Movie Review: Boiling Point (2022)

No, this isn’t a movie about that one Rat Boy song that was in “Need For Speed: Payback”. WHAT? What do you mean that reference is too niche? *sigh*. Anyhow, let’s check into the kitchen.

Ladies, gents, and non-binaries… “Boiling Point”!

It’s christmas time, and Andy Jones (Stephen Graham), the head chef at a nice restaurant, has to try to keep himself and his staff in check on what seems to be the busiest night of the year. Much like the title suggests, the story of “Boiling Point” is a constant simmering tension that is on the cusp of shit going boom at any point. Right from frame one when we first see Andy walking into the restaurant, there is this uncomfortable tension, and it never really lets up, in fact it just gets more and more tense as the night goes on, and things in the restaurant start getting more and more strained and uncomfortable for Andy and the other employees, confronting both their personal flaws and the demands of the customers. So yeah, I think the story here is fucking great. A really tense and highly compelling narrative of people trying to survive walls closing in on all ends.

The characters in this, much like the story, I find utterly compelling. They all have this lived-in quality to them, making them feel like real people in this world, and not just characters who’ve been plonked in there for the sake of a story. And what I also like is that the movie puts their flaws on display first and foremost, making for some really strong drama and character development. What also helps is the cast, all of whom are just on point. Stephen Graham is an actor I’ve admired for several years now, and once again he knocked it out of the god damn park. But I also have to commend the rest of the cast, containing people like Vinette Robinson, Alice Feetham, Ray Panthaki, Hannah Walters, Malachi Kirby, and many more, all of whom are fucking spectacular.

The score for the movie was composed by David Ridley and Aaron May, and I will be frank… I have no memory of it. I watched it this evening, and I can’t recall any music of any kind, beyond the end credits song by Sam Fender (which is a good song). But the score itself, I sadly can’t comment on.

“Boiling Point” was directed and co-written by Philip Barantini, based on a short film he made a few years back (also starring Stephen Graham). And boy howdy, did he kill it. If you’re not aware, this movie was done in one long take, which is a gimmick we’ve seen in other movies, but I think “Boiling Point” uses it in a way that makes sense. It really helps capture the unrelenting pressure that is on the characters. There is no relief for them they’re constantly in the moment, and I think that’s beautifully captured through the tense direction, and Matthew Lewis’ impressive cinematography. It’s just incredibly well crafted.

This movie has been very well received. On Rotten Tomatoes it has a 99% positive rating and a “Fresh” certification. On Metacritic it has a score of 73/100. And on imdb.com it has a score of 7.5/10.

“Boiling Point” is a suspenseful and really compelling drama. It has a great story, great characters, fantastic performances, and fantastic direction and cinematography. Time for my final score. *Ahem*. My final score for “Boiling Point” is a 9.60/10. Which does mean that it gets the “SEAL OF APPROVAL!”.

My review of “Boiling Point” is now completed.

You know, I wasn’t set on becoming a chef before I saw this, but now I’m even less inclined to do it.

The Fable: The Movies That I Really Like

Hey there, friends, been a while. I got no excuse for my absence, it just accidentally happened. But I wanted to get into the swing of things, so I thought I’d go with something a little less structured and more freeform than usual, and just talk about some stuff I watched during my brief blogging hiatus. So anyhow, let’s talk about some Japanese movies.

“The Fable” is a 2019 action-comedy based on a manga by Katsuhisa Minami, and it tells the story about a man known only as The Fable (played by Jun’ichi Okada). The Fable has been trained since childhood to become  a cold, ruthless, and highly skilled hitman. This bloody status quo comes to a halt however when his boss (Koichi Sato) tells him to lay low and not kill anyone for a while. And so he assumes the identity of Akira Sato, and moves with his partner-in-crime (Fumino Kimura) to Osaka to live a quiet life for the time being. But since this is a movie, troubles start to slowly crop up that may threaten Sato’s new, quiet life. It’s pacing can be a little ass-draggy at times, but “The Fable” is one hell of a fun time.
The setup in itself is a lot of fun and can lend itself to a lot of great comedy. Here’s this cold, matter of fact, calculating assassin, and he has to find something else to do in life, all while trying to keep his identity a secret. One way they play around with this is a scene pretty early in the movie where he gets into a scuffle with some local punks. The movie’s already established that he’s the biggest badass ever, so he could absolutely wreck them without any problem. But since he has to lay low, he not only takes the beating, but also calculates his reactions to sell the illusion to these douchebags. I know my explanation is very cut and dry, but that’s also because there is no way to sell the sheer creativity and comedy of the scene in words alone. Luckily, I won’t have to, as I found the scene on youtube. Sadly it has no English subtitles, but hopefully the visuals speak for themselves, so you get somewhat of an idea how of the film’s comedy and creativity.

