Series Review: Des (2020)

Been a while since we covered a tv show, so I’m a bit excited right now. Also, don’t murder people.

Ladies and gentlemen… “Des”.

The year is 1983. Police have arrested Dennis “Des” Nilsen (David Tennant) on suspicion of homicide after human remains are found near his home. And throughout the show we follow the cops a they try to identify the various victims, as well as trying to get information out of Nilsen regarding everything he did. This is an interesting little crime drama. Now, it does fall back on a lot of tropes from these type of true crime murder mystery type stories, which is possibly the show’s biggest fault. It’s not outright bad, but the sometimes formulaic nature does take away some from it. But with this said, I did still find the story here decently interesting. It has this sort of eeriness that I feel we don’t necessarily get in similar things. I don’t know how to explain it, but the whole vibe around it just makes it a bit more interesting. And I do still think the investigation around Nilsen and his victims is a pretty interesting one, especially as we learn more about him as a person. There is also some stuff set around the bureaucracy of the investigation, which does add a decent bit of drama. On the whole I do think the story here is solid enough, just a little familiar in its structure.

The characters in this are pretty interesting. Especially our main two, who are both really compelling. First up we have Daniel Mays as Detective chief inspector Peter Jay, the man leading the investigation into Nilsen’s murders. He’s a man of principle, someone determined to see this all through, even when the higher ups try to get in his way. He’s a compelling lead, and Daniel Mays gives a really good performance. And then we have David Tennant as Dennis Nilsen, AKA Des. He’s a really frightening character. But not in a Hannibal Lecter or Annie Wilkes kinda way where they’re made to be frightening. Nilsen is frightening in how blunt and forward he is. Right from the start he’s like “Yeah, I killed them” and has no problem telling how it happened, like how you might tell your friends about your trip to Spain. He’s frightening because he is so… human. And Tennant is fantastic in the role, giving one of the best performances of his career. We also get supporting work from people like Jason Watkins, Barry Ward, Jay Simpson, Bronagh Waugh, and more, all giving good performances.

The score for the show was composed by Sarah Warne, and I think she did a pretty good job. It’s very low key, going for a somewhat eerie, almost droning sound to add to the atmosphere of the show. It really helps create an engaging soundscape within the show.

Based on the book “Killing for Company” by Brian Masters, “Des” was created by Luke Neal and Lewis Arnold, with Arnold directing, and Neal serving as lead writer. And I think the craft here is really strong. One thing I really appreciate about the directing and such here is how remarkably restrained they are. So many other people would probably give us the gory, graphic details of the entire situation, but the crew here didn’t. They hold back quite a bit, just giving us the explanations of everything that happened. And while too much exposition can be a bit bothersome, I feel that they found the right balance here. I must also commend Mark Wolf on his cinematography, because it’s really frickin’ good and fits the story being told really well.

This show has been quite well received. On Rotten Tomatoes it has an 89% positive rating. On Metacritic it has a score of 75/100. And on imdb.com it has a score of 7.7/10.

While its formulaic nature does bring it down a little bit, “Des” is still a pretty compelling crime drama. It has a good story, pretty good characters, great performances, really good music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “Des” is an 8.45/10. So while flawed, it’s definitely still definitely worth watching.

My review of “Des” is now completed.

Symphony of Des-truction…

Series Review: Seis Manos – Season 1 (2019)

Is it time to talk about animation? I believe it’s time to talk about some animation. Hell, I’d say it definitely is time to do that. That’s the perk of running your own blog. No editor who can say “No, you can’t talk about animation now”.

Dames y hombres… “Seis Manos” season 1.

1970s Mexico. When a vicious gangster (Danny Trejo) starts unleashing hell upon the world, a group of varying people get brought together to try to stop him. This motley crew includes some martial artists (Aislinn Derbez and Johnny Cruz), a local cop (Angélica Vale), and an American DEA agent (Mike Colter). “Seis Manos” is fascinating in the sense that it’s a pretty eclectic mix of ideas, inspirations, and styles. On the surface it seems be a mix of crime-drama and martial arts action, but then you also start mixing in stuff like grindhouse, comedy, fantasy, body horror, eastern philosophy, and even elements of Blaxploitation. And then you of course also take the Mexican setting into account, which means a lot of that culture gets mixed into proceedings. So you’d think the storytelling of this show would be an absolute clusterfuck… but no, the crazy songs of bitches pulled it off. While it does lose a little bit of focus towards the end, I do still feel that there’s some really solid storytelling going on here. Yes, it’s eclectic, but that also adds a lot of personality to it, while still being a generally entertaining narrative to follow. It does have a fair bit of emotionally resonant drama, but it also generally serves as a fun and unusual tale that is just plain fun to follow.

