKlansman (2018)

Good grief, that title stylization is such a double-edged sword. Looks neat, and is a great piece of wordplay… but god damn, it is a pain to keep in mind when writing it out. Oh well, that’s all the time we’re spending on that, let’s get into the review.

Disclaimer: I know this thing is based on a true story, but I will not base my review on how perfectly accurate to the real situation it may or may not be, but I will instead judge it as a movie… which it is. Disclaimer over.

Ladies and gentlemen… “BlacKkKlansman”!

Ron Stallworth (John David Washington) is a young, black police officer in the 70s. He’s an ambitious young man, looking to make a real difference. And one way he intends to do this is by starting an undercover operations to infiltrate the Ku Klux Klan with the help of one of his colleagues (Adam Driver). So now we have our quite unique story setup… and good god damn, I loved seeing how it unfolded. What makes it work so well is how impressively they balance tones. On one hand, it’s an undercover cop movie featuring one of the most horrible organizations in the worlds, which is very serious. But then they also acknowledge the bizarreness of a black man making an attempt to enter the Ku Klux Kunts, and have a bit of fun with that idea. So it manages to both put me on the edge of my seat with some of the darker aspects, and have me smiling at some of the more lighthearted and fun moments. It’s also remarkably fast-paced. The movie has a 135 minute runtime, but I never felt that, it moved at a brisk pace that kept it from getting dull. It doesn’t rush through things though, when it needs to slow down and soak in a moment, it does that. But yeah, it’s well paced and well written and highly entertaining.

The characters here are flawed, nuanced, colorful, and overall just quite interesting. John David Washington plays Ron Stallworth, the young cop at the center of this story. He’s smart, highly determined, but also a bit of an underdog considering he’s like the only black officer in the department. And he’s one of the more uniquely compelling protagonists of recent years. And Washington is fantastic in the role. We then have Adam Driver as Flip Zimmerman, Stallworth’s colleague who joins in on this batshit undercover operation. He’s a bit torn between some various things we learn about him throughout the movie, and it makes him quite fascinating to follow. And Driver is fantastic in the role. We also get supporting work from people like Laura Harrier, Robert John Burke, Michael Buscemi, Ryan Eggold, Jasper Pääkkönen, Paul Walter Hauser, Topher Grace, and many more, all doing very well in their respective roles.

The score for “BlacKkKlansman” was composed by Terence Blanchard, and it was great. There’s a consistent theme that gets woven throughout various tracks, making for a consistent emotional quality while still giving it a few different spins. There are of course a few unique tracks as well, and they are very good too. There’s also a few licensed tracks used throughout, and those work quite well in their respective scenes. So yeah, this movie has good music.

Based on a book by Ron Stallworth, “BlacKkKlansman” was directed by Spike Lee. And he did a great job, he really brought his A-game here, giving it a fierce energy that makes it stand out among so many movies in recent years. His direction manages to capture the broadness of this whole operation while never sacrificing the intimacy with the characters. And this makes it absolutely electrifying. And Chayse Irvin’s cinematography is stunning, complementing the storytelling wonderfully. There’s also a surprising amount of comedy throughout the movie, and it’s very funny. It helps to digest some of the bizarre and darkly uncomfortable aspects of this story.

This movie has been very well received. On Rotten Tomatoes it has a 96% positive rating and a “Fresh” certification. On Metacritic it has a score of 83/100. And on imdb.com it has a score of 7,5/10. The movie won 1 Oscar in the category of Best adapted screenplay. It was also nominated for an additional 5 Oscars in the categories of Best picture, Best original score, Best director, Best supporting actor (Driver), and Best film editing.

Despite it’s annoying-to-write title, “BlacKkKlansman” is a fantastic and highly unique bio-pic. It has a great plot, great characters, fantastic performances, great music, great directing/cinematography, and funny comedy. Time for my final score. *Ahem*. My final score for “BlacKkKlansman” is a 9,90/10. So it gets the “SEAL OF APPROVAL!”.

My review of “BlacKkKlansman” is now completed.

This kind of stuff is why I love movies.