But they of course play around with this as Sato tries to be a mundane man, trying to find a job, watching tv, making friends. But he also has his own unique quirks that add a few more layers to the humor. And it’s all done in really funny and unique ways that I just enjoy a lot. But the movie’s not all laughs, as it also flashes back to Sato’s youth a lot, showing what led to him being the way he is. And this helps build a lot of heart and genuinely interesting drama within the story.

I also love the action scenes in this. Kan Eguchi directed the movie, and he brings this really energetic flair to the action. Shootouts, close quarters fighting, the movie has a bit of most types of action, all of it incredibly creative and well choreographed.
The only point where the movie falls apart is the pacing. As previously mentioned, it does drag a bit in parts. Otherwise, it’s a really fun movie that I can happily recommend.

The Sequel: The Movie That is Better Than the First?

In 2021 we got a sequel in the form of “The Fable: The Killer Who Doesn’t Kill”. Sato’s still laying low in Osaka, living with his “sister”, working his mundane job. His peaceful existence is once again threatened however when his past actions come back to haunt him.
As was very unsubtly hinted in the headline for this section, I like this more than the first. If the first one’s around an 8/10, this one’s a solid 9/10 for me. It takes a lot of the ideas set up in the first one and polishes them marvelously. The story is more intriguing and emotionally affecting, the character development is a bit stronger, the action is kinetic as hell and feels more confident than in the first one, and the comedy, while a bit toned down compared to what we got in the first, is still REALLY funny.

Despite how bright and colorful the poster is, this movie can actually get quite dark at times. The narrative largely centers around a young woman who has some past connection to Sato/The Fable. Her arc in this movie is tragic and uplifting in equal measure, and they manage to wring a lot of tension and emotional investment out of it. Her narrative is also connected to the film’s main antagonist (Shin’ichi Tsutsumi), who is an outwardly kind and delightful man, but who we quickly find out is a bit of a twat. Their personal arcs intersecting with that of Sato’s makes for some really strong dramatic storytelling, while still allowing a lot of room for action and shenanigans.

Let’s talk villain for a second. In the first one there were a few, but beyond two semi-memorable, half-joke characters, I really don’t remember anything, most were just kinda there. Here however, we have that guy I talked about before, a seemingly benevolent and affable businessman. He makes so much of the drama work here, which is partly done thanks to his excellent writing, but most of it due to the spectacular performance from Shin’ichi Tsutsumi, who has to convey a lot of different things throughout the movie, and just knocks it all out of the park.

While I did mention that the comedy is toned down in this one, that’s not to say that this isn’t a funny movie. You still get Sato’s quirks clashing a bit when in a social setting, you still get other characters being used for comedic beats, and there’s still the occasional funny visual gag. The movie is still funny as hell, even if the movie relies less on overt goofiness like the first movie did.

The action is also better, feeling way more confident and intense than in the first on, giving us some beautiful, exciting, and insanely fun fights and chases spread inbetween the compelling drama and funny comedy. It’s just good shit.

I guess I’m just trying to say that I really like “The Fable” and its sequel. They’re really fun action-comedies that also happen to feature some really good characters and stories. As for how you can watch them, I can not answer. Over here in Sweden I watched ’em through Netflix, but I’m not sure where you, my international friends, might be able to catch them. Hopefully you’ll be able to figure that out, because these movies are a ton of fun.

Have a good one.

Series Review: Luther – Season 5 (2019)

My friends, we are finally here. My final review in this little series of mine. So let’s just get the phrase said one last time and then get into the review itself… Beware the Ides of Elba.

Ladies, gents, and non-binaries… “Luther” season 5.

DCI Luther (Idris Elba) is back for his hardest challenge yet, having to solve a complex and violent series of murders, all while having to deal with people from his past coming in and causing a lot of trouble for him. And I am happy to report that this season of “Luther” feels way better structured than the way too short season 4. Going back to the four episode structure of previous entries, it gives the story time to breathe, keeping it from feeling so crammed and overstuffed. As for the writing itself, it’s good. It doesn’t *quite* have the same terror and suspense of some of the previous seasons, and its relentless, actiony pace doesn’t always work to the show’s benefit, but generally it’s still solid. It still dabbles a lot with morals, the darkness of the human condition, and how one’s actions might affect your life. And it does all of that very well. But what I also really find interesting about the storytelling here is the sense of inevitability and finality, you can tell that this was the end of the show, with how it escalated and the overall tone of everything. And I think it makes the drama feel even more engaging. So yeah, I liked the story here.

In terms of characters, there’s not much I can say here that I haven’t touched on before. Both recurring characters and newcomers are interesting and have some interesting development in this story. And the performances are of course off the charts great again. Idris Elba, Dermot Crowley, Michael Smiley, Wunmi Mosaku, Paul McGann, Michael Obiora, Patrick Malahide, and Ruth Wilson, they’re all brilliant.