The characters in this are of course based on tropes and archetypes we’ve seen before, but we do also see them played around with to a decent extent, making for some enjoyable development. Like the three martial artists Isabela, Jesus, and Silencio. One a tough but loving woman, one a big, lovable goof, and one a dark and quiet man. All three start out with that one detail and get some enjoyable development throughout. Then there’s Garcia, the local police officer who gets tangled up in this insanity. A tough but fair cop trying to prove herself while still staying true to herself. And she’s very interesting too. Then there’s Brister, a fridge of a man working for the DEA, working to take down bad guys. He’s a smart-aleck with a lot of colorful lines and a very “I don’t have time for this shit” kind of attitude, which gets tested at every turn for not only great comedy, but some genuinely interesting character development. And the villain, El Balde, is one vicious motherfucker, making for one hell of an intimidating presence. And the voice cast, containing people like Aislinn Derbez, Jonny Cruz, Mike Colter, Danny Trejo, Angélica Vale, Vic Chao, and more, all do very well in their respective roles.

The score for the show was composed by Carl Thiel, and I think he did a really good job with it. Much like with the narrative it complements, the score takes inspiration from many sources. Of course it has some familiar use of strings, keys, and brass for action stuff. But there’s also some traditional Mexican stuff throughout, a little bit of 70s noir-inspired funk, and probably some other specific styles I currently forget. Either way, it’s an interesting mix of sounds that pays off in making for giving the show an interesting soundscape.

“Seis Manos” was created for Netflix by Brad Graeber and Álvaro Rodríguez, with Willis Bulliner handling the directing. It’s also animated by Powerhouse Animation, a studio that I’ve talked about a few times before on this blog (*Shameless* and *Plug*). So as to be expected, I was excited to see how this show would end up looking. And it looks really good. Character designs are charming and fight scenes are kinetic and exciting. While it isn’t Powerhouse’s overall strongest piece of animation, it’s still really well handled, giving us some terrifically directed animation/action to enjoy. Plus, we don’t get much in terms of martial arts animation here in the west, so this show delivering on that was an absolute treat for me.

This show/season has been pretty well received. On Rotten Tomatoes it has a 100% positive rating. And on imdb.com it has a score of 7.2/10.

While the final act of the story is a little bit lacking in focus, season 1 of “Seis Manos” is still a highly entertaining and refreshingly unique bit of animation. It has a good story, good characters, great performances, great music, and great directing/animation/action. Time for my final score. *Ahem*. My final score for “Seis Manos” season 1 is an 8.87/10. So while flawed, it’s still definitely worth watching!

My review of “Seis Manos” season 1 is now completed.

I hope we get a season 2. Or should I say… SEISON!?

Series Review: History of Swear Words – Season 1 (2021)

This is a bit exciting. First 2021 release to be covered on the blog. Are you excited? Because I’m excited. So let’s get into it!

Ladies and gentlemen… “History of Swear Words”!

Fuck you. Don’t worry, I don’t actually mean that. But it’s an interesting phrase. Especially the first word, “fuck”. Why is it like that? Why do we use it as an expletive? Well, this show seeks to answer that. Every episode sees Nicolas Cage introducing us to a well known swear word. And then various linguist experts and entertainers come in as well to give us facts and opinions on swear words and their etymology. You’d think this premise might be a bit of a one trick pony, something that’ll get old after the first five minutes. But you (and I) would be wrong. They not only manage to keep the funny side of the premise going throughout all six episodes, but it also manages to be incredibly informative about the expletives and even language as a whole. They balance comedy and history really well to create a fun whole that is both really entertaining and surprisingly informative. And it’s also interesting when we get the entertainers coming in and giving their thoughts on each of the six curse words, as it sparks a lot of thoughts and discussions within my own head. Am I saying that this is the most nuanced and perfect documentary series ever? No. But the fact that they manage to keep it feeling fresh and entertaining throughout all six episodes deserves to be commended. By the end I felt both amused and educated. Plus, living legend Nicolas Cage makes for a really good host/presenter, so that’s a great bonus.