Movie Review: Crawl (2019)

Ever since I was a child, I have been fascinated by crocodilians, potentially due to watching a fair bit of “Crocodile Hunter” as a kid. And possibly also because they’re badass. Either way, it baffles me that we barely get any movies featuring them, at least with decent budgets. So I’m excited to finally get to talk about such a movie.

Ladies and gents… “Crawl”.

When Haley (Kaya Scodelario) goes searching for her dad (Barry Pepper) during a devastating hurricane, she finds herself trapped in their old family home’s crawlspace, not only having to survive the vicious weather, but also a bunch of alligators swimming around. It’s a B-movie premise… but I really liked seeing it unfold. There’s enough self-aware brains within the writing to make it work. It nicely shifts between being a suspenseful monster movie and a decent enough family drama, the balance is just right. I’m not sitting here saying that it’s the greatest storytelling ever put to celluloid. But what I am saying is that it knows what it is, and works with it to create a fun and engaging popcorn thriller that managed to scare, make me feel tense, and invest me in the struggle of the people at the center.

The characters in this, while not the deepest, are written with enough nuance to make the viewer care for them, at least on a surface “I don’t want to see these guys die” level. Kaya Scodelario plays Haley, a young woman with some emotional baggage that affects her relationship to her dad. She’s clever, resourceful, and determined, and makes for an interesting protagonist that I enjoyed following. And Scodelario is great in the role. Next we have Barry Pepper as Dave, Haley’s dad with whom there’s some past issues with. I don’t have much to say, as he’s not as well defined in personality as Haley, but I still found him decently enjoyable/interesting. And Pepper is great in the role. And seriously, when was the last time we saw Barry Pepper in a movie? Dude was in everything for a while, and then he just suddenly wasn’t. Oh well, it was nice to see him show up here.

The score for “Crawl” was composed by Max Aruj & Steffen Thum, and I think they did a pretty good job with it. Some basic emotional strings, some neat horror stings, and a few other things. The score here doesn’t do anything new, but intead does all the familiar things well, creating a solid soundscape for the movie.

“Crawl” was written by brothers Michael and Shawn Rasmussen, with Alexandre Aja handling directing duties. And the craft on display here (for its relatively low budget) is pretty damn good. They really manage to create an oppressive atmosphere that helps the movie stand out in both the disaster and monster sub-genres. Even the huge storm is given a real presence that makes it feel far from cheap. Now, let’s talk about the real stars here… the gators. As expected, they’re CGI, because real gators would be too dangerous. But even for CG animals, they work quite well here… for the most part. Their animations are great, really lifelike, which makes them quite intense. Where I have to leave a slight criticism though is the texturing. Yes, they got the general gator appearance right, but it feels like they could’ve used another render or two. But I can also forgive it because of how low the budget was, and because of the presence the overall animations on the gators gave off. Quick warning too: As you probably expect, there’s some gore in this, but it’s also quite vicious. Not just blood for blood’s sake, but some genuine brutality happens. Just putting that out there in case anyone’s a bit squeamish.

This movie has been pretty well received. On Rotten Tomatoes it has an 83% positive rating and a “Fresh” certification. On Metacritic it has a score of 60/100. And on imdb.com it has a score of 6,2/10.

I know it sounds like I shit on it multiple times throughout, but I want to make it very fucking clear that I highly enjoyed “Crawl”. It’s a damn fine monster movie (yes, alligators aren’t monsters, but what else would you call this style of movie?). It has a really good plot, good characters, great performances, good music, and great directing, effects, and atmosphere. Time for my final score. *Ahem*. My final score for “Crawl” is a 9,57/10. So it does get the “SEAL OF APPROVAL!”.

My review of “Crawl” is now completed.

See you later, alligator…

Movie Review: Last Breath (2019)

Hello and welcome to 2020, friends! To kick it off I decided to review something I haven’t looked at in a while: A documentary. The last time I did was in 2015. I don’t know why it took me this long to get around to it again, but I think we should stop dwelling on that and instead just get into this.

Ladies and gentlemen… “Last Breath”.