As per usual, Paul Englishby did the music, and he did a damn good job with it. Strings, brass, some electronics, the man has established a high quality soundscape for the show, and he keeps it going this go around as well. It’s just damn good stuff, y’all. The licensed songs used throughout work pretty well too.

As with its previous seasons, all episodes of “Luther” S5 were written by series creator Neil Cross, with Jamie Payne stepping in as director. And as with the other seasons, the craft here is impeccable. Nice shot composition, a really good flow to action scenes, a lot of decently length shots that let moments simmer and allow us to get really invested in what’s going on. I don’t know what to say, really. If you liked the way the show was shot, edited, and crafted before, and you’re willing to accept a faster pace and a bigger focus on action, then you’ll likely enjoy this too.

The show/season has been well received. On Rotten Tomatoes the season has an 85% positive rating and a “Fresh” certification. On Metacritic the season has a score of 64/100. And on imdb.com the show has a score of 8.5/10 and is ranked #249 on the “Top 250 TV” list.

While not the show’s best entry, season 5 of “Luther” is still a major return to form and a good ending for the show. It has a really good story, great characters, fantastic performances, great music, and great directing. Time for my final score. *Ahem*. My final score for “Luther” season 5 is a 9.45/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Luther” season 5 is completed.

And it’s finally over… *ring ring, ring ring* Hello? Yes? WAIT, THERE’S A MOVIE COMING!?

Series Review: Luther – Season 3 (2013)

Beware the Ides of Elba, because they’re here… again… but not for the final time. Anyhow, let’s once again delve into this show.

Ladies, gents, and non-binaries… “Luther” season 3!

DCI Luther (Idris Elba) is once again back to solve a series of dark and violent murders, all while some other officers are trying to dig up enough dirt on him to take him down. I loved the storytelling here in season 3, it’s arguably the strongest in the show so far. Starting with the overarching element, it actually broadens its scope a bit, not just focusing on John himself, but also goes wider to explore how other people, in particular his colleague Justin (Warren Brown), sees him, and what effect Luther’s actions have on people. And I found those elements of the story utterly compelling. And as far as the procedural elements go, those are amazing as well. Much like with season 2, not only are there only four episodes, but it’s also only two cases getting two episodes each, and it really helps them flourish and feel way more tense and nuanced. They also delve into even darker, more unsettling waters than before, even going full-blown horror at a point. And it helps make for some really intense and kinda scary storytelling that I absolutely loved.

In terms of characters, season 3 of “Luther” succeeds greatly in further developing ones from previous seasons, and then also giving us some compelling new ones too. Luther remains a really engaging lead, with Elba still giving us some truly powerhouse acting. And then there’s Justin, Luther’s colleague, who is given a lot more space and opportunities to shine here, developing him further into a truly interesting character, with Warren Brown giving a great performance in the role. The rest of the supporting cast is great too, featuring people like Michael Smiley, Dermot Crowley, Nikki Amuka-Bird, Sienna Guillory, David O’Hara, Kevin Fuller, Lucian Msamati, and more. It’s a very well-rounded cast playing some really interesting characters.

Paul Englishby returned to once again do the music, and once again its great. Low, brooding hums, dramatic brass, some emotional piano, some eerie strings… it’s just a brilliant escalation of the kind of sound Englishby made for the first two seasons, and it really adds so much to the episodes. The few licensed songs used throughout also work really well.

“Luther” season 3 was written by series creator Neil Cross, with direction split between Sam Miller and Farren Blackburn. And the craft here is on another level. It feels more grandiose, while still managing to remain intimate with the characters, and even claustrophobic and incredibly tense at times. The directing, editing, and cinematography just feels way more cinematic than in previous outings, which makes it stand out and feel even stronger.

This show/season has been well received. On Rotten Tomatoes the season has an 88% positive rating and a “Fresh” certification. On Metacritic the season has a score of 76/100. And on imdb.com the show has a score of 8.5/10 and is ranked #249 on the “Top 20 TV” list.

Season 3 of “Luther” is my favorite one so far, giving us an intense, scary, and thematically rich experience that I enjoyed from start to end. It has a great story, great characters, fantastic performances, great music, and great directing/editing/cinematography. Time for my final score. *Ahem*. My final score fro “Luther” season 3 is a 9.92/10. So it gets the “SEAL OF APPROVAL!”.

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

I am having such a good time going through this show.

Series Review: Luther – Season 2 (2011)

Beware the Ides of Elba, for they resume… funnily enough smack dab in the middle of the month, I’ll be damned. Anyhow, let’s continue talking about this British crime show. Oh, and there will be a few spoilers for the end of season 1, as that leads into this… so you’ve been warned.