One thing I like about the craft behind “History of Swear Words” is just how snappy and energetic it is, despite using a lot of familiar documentary tricks. The editing is fast paced and manages to keep things from feeling stale. It also helps that they use a lot of cute little animations when explaining some of the backstories of the words. Basically the directing, editing, and all that manages to ground the show without sacrificing any of the silliness around the premise, making for a highly enjoyable whole.

At the time of writing (I am an early bird) the show has no real ratings on any of my usual sites. So I’m just gonna attach the links and you can see for yourself how the ratings may evolve over time, because I’m too fucking lazy to edit this shit later down the line. Here’s Rotten Tomatoes. And here’s imdb.

While not a revolutionary piece of media, Netflix’s “History of Swear Words” is still a highly enjoyable little piece of edutainment, featuring interesting facts, plenty of laughs, and living legend Nicolas Cage. Time for my final score. *God damn ahem*. My final score for “History of Swear Words” is an 8.73/10. So I’d definitely recommend checking it out.

My review of “History of Swear Words” is now completed.

FFFFFFFFFFFFFFFUUUUUUUUUUDGe is delicious.

Series Review: Dragon’s Dogma – Season 1 (2020)

I love animation. I love video games. So the two smashed together should be heaven, right? Right? Why are you so quiet?

Ladies and gents… “Dragon’s Dogma” season 1.

Ethan (Greg Chun) lives a nice, relatively quiet life with his wife. This peace doesn’t last however when the entire town is destroyed and Ethan’s heart gets eaten by a giant dragon. Shortly after our hero finds himself resurrected by a mysterious magical lady (Erica Mendez), and vows to find and slay the dragon that ruined his life. It’s a mostly classic fantasy/revenge setup with elements that we’ve seen before. Where it tries to stand out somewhat though is in its storytelling… keyword being tried. The idea with each episode is that as Ethan travels the country in search of the big spooky lizard, he encounters different monsters and situations mirroring the seven deadly sins (which can even be seen in each episode title). And while they have some wonderful ideas for how that will work, I feel like they undercooked this heart steak a bit. While the show’s fast pace keeps it from getting too stale, it does hurt the storytelling. Nothing really gets to simmer. They have interesting developments and ideas within each episode, but I never feel as invested as I could be given the interesting subject matter. So instead of getting the nuanced fantasy narrative that I know the crew’re striving for, we get a story that never reaches its full potential, bar one thing in the final episode.

Where the story does falter… the characters don’t do much to help. I will say that Ethan, our main protagonist, does have some interesting stuff going on. Each episode we see some mild developments on his side, and it does make him a somewhat compelling character. And Greg Chun does a great job with his voice work there. Then we have the pawn (also known as Hannah), the mysterious magical lady I mentioned earlier who resurrected Ethan. She is a little bit of a blank slate, only there to serve as a somewhat logic-driven sidekick to Ethan. There is great potential with her character, but it’s never fully achieved. At least Erica Mendez does a good job with her performance. The rest of the cast aren’t necessarily as great though, because most of them attempt some form of British accent (‘ullo gov’nah), with a majority sadly falling flat on their face.

The score for the show was composed by Tadayoshi Makino, and I think his music here is great. It is of course based in a lot of the brass, strings, and piano we have heard in fantasy before. But Makino puts his own spin on it to some degree, making for a score that is exciting, emotional, and ear candy of the highest degree.

Based on the 2012 video game from Capcom, “Dragon’s Dogma” was animated by studio Sublimation for Netflix, with Shinya Sugai handling direction. Aaaaaand I have mixed feelings. Lookign at the overall shot composition, you can tell that these guys have a good eye, there’s a lot of good “camera” movements and nice ideas for stills. This is however brought down by the studio’s choice to go with a pseudo 3D style of animation. Now, in the few instances I’ve seen this styles pop up in other things, it hasn’t been very good. And while it certainly looks slightly less shit than some other instances of this weird 2D/3D amalgamation, it still doesn’t work. All the characters look lifeless dolls, and movements look really janky. This is almost even worse with some of the creatures in this show, who get these pretty murky textures draped over them, which makes them look really bad. There are moments of good animation however. Fleeting moments of regular, hand-drawn 2D animation. And it’s a shame that these are such brief moments, because those instances look amazing. But overall, the animation here isn’t great.