“Last Breath” is about a group of men who work with diving in the North Sea, doing maintenance on underwater structures. However, during this one dive, something goes wrong and one of them gets stuck down there with a very limited oxygen supply, forcing his colleagues to find a way to try and save him. The movie is partly interviews with the people who worked on this operation, mixed with recreations of what went on, as well as actual footage from the incident. Now, while this approach is simple and something we’ve seen before in other documentaries, I feel like it still works in this movie’s favor. It’s a simple story of a terrifying situation, so there’s no real need to complicate how it’s told. It’s simple, but effective. They get you invested in the people involved with some quick behind-the-scenes goofing from one of the crew members filming on the ship, and then the main incident happens. Now we have a scary setup that manages to retain good tension throughout the rest of the runtime. Yeah, it’s well told and I was utterly invested from start to end.

The music for the movie was composed by Paul Leonard-Morgan, and before we get to discussing this movie’s music, I just wanna go on a quick sidenote. It is so weird seeing his name again. Don’t think I’ve seen his name attached to a movie since 2012’s “Dredd”. Anyway, back to “Last Breath”. His music is very good. It has a solid mix of emotionally resonant strings, with some electronic flourishes at one or two points. Some might call it emotionally manipulative, I call it good.

“Last Breath” was directed by Richard da Costa and Alex Parkinson, and I think they did a good job with it. The way they mix old, real footage with recreations is pretty great, and while they stylistically look different due to differences in technology, they still make the transitions feel natural. And even taking the new footage on its own, it is really well handled. Especially in terms of cinematography, I thought that was fucking stunning. Kudos to Alistair McCormick for those good looking shots. But yeah, the way it all comes together is really well handled.

This movie has been well received. On Rotten Tomatoes it has a 92% positive rating. And on imdb.com it has a score of 7,7/10.

“Last Breath” may be simple in its approach, but it’s still a damn fine documentary that put me on the edge of my seat. It has an interesting story featuring some interesting people, its music is very good, and the way it is shot, edited, and directed is pretty damn great. Time for my final score. *Ahem*. My final score for “Last Breath” is a 9,67/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Last Breath” is now completed.

Kicking off 2020 on a high note.

Movie Review: Star Wars – The Rise of Skywalker (2019)

It’s that time of year again… “Star Wars”. The final one… for now. So let’s talk about it.

Ladies and gents… “Star Wars – The Rise of Skywalker”.

The remaining members of the Resistance try to pull off a series of daring plans to try to hopefully finally stop the sinister First Order. It’s the concluding chapter to this new trilogy, that also calls back some (read: a lot) to the older movies. And the story as a whole is a bit of a mixed bag. It’s generally a fun, fast-paced space swashbuckler that does give a satisfying enough ending to the entire Skywalker saga, but looking at the overall thing, it feels ever so slightly paper-thin. And while I don’t need my “Star Wars” to be deep mindfucks in their storytelling, I feel like there could’ve been a bit more put into it, since it’s supposed to, you know, cap off the entire fucking series (AGAIN). But as it stands, while the story disappoints a bit, it’s still entertaining, and I thought the overall ending was pretty good.

The characters in this have earned a shitload of good will over the previous two movies, I’ve fallen in love with them, so that went a long way to me following them here. And while one or two might get some decent-ish enough character conflict, there isn’t too much else to say about that stuff. Daisy Ridley and Adam Driver make for a compelling hero/villain dynamic at the center. John Boyega and Oscar Isaac are as enjoyable in their sidekick roles again. All other supporting actors do well enough in their supporting roles too.

As with every mainline entry in this franchise, the score was composed by the one and only John Williams. And there’s no way one can complain about it. From the classic motifs, to some of the ones from the previous two movies, to some new (if indistinguishable) stuff… come on, it’s another “Star Wars” score from the one and only John Williams, you all know it’s good.

“The Rise of Skywalker” was directed by J.J. Abrams, who did a damn good job. The guy knows how to bring energy to a scene, he knows how to a fun and exciting action scene. There’s tons of good action in this that either made my jaw drop or just had grinning like an overexcited child. Yes, I am easy to please when it comes to that kind of stuff… especially when it’s handled as well as it is here. The effects are of course fucking spectacular, and not just the CG, there’s a ton of awesome practical creature effects and such. It’s just a joy to look at.