This show’s gotten some mixed reception. On Rotten Tomatoes it has a critic rating of 100%, but an audience rating of 50%. And on imdb.com it has a score of 6.3/10.

While it has a lot of potential for greatness, Netflix’s “Dragon’s Dogma” sadly doesn’t live up to the potential. It has a mediocre plot, okay characters, good acting, great music, and bad animation. Time for my final score. *Ahem*. My final score for “Dragon’s Dogma” is a 4.89/10. So sadly I’d have to recommend skipping it.

My review of “Dragon’s Dogma” is now completed.

Hopefully the game’s better…

Series Review: Buffy the Vampire Slayer – Season 5 (2000 – 2001)

Don’t worry, there will be more christmas content coming your way. Just thought I’d give you a palate cleanser. And what better than a continuation of my “Buffy” rewatch? So let’s go! Oh, and brief spoiler for the end of season 4 in the plot section.

Ladies and gents… “Buffy the Vampire Slayer” season 5.

With Adam dead and gone, it seems that Buffy (Sarah Michelle Gellar) and her friends can finally go back to some kind of (ab)normal. This however does of course get a bit interrupted when a strange and powerful woman (Clare Kramer) starts causing chaos in the town. So Buffy has to find a way to stop her, all while dealing with the usual monsters of Sunnydale, and also trying to keep her mother (Kristine Sutherland) and sister (Michelle Trachtenberg) safe. People who’ve followed along with the show up until now probably ask “Wait, sister? Dafuh?”. And yes, Buffy has a sister now. While that seems strange and forced at first, over the course of the season we find out why she’s suddenly there, and I think that narrative thread is pretty interesting. And the stuff with Glory (the aforementioned strange and powerful woman) is pretty good too. It’s some of the one-off monster of the week stuff inbetween that isn’t great. The season does overall feel more focused than season 4, it’s a generally better package. But that doesn’t stop it from having some duds throughout, which does bring it down a bit. But I do still like this season’s story quite a bit. It has some great highs, and it has some really harsh moments that hit hard. Yes, the lows are definitely low, but the story this season generally has enough highs to be well into the positive side of things.

The characters in this remain the absolute highlight. The returning cast of Sarah Michelle Gellar, Alyson Hannigan, Anthony Head, Nicholas Brendon, James Marsters, Kristine Sutherland, Emma Caulfield, and Amber Benson are all great, and they all (for the most part) do great stuff with them. So let’s talk about some newer people. First up we have Michelle Trachtenberg as Dawn, Buffy’s little sister who totes mcgotes has been in the show all this time and wasn’t added this season for the sake of a new plot. Okay, I joke. But seriously, the way they implement the character is pretty interesting. And Trachtenberg does an okay job with her performance. Next we have Clare Kramer as Glory, the new big bad. She’s a chatty, charistmatic, and fun villain, a breath of fresh air after the dullness of the previous season’s antagonism. And Kramer is great in the role.

The score for this season was composed by Thomas Wanker (I do not envy that name), with a little additional help by Christophe Beck. And the music here is really good. It’s not as top tier as Beck’s older scores, and often falls back on slightly more generic stings and such. But it’s still enjoyable enough and works decently well for this season.

Season 5 of “Buffy” was written and directed by a whole bunch of different people, and they generally did a good job with it. Scenes flow pretty well, and shot composition is generally quite pleasing. There’s even some decently impressive use of restraint in a few certain moments in the season. You can tell that they’ve perfected their craft here. Even in the weaker episodes, the directin, effects, and such are still really good.

The show/season has been well received. On Rotten Tomatoes the season has an 82% positive rating. On Metacritic the season has an audience score of 5.6/10. And on imdb.com the show has a score of 8.2/10.

While still not able to recapture the magic of seasons 2 or 3, season 5 of “Buffy the Vampire Slayer” is still a really good season of tv, and a major step up from the 5th iteration. It has a good story, great characters, really good performances, really good music, and great directing. Time for my final score. *Ahem*. My final score for “Buffy the Vampire Slayer” season 5 is an 8.32/10. So while flawed, it’s still worth watching.

My review of “Buffy the Vampire Slayer” season 5 is now completed.

Two more seasons to go.

Series Review: Fargo – Season 4 (2020)

How I’ve waited for this season to drop. I am a huge fan of this show, loving every season so far. So I was of course anxiously waiting for this one to start airing. It was even supposed to air this spring, but then it got delayed. But it finally started this Autumn, and now it has wrapped up. So let’s talk about it!

Ladies and gentlemen… “Fargo” season 4!

Kansas City, 1950. We follow two crime syndicates, one an African-American group led by Loy Cannon (Chris Rock), and the other an Italian gangster family led by Josto Fadda (Jason Schwartzman). And as we follow their struggle against each other, a bunch of other interesting figures get involved in both their own dealings, and the antics of the syndicates. From a nurse (Jessie Buckley) with some shady secrets, to a policeman with PTSD and OCD (Jack Huston), to a devoutly Mormon U.S. marshal (Timothy Olyphant), all kinds of colorful figures occupy this season of “Fargo”. The story in this is a lot more straightforward than some of the previous ones, being less strange than some of the previous outings. But with this said, that doesn’t mean it doesn’t have a lot going on. Because this season has more threads going on than one might at first assume. And while I am more often than not interested and entertained by everything going on, I do feel like the storytelling here is the weakest of all the seasons. That said, this season has a bunch of great parts, and when this season is on top, it’s fantastic. But then there’s a fair amount of times, especially towards the middle of the season, where it loses a bit of steam for me. It does lose some of its momentum in those parts, but never enough to be considered outright bad. The overall package here is till solid.

Where the storytelling falters at points, the characters remain the best part of this show. All are colorful and nuanced and really fascinating. And the cast is fantastic too, featuring top tier work from people like Chris Rock, Jessie Buckley, Jason Schwartzman, Ben Whishaw, Timothy Olyphant, Jack Huston, Salvatore Esposito, E’myri Crutchfield, Andrew Bird, Jeremie Harris, and many more.

As with previous seasons, the score was composed by Jeff Russo, and as per usual he did a fantastic job. It’s a little eclectic in its instrumentation, creating a lot of different sounds for different scenes, and I love it, it works so well within the colorful canvas of this show. And the handful of licensed tracks used throughout work quite well too.

All episodes of “Fargo” season 4 were co-written by series creator Noah Hawley, with direction by a whole batch of cool people. And the craft here is just as stellar as before. There’s a lot of energy within the directing, crackling in a way that feels wholly unique to this show. All of it wrapped up wonderfully in some really beautiful cinematography.

This show/season has been pretty well received. On Rotten Tomatoes it has an 81% positive rating and a “Fresh” certification. On Metacritic it has a score of 68/100. And on imdb.com it has a score of 8.9/10 and is ranked #36 on the “Top 250 TV” list.

While it’s my least favorite iteration of the show so far, season 4 of “Fargo” is still a damn fine season of tv. It has a good story, great characters, fantastic performances, great music, and fantastic directing/cinematography. Time for my final score. *Ahem*. My final score for “Fargo” season 4 is an 8.78/10. So while it is pretty flawed, it is still definitely worth watching.

My review of “Fargo” season 4 is now completed

Is Olyphant gonna get typecast as a marshal for the rest of his career?

Series Review: Yellowstone – Season 3 (2020)

This show is fascinating to me. It’s never been one of my favorites, but I always feel compelled to come back to it when a new season airs. It’s like Al Pacino says in “Godfather Part 3”: Just when I thought I was out, they pull me back in. So let’s see if this third season is any good.

Ladies and gents… “Yellowstone” season 3.

It’s summer in the valley, and everyone of the Dutton clan is slowly settling back into their lives after the tumultuous events of season 2. But just when the characters think they might be able to take a breather, a seemingly friendly, yet cunning businessman (Josh Holloway) starts making moves to get hold of the Yellowstone ranch for his own businesses. And as per the norm with this show, things start escalating from there, both for the Duttons themselves, and for the people around them. When this season started, something fascinating happened. I felt fully invested in what was going on. In previous seasons that was a little hard at times, either due to weird pacing or overbearing melodrama. But for the first few episodes there was no real sign of that. It felt like new life had been breathed into the show. But then towards the middle the show fell back into that aforementioned pit for a bit. But towards the end it really swung up to greatness again. But I do think the story on the whole this season is really strong. While the things I didn’t enjoy in previous seasons occur, there’s certainly less of them this time around. And when this season isn’t wallowing in some of that melodrama, then it is fucking fantastic. The dark moments are truly dark, the stakes feel truly high, and when a moment wants to leave a visceral impact, then it really does. Again, it’s still not a perfect line, but it’s damn close to getting there.