This movie just came out, so there’s not much data out there (and as y’all know, I am too lazy to edit after the fact). So here’s where we’re at now. On Rotten Tomatoes it has a 58% positive rating. On Metacritic it has a score of 53/100. And on imdb.com it has no score at all… that’s how early I am.

“Star Wars – The Rise of Skywalker” may be slightly disappointing, but I still had a good time with it. It has an okay plot, good characters, great performances, great music, and really good directing/effects. Time for my final score. *Ahem*. My final score for “Star Wars – The Rise of Skywalker” is an 8,45/10. So while very flawed, it’s still worth buying.

My review of “Star Wars – The Rise of Skywalker” is now completed.

Goodbye for now, Star Wars.

Movie Review: Them That Follow (2019)

I hate snakes. They’re the worst. I see a snake on tv or in a movie, I crawl into a ball on the couch. The worst. So let’s talk about a movie featuring them (I’m dumb).

Ladies and gents… “Them That Follow”.

Set within the deep woods of Appalachia, we follow Mara (Alice Englert), a young woman who is the daughter of the local snake-handling preacher (Walton Goggins). She carries a secret with her that, if released into the world, could potentially cause some trouble within her community. So now we have our backwoods story. And while I do have some little niggles with it, I generally thought it was pretty interesting. It’s like a window into this strange, archaic community, presenting them with a surprisingly nuanced view, rather than the typical “These cult-ish people are crazy monsters” angle that often get used within stories featuring similar characters/communities. Yes, we still get shown the angle that these people are ye olde backwoods christians… but it’s never as simple as them just being a cult, there is rarely pure judgment, but rather just observation, which I thought was interesting, especially as the movie went along and more revelations were unleashed. Now, despite this unusually intriguing execution, it’s unfortunately not perfect. It does feel flimsy at times, probably due to the short runtime (circa 95 minutes). Had they had more time, we probably could’ve had it even more fleshed out. But as it stands, it’s still an alright plot that kept me interested throughout.

The characters, while not the deepest in the world, are still pretty engaging. Alice Englert plays Mara, the young woman at the center of the story. She’s probably the deepest one in the story, as she’s highly conflicted about a lot of stuff going on in her life at the time, which makes her a really interesting character to follow. And Englert is really good in the role. Then we have Walton Goggins as her father, preacher Lemuel Childs. He’s a man of god… and nope ropes. He doesn’t get much development as a character, but he’s still quite engaging because Goggins is such an electrifying presence. Then we have Olivia Colman as Hope, a matriarch of sorts within this community. There is some conflict with her later on in the movie, which I won’t spoil in case you wanna watch the movie, but I’ll say that while it’s an okay idea, the overall execution of that is just fine. And while Colman’s southern drawl is somewhat hit-and-miss, her overall performance is great. We also get supporting work from people like Thomas Mann, Kaitlyn Dever, Lewis Pullman, and Jim Gaffigan, all giving good performances.

The score for the movie was composed by Garth Stevenson, and I felt that it was kind of a mixed bag. Sometimes it’s this nice, almost dreamlike thing that fits the southern, spiritual setting, really adding some nice atmosphere to the movie. Buuuut then there are some overbearing horror drones throughout too, and I felt like that took me out of it during those moments. I can tell that Stevenson has a lot of talent, but there are times when they aren’t applied correctly.

“Them That Follow” is the writing/directing debut of duo Britt Poulton and Dan Madison Savage, and I think they did an okay job with it. They have a way of keeping scenes engaging thanks to a unique sense of energy that may have a slow flow, but still makes sure scenes never get boring. And when they need to get a bit suspenseful, they god damn nail it… except when the aforementioned horror score bits come on, then shit clashes a bit.

This movie hasn’t been very well received. On Rotten Tomatoes it has a 60% positive rating. On Metacritic it has a score of 57/100. And on imdb.com it has a score of 5,2/10.

While far from one of the greatest movies ever, I still thought “Them That Follow” was a really good drama. It has a pretty good plot, okay characters, great performances, okay music, and good directing. As previously mentioned, it is brought down a bit by a sometimes shallow plot and poor musical score. Time for my final score. *Ahem*. My final score for “Them That Follow” is a 7,95/10. So while flawed, it’s absolutely worth renting.