The characters in this are flawed, colorful, fascinating, and quite entertaining. The returning main cast of Kevin Costner, Kelly Reilly, Wes Bentley, Luke Grimes, and Kelsey Asbille all give great performances, and we get to see their characters develop in some really great ways. Returning supporting cast of people like Jefferson White, Brecken Merrill, Cole Hauser, Forrie J. Smith, Gil Birmingham, Denim Richards, Ian Bohen, and Mo Brings Plenty are all great too. Let’s talk about newcomer Josh Holloway, who plays Roarke, a well spoken, outwardly friendly businessman who creates some tension for the Dutton empire. At first he seems like a breath of fresh air, compared to the sliminess of Danny Huston’s Jenkins or the intensity of Neal McDonough’s Beck. But then he barely has any real presence within the narrative. Roarke’s shareholders and attorneys and such take up more space than him, and it almost makes him feel like he has little place within the story. Holloway does a good job with his performance, but the characters just kinda fizzles out in interest over time. So main antagonist aside, the characters here are great.

The score for this season was composed by Brian Tyler and Breton Vivian, and I think they did a really good job with it. The score retains that pseudo-western vibe that we’ve come to expect, and uses it to create a compelling soundscape that works really well for the show. There’s also a bunch of licensed songs used throughout, and they work pretty well too.

As with the previous two seasons, all episode of “Yellowstone” season 3 were written by Taylor Sheridan, with some other cool people directing. And the craft on display here is of course top notch, they’ve really come into their own in this department. The direction is confident and bold, really capturing the sweeping scale of the setting, all without sacrificing the intimacy to the characters. And this helps keep every scene feel somewhat interesting, even if the writing may dip a little bit. And the cinematography by Jim Denault and William Wages is terrific. It’s just well crafted, yo.

This show/season has been pretty well received. On Rotten Tomatoes it has an 83% positive rating. And on imdb.com it has a score of 8.5/10.

While not perfect, season 3 of “Yellowstone” is still a massive step in the right direction for the show, giving us the best season so far. It has a really good story, great characters, great performances, really good music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “Yellowstone” season 3 is an 8.88/10. So it’s definitely worth watching.

My review of “Yellowstone” season 3 is now completed.

Yeehaw.

Series Review: Castlevania – Season 3 (2020)

Took me a bit longer to get around to this than I originally wanted. But now we’re finally here. So let’s talk about this show for a bit. Oh, and there will be some spoilers for season 2… so you have been warned.

Ladies and gentlemen… “Castlevania” season 3!

A few months have passed since Dracula’s demise, and everyone’s kind of gone their separate ways. The peace isn’t kept for long however, as the various characters all run into their own share of problems. Trying to break down the narrative of this season in a well-written and concise way without getting into too many spoilers is difficult, as there are about as many threads as a season of “Game of Thrones”. But I’ll do my best. First off we have Trevor (Richard Armitage) and Sypha (Alejandra Reynoso) who find themselves visiting a mysterious village that seemingly holds more secrets than they at first let on. Then you have Alucard (James Callis) adjusting to the solitude of living in Dracula’s castle. Then there’s Carmilla (Jaime Murray) and her fellow vampires scheming to take over the world. And then there’s Isaac (Adetokumboh M’Cormack), building his army of night creatures and traveling across the world. But then there’s also the mysterious newcomer Saint Germain (Bill Nighy) and his schemes. Like I said, there’s a lot, and I didn’t even touch on all of them, either due to spoilers or fear of overextending this section. But believe me when I say that the ten episodes of this season cover A LOT of shit. But despite covering so much, it never gets confusing. This doesn’t mean that all aspects get treated with an equal amount of care and devotion, which at times can make this feel like a little bit of a middle chapter, but I do still find the narrative very engrossing. You get this epic fantasy tale, which also mixes in clever mystery, some gruesomely dark horror, a lot of heart and humor, and even a bit of enjoyable human drama. It’s great stuff, yo.

The characters in this, both old and new are colorful, flawed, layered, fascinating, and highly entertaining. The older ones get a little development, and newer ones do too. All of them are highly interesting and I loved seeing them. And the voice cast is fucking phenomenal, featuring such talented folks as Richard Armitage, Alejandra Reynoso, James Callis, Jaime Murray, Adetokumboh M’Cormack, Theo James, Jessica Brown Findlay, Jason Isaacs, Navid Negahban, Ivana Milisevic, Rila Fukushima, Toro Uchikado, Bill god damn Nighy, and more.

As with the previous two seasons, the score here was composed by Trevor Morris. And he absolutely knocked it out of the god damn park. He manages to cover so much ground with the various tracks in the show. From big bombastic brass, to more subtle strings, to even a bit of really intense synth, the dude did a fantastic job.

All episodes of “Castlevania” season 3 were written by Warren Ellis, with direction being handled by brother Sam and Adam Deats. And not that previous seasons were slouches in the animation department, but fuckin’ hell, the animation this season is the best it’s ever been. In quieter moments it looks really good, but it’s really in action scenes where it shines. Really captures the intensity and insanity that would happen from these battles. The final two episodes especially show this, as they have some of the best battles I’ve seen in animation. It’s one of the most well animated shows I’ve ever watched.

This show/season has been well received. On Rotten Tomatoes it has a 100% positive rating. On Metacritic it has an audience score of 7.2/10. And on imdb.com it has a score of 8.2/10.

Season 3 is another winning batch of episodes for “Castlevania”, giving us more of what I’ve come to love from the show. It has a great story, great characters, great performances, fantastic music, and fantastic directing/animation. Time for my final score. *Ahem*. My final score for “Castlevania” season 3 is a 9.92/10. Which does mean that it gets the “SEAL OF APPROVAL!”.

My review of “Castlevania” season 3 is now completed

This remains the best video game adaptation.

Series Review: The Good Lord Bird (2020)

We all agree that slavery was one of the worst things in human history, right? Alright, good. At least we’re on the same page on that.

Ladies and gentlemen… “The Good Lord Bird”.

The story follows Henry “Onion” Shackleford (Joshua Caleb Johnson), a young slave who gets freed by abolitionist John Brown (Ethan Hawke) and then joins his merry band of freedom fighters. And we follow Onion as he follows along on Brown’s crusade to free the slaves. What I found fascinating about “The Good Lord Bird” is the interesting use of of tonal shifts to tell its story. While at its core it’s a serious drama about the liberation of shackled people, the writers use a surprising amount of comedy throughout, which adds quite a bit of nuance to proceedings. But it’s not just a tonally unique slavery drama, but it’s also largely a coming of age story, since we get to see how this young boy gets to evolve while following along with Brown’s crusade. And while this sounds like it could be quite messy, it really isn’t. I found the story here to be utterly engrossing and entertaining, having me utterly engaged throughout the seven episodes.

The characters in this are colorful, flawed, surprisingly layered (like an onion, HA!), and really entertaining. Joshua Caleb Johnson plays Onion, the young slave who becomes part of Brown’s gang. He has quite an interesting and highly enjoyable personal arc in this, while also serving as the audience in this story, being our look at Brown and his antics. And I think Onion is a really fun protagonist, with Johnson giving a great performance. Next we have Ethan Hawke as John Brown, preacher and abolitionist. He is a fascinating individual, being really passionate about the emancipation of the slaves. And when I say passionate, I mean PASSIONATE, borderline fanatic. His heart is of course in the right place, it’s just that he’s maybe also a bit gung ho about it all, making his methods seem a little insane at times. But that’s what makes him such a fascinating character. And Ethan Hawke is terrific in the role, selling every bit of Brown’s eccentric personality wonderfully. We also get supporting work from people like Beau Knapp, Hubert Point-Du Jour, Ellar Coltrane, Mo Brings Plenty, Nick Eversman Daveed Diggs, and many more, all giving top notch performances.

The score for the show was composed by Jamison Hollister, and I thought it was really good. If you’ve heard a western score in the lat 30 years, you probably know what you’re getting. A fair bit of strings, high energy, and just a vibe that says “this is a fun western”. There’s also a fair amount of licensed songs used throughout, and they work surprisingly well in their respective scenes. So yeah, this show has good music.