My review of “Them That Follow” is now completed.

Damn snakes.

Movie Review: Midsommar (2019)

These kinds of movies are always kind of exciting. You know the ones, the movies that are quite polarizing. A lot of people love them, a lot of people don’t. Those are always the most exciting to watch/talk about, because of this discourse. So let’s chat about this polarizing picture.

Mina damer och herrar… “Midsommar”.

After suffering a terrible tragedy, Dani (Florence Pugh) travels with her boyfriend (Jack Reynor) and his friends to a remote part of Sweden to take part in a festival. But what seems like a nice, relaxing way of getting away from life and gathering your thoughts, soon turns into something a bit more strange. So now we have our semi-cult horror-drama-thriller story. And here where I think the divide will occur for most people. It’s a slow burning affair, more about exploring certain themes and ideas rather than just up and spooking you. And if you don’t want to sit through that for nearly two and a half hours, then maybe avoid this. As for me, I found this a weirdly enrapturing experience. It’s not something I’ll probably ever watch again, and it’s probably not something I’ll call one of my favorite movies… but it’s a story experience unlike any other I’ve witnessed, and I was drawn in from start to finish.

The characters in this are interesting in the sense that not all of them get too much depth, but I wouldn’t want them to not be included. First up we have Florence Pugh as Dani, the young woman at the center of the story. She has gone through some shit, which has really fucked with her mental state, which we see manifest throughout the movie, which adds a bit to making her a very compelling character. And Pugh is absolutely fantastic in the role (give her an Oscar, you cowards). Jack Reynor plays Christian, Dani’s boyfriend who I have conflicted feelings about, which I think was the movie’s intent, and I found him interesting to have along. And Reynor is really good in the role. We also get supporting work from people like William Jackson Harper, Vilhelm Blomgren, Henrik Norlén, Will Poulter, Isabelle Grill, Liv Mjönes, Hampus Hallberg, and many more, all doing very well in their respective roles.

The score for the movie was composed by Bobby Krlic, and I’d say it’s good. It’s not something I’d find myself listening to in my free time, but I can’t deny that it’s well composed and fits quite well within the various scenes where you can hear it. It’s an often droning score, almost dreamlike which adds to the eeriness of the movie.

“Midsommar” was written and directed by Ari Aster, who I think did a damn good job with it. His control of scene flow is immaculate, and when combined with the pitch perfect editing and Pawel Pogorzelski’s stunning cinematography, and you got one of the most impressively crafted films of the year. It manages to be otherworldly while still clearly being on our own planet earth.

This movie has gotten mixed reception (but mostly positive from critics). On Rotten Tomatoes it has an 83% positive rating and a “Fresh” certification. On Metacritic it has a score of 72/100. And on imdb.com it has a score of 7,2/10.

“Midsommar” isn’t for everyone… but I certainly thought it was engaging. It has a really good plot, good characters, fantastic performances, good music, and fantastic writing/directing/cinematography/editing. Time for my final score. *Ahem*. My final score for “Midsommar” is a 9,58/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Midsommar” is now completed.

They present the midsummer celebration in the movie as some huge, elaborate event. But the actual celebration here in Sweden is just people getting drunk, eating bland food, and maybe stumbling around a wreath pole.

Movie Review: Knives Out (2019)

I love mysteries. Not in real life though, that shit can be infuriating/scary. But in movies/tv/books/games, the mystery genre is one of my favorites. Who killed the man? Who stole the thing? Who pissed in the cereal? Even the worst ones can still have me entertained due to me having a soft spot for the genre. So anyway, let’s talk about a mystery movie (it’s not a mystery movie jackass, it’s right in the fucking title what movie it is). SILENCE, ME.

Ladies and gentlemen… “Knives Out”.