Based on the novel of the same name by James McBride, “The Good Lord Bird” was developed for Showtime by Mark Richard and Ethan Hawke, with writing and directing by a whole load of cool people. And the craft on display here is superb. Usually when I watched a tv show, even ones on high budgets with super talented crews, I can still usually tell by how it’s shot that it’s a tv project. But I don’t really get that feel here. They’ve taken careful steps to make sure it blurs the line between cinema and television with their shots and camera movements here. This comes partly from Peter Deming’s beautiful cinematography, and partly from the directing which crackles with energy and feels so lively. This doesn’t mean that anything feels rushed, because the crew really know when to slow down and let moments simmer, creating a perfect balance between the fun, the emotionally charged, and the exciting.

This show has been well received. On Rotten Tomatoes it has a 100% positive rating and a “Fresh” certification. On Metacritic it has a score of 84/100. And on imdb.com it has a score of 7.2/10.

“The Good Lord Bird” is a highly entertaining, fascinating, and unique take on slavery-themed drama, and is one of the best shows of 2020. It has a great story, great characters, fantastic performances, great music, and fantastic directing/cinematography. Time for my final score. *Ahem*. My final score for “The Good Lord Bird” is a 9.91/10. So it gets the “SEAL OF APPROVAL!”.

My review of “The Good Lord Bird” is now completed.

Ethan Hawke has two modes in this show: Low grumbly growling and PASSIONATE, THROAT-RUINING SCREAMING.

Series Review: Aunty Donna’s Big Ol’ House of Fun – Season 1 (2020)

It’s quite inspiring to see internet people gain some level of mainstream attention. Not like through some kind of controversy or douchebaggery that we’ve seen from some over the past few years. No, we’re talking about those who just worked hard at their craft and then found themselves getting bigger projects. This is such an occasion.

Ladies and gentlemen, I welcome you all… to “Aunty Donna’s Big Ol’ House of Fun”!

While I usually explain some sort of overarching narrative in this section of my reviews, this one is going to be a little different. Because this show isn’t some typical story-driven thing. It’s a sketch series with each episode having some weird theme (or “Word of the Day” as they call it) that each sketch is mildly connected to. But with this being Aunty Donna, you can never really expect where they’ll go with it. It’s basically just the boys doing their usual shit, on a slightly bigger budget. And since they have a brand of humor that is very much their own, then this isn’t really for everyone. They’re weird, unpredictable, goofy, absurd, and even slightly surreal. And being an Aunty Donna fan, I am so glad that they’re unique style is retained here. I’m not gonna say that all the sketches here caused huge laughter, but I can happily say that I was always smiling at least. Then there of course were huge laughs throughout. Basically if you’re already a fan of the Aunty Donna crew and their weird style of humor, then you’re definitely gonna enjoy this, as it’s 100% that. As for any other people who aren’t familiar with them… then I don’t know if you’ll enjoy it. Give it a try, I guess? Maybe you’ll enjoy some of the wordplay? Or one of the song numbers? Or a performance? Who knows. Either way, I enjoyed it all a lot.

There’s a lot of different characters in this, all very colorful, most a ton of fun. And since I don’t wanna spoil those, I’ll just move on. But I will however say that the cast is on top as per usual, with our main trio of Broden Kelly, Mark Bonanno, and Zachary Ruane are as great and energetic as ever. We even see a few of their regular collaborators throughout, such as Michelle Brasier and Ben Russell. There’s even a few surprising guest appearances at a few points…
But yeah, this cast is great.

This show is well shot and edited. Yeah, not much else I can say there. It’s familiar territory for the boys in terms of overall craft, just slightly better looking thanks to that Netflix money. So you know, that’s pretty cool. Kudos to the production crew.

At the time of writing, it doesn’t have many scores on my usual sites. But here’s the Rotten Tomatoes link for future reference. And here’s the Metacritic one. And then we have imdb.com, where it (AT TIME OF WRITING) has a score of 9.1/10.

So yeah, season 1 of “Aunty Donna’s Big Ol’ House of Fun” is indeed a big ol’ house of fun. I found it to be hilarious, charming, and very well performed. So time for my final score. *Ahem*. My final score for “Aunty Donna’s Big Ol’ House of Fun” season 1 is a 9.76/10. So while it ain’t for everyone, I still give it a “SEAL OF APPROVAL!”.

My review of “Aunty Donna’s Big Ol’ House of Fun” season 1 is now completed.

I watch Aunty Donna and it makes me chuffed…