When famed murder mystery writer Harlan Thrombey (Christopher Plummer) dies, a private investigator (Daniel Craig) starts looking into the possibility that one of Thrombey’s eccentric relatives might’ve killed him. WHODUNIT!? The goofy spelling/grammar of that word aside, that is the genre we’re dealing with here. It’s a modern whodunit that pays tribute to the classic ones, such as “Murder She Wrote” or “Columbo”, while also putting its own fresh-feeling spin to proceedings. It gives you everything you want in a classic whodunit story, while also subverting it in some really clever ways that I honestly didn’t see coming. There’s also a surprising amount of social commentary throughout. And while I’ve watched things recently with attempts at that which were a bit too hamfisted, I felt like it worked quite well within “Knives Out”, wonderfully integrating into the already solid murder mystery.

The characters here are flawed, colorful, interesting, and buckets of fun. Daniel Craig plays Benoit Blanc, a private investigator that’s been hired to investigate Thrombey’s death. He is skilled, but he’s also a bit quirky. And holy fuck, Daniel Craig… he really hammed it up here, and it made him such a fun presence to watch. Next we have Ana De Armas as a nurse who is heavily involved in the story. And she’s great in the role. And then the rest of the cast is filled out by people like Chris Evans, Jamie Lee Curtis, the aforementioned Christopher Plummer, Don Johnson, Tony Collette, Michael Shannon, Katherine Langford, Jaeden Martell, Lakeith Stanfield, Riki Lindholme, and more… and good god damn, what a solid cast this is.

The score for the movie was composed by Nathan Johnson, and it was a lot of fun. It’s very old school in its approach, often sounding like something you’d hear in an older crime movie/show, due to its often overdramatic strings. There’s also a few licensed songs used throughout, and they work well enough. So yeah, this movie has good music.

“Knives Out” was written and directed by Rian Johnson, who I think did one hell of a job on those fronts. He gives the movie such a distinct energy that keeps it feels electric, keeping any shot or scene from ever feeling boring. That doesn’t mean any part feels rushed though, Johnson lets scenes simmer when needed… but never for too long, giving it just the perfect pacing.

This movie has so far been very well received. On Rotten Tomatoes it has a 96% positive rating and a “Fresh” certification. On Metacritic it has a score of 82/100. And on imdb.com it has a score of 8,1/10.

I loved “Knives Out”, it’s a really fun and unique whodunit. It has a great plot, great characters, great performances, good music, and great writing/directing. Time for my final score. *Ahem*. My final score for “Knives out” is a 9,90/10. So that’s right, it does get the “SEAL OF APPROVAL!”.

My review of “Knives Out” is completed.

Knives Out, Spoons In.

Movie Review: Wonder Woman: Bloodlines (2019)

Sorry for the lack of posts so far this month. Been hit with a weird case of apathy. But hopefully will get back on track soon enough. So to try to get things back into gear, let’s go into one of my most talked about subjects here on the blog: DC animated movies.

Ladies and gentlemen… “Wonder Woman: Bloodlines”.

Wonder Woman (Rosario Dawson) has to face her toughest challenge yet when several of her villains team up to pull off an evil, potentially world-threatening scheme. All the while a young woman she saw grow up (Marie Avgeropoulos) starts turning towards the dark side. So now we have our big, sweeping tale of heroism and family drama and I’m being totally facetious, this plot holds together like wet cardboard and paper glue. There are decent ideas here that could make for a solid superhero plot… but the way it’s stitched together doesn’t quite work. Allegedly emotional moments get a disinterested/sarcastic “Oh no, not that person” from me. So yeah, unfortunately I didn’t find the plot that engaging, which is sad, because there are decent ideas presented throughout.

The characters in this, like with the plot, have good ideas to them, but in execution just end up… meh. The one that I probably cared about most was the titular princess of Themyscira. She’s kind, she’s tough, she’s… Wonder Woman. And Rosario Dawson gives it her all in voicing her. Then we have Jeffrey Donovan playing Steve Trevor, sidekick and love interest. He’s all quips, all the time. I like quips… but it doesn’t quite work here, because there’s nothing else there, no other trait than “Spew quip”. Which means Donovan doesn’t have much to work with. The other actors in the movie, including Marie Avgeropoulos, Kimberly Brooks, Michael Dorn, Courtenay Taylor, Adrienne C. Moore, and a bunch of other people, they all give good performances… even if the writing leaves a bit to be desired.

As with a lot of other DC animated movies, the score for “Wonder Woman: Bloodlines” was composed by Frederik Wiedmann, and as per usual, it is great. Big and epic, somber and emotional, mysterious and intriguing, his score captures all the emotions and such one would require from a big superhero adventure… however, a great score does not a great movie make.

Based on the iconic DC Comics character created by William Moulton Marston, “Wonder Woman: Bloodlines” was directed by Sam Liu and Justin Copeland. And this teamup isn’t great. Look, the animation itself is really frickin’ good, highly detailed and really fluid. But as with the plot and characters, something feels a bit off. The action isn’t as well crafted as some other DC animated efforts, and there’s something weirdly bland about shot composition in most scenes. Such a mixed bag in this department.

This movie has gotten some mixed reception. On Rotten Tomatoes it has an 88% positive rating. And on imdb.com it has a score of 5,8/10.

I wanted to love this… but unfortunately I didn’t. It has a not good plot, meh characters, good performances, great music, and meh direction. Time for my final score. *Ahem*. My final score for “Wonder Woman: Bloodlines” is a 4,50/10. So unfortunately I have to say that I’d recommend skipping this.

My review of “Wonder Woman: Bloodlines” is now completed.

When I envisioned my return to the blog, I thought it’d be something grand and joyous… but now I’m just sad.

Movie Review: Booksmart (2019)

And now we enter the part of the year where I make an attempt at catching up on flicks from earlier in the year. So here we go.

Ladies and gents, are you street smart, or are you… “Booksmart”.

All through high school, best friends Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) have been all about getting good grades. But on the night before graduation, they realize that they could’ve taken time to have a bit of fun too, so they make an attempt at compensating for that on this night. So now we have our coming-of-age comedy setup. And I really enjoyed the plot here. It’s fast-paced, it’s fun, and it manages to balance its tone perfectly. For the most part it is this fairly raunchy comedy, but there are times where it’s also willing to slow down and let its characters breathe a bit, adding some much welcome nuance that you don’t see too often in these kinds of movies.

The characters in “Booksmart” are colorful, flawed, fun, and fairly interesting. Amy and Molly. Best friends. Charming. Slightly awkward. Literature clever. I loved following them, they were really enjoyable protagonists that get a decent amount of development, without losing what made them appealing in the first place. And the performances from Kaitlyn Dever and Beanie Feldstein are great. And while I won’t get in-depth with too many more characters, I will say that there’s a character here, played by Billie Lourd, who is an absolute scene stealer. But we do also get some supporting work from people like Jason Sudeikis, Skyler Gisondo, Jessica Williams, Victoria Ruesga, and more, all doing very well in their respective roles.

The music in this, while not necessarily my cup of tea, worked well throughout. There’s plenty of licensed, contemporary music. The kind that youths of today would listen to… probably. “Youths of today”, Jesus shitting Christ, I’m sounding like an old man. My age dysphoria aside, this music works well enough for the movie.

“Booksmart” is the directorial debut of actress Olivia Wilde, and I think she did a really good job with it. A lot of these kinds of movies often run on what I call the “Press record on the camera” style of filmmaking, which means that the movies look bland as shit, having little to no visual effort put in. And while I wouldn’t say this is one of the most well shot movies of all time, the fact that there’s actual effort put into direction and camerawork in this movie  adds so much. And since this is a comedy, let’s talk about the humor. Is it funny? Yeah, I’d say so. It’s often quite raunchy, but not just in a “someone said a sex thing” kind of raunch, but in a lot of surprisingly clever ways. It makes for humor that is both raunchy and funny at the same time, which fits in perfectly with the overall snappiness of the dialogue.

This movie has been very well received. On Rotten Tomatoes it has a 97% positive rating and a “Fresh” certification. On Metacritic it has a score of 84/100. And on imdb.com it has a score of 7,3/10.

“Booksmart” is one of the better comedies in recent years. It has a really good plot, great characters, great performances, pretty good music, and really good directing. Time for my final *Ahem*. My final score for “Booksmart” is a 9,56/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Booksmart” is now completed.

Well done, Olivia Wilde. Solid debut.