Ladies, gents, and non-binaries… “Luther” season 2.

Still reeling from the death of his ex-wife, DCI John Luther (Idris Elba) finds himself going back to work, once again having to solve a series of violent cases. His life gets even more complicated when he finds himself having to look after and protect a young woman from the darkness of her past. What’s interesting about season 2 of “Luther” is that it somehow manages to have this almost over-the-top/silly popcorn feeling to its crime stories, while still managing to retain a sense of suspense that somehow feels even darker and even more grim than what we got in season 1. And then we got John’s personal arc over the season, which delves into even more morally grey territories than the first season, which I found utterly compelling. And it all comes together in a really interesting set of episodes that I found absolutely riveting from start to end. Even the reduced episode count (going from 6 to 4) holds up, as it never feels like they’re actually skimping out on plot or character development, despite that being a very real risk when lowering the amount of episodes you produce. It’s fun, it’s dark, it’s emotionally charged, it’s tense… yeah, season 2 of “Luther” has some great fucking storytelling.

The characters this season remain utterly compelling this season, with no one feeling like a weak link at any point. All of them have this nuanced to them that makes them deeply fascinating, and they all get some really interesting development. What also helps is the cast, who once again are all superb. Idris Elba is still amazing as our lead and Ruth Wilson is still electrifying as Alice Morgan. The rest of the supporting cast, containing people like Warren Brown, Dermot Crowley, Paul McGann, Aimee-Ffion Edwards, Lee Ingleby, Nikki Amuka-Bird, Michael Smiley, Steven Robertson, and more, are all great. Just superb acting all around.

The score was once again composed by Paul Englishby, and I feel he really stepped up his game this time around. His score is a bit bigger, more grandiose, more emotional, while still being able to retain the brooding quality that was established in the first season, making for a dynamic and engaging score that just elevates each scene so much. The few licensed songs used throughout the season also work pretty well in their respective scenes.

Season 2 of “Luther” was written by series creator Neil Cross, with Sam Miller directing all four episodes. And once again, the craft here is absolutely superb. In slower, more character-driven scenes, the direction finds nice ways of feeling intimate, yet distant, giving us a surprisingly objective, yet really engaging look at the characters. And when things need to get intense, it does that insanely well too, keeping me on the edge of my seat for the entire scene(s). Basically it takes what was good about season 1’s craft and improves upon it.

This show/season has been really well received. On Rotten Tomatoes the season has a 100% positive rating. On Metacritic the season has a score of 78/100. And on imdb.com the show has a score of 8.5/10 and is ranked #248 on the “Top 250 TV” list.

Season 2 of “Luther” takes what made season 1 great and further improves upon it, giving us four episodes of dark, morally complex police drama. It has a great story, great characters, great performances, great music, and great direction. Time for my final score. *Ahem*. My final score for season 2 of “Luther” is a 9.77/10. Which does mean that it gets the “SEAL OF APPROVAL!”.

My review of “Luther” season 2 is now completed.

Two down, three to go

Series Review: Luther – Season 1 (2010)

This is a show I’ve only seen an episode or two of over the years. So when I saw that it was leaving Netflix at the end of the month, I felt that it was the perfect time to catch up on the entirety of it over the next few weeks. So look forward to more reviews coming in this little project I’ve decided to call “The Ides of Elba”.

Ladies, gents, and non-binaries… “Luther” season 1.

John Luther (Idris Elba) is a brilliant but rough-around-the-edges police detective as he’s reinstated after an extended absence following a horrible and traumatic case. And we follow him as he works to solve various dark and horrific crimes, all while struggling to keep his personal life together, along with developing an uncomfortable kinship with a deranged young woman (Ruth Wilson). At first glance, “Luther” might have the air of a typical police drama, it manages to stand out partly thanks to a gritty and dark tone, exploring much darker and heavier crime stories. But it also works thanks to the overarching storylines, involving Luther’s past, his tense relationship with his estranged wife (Indira Varma), and his newfound “friendship” with the aforementioned deranged young woman. Yes, there is a lot going on, and it can make the episodes feel slightly long in the tooth at times, but it’s all written with so much nuance and suspense that I can forgive some of the slower and more feet-draggy (that is now a word, shut up) moments. So yeah, the story here’s good.

What I love about the characters of Luther is that none of them are really written in a perfect black and white manner. Everyone’s written with a lot of ambiguity and nuance. Be they “hero”, support, or villain, all of them have many layers to them that make them deeply fascinating. Even our main character, while a policeman who tries to do good and save the day, is written incredibly grey, and it makes him an incredibly compelling character to follow. It also helps that Idris Elba is fucking incredible in the role. The supporting cast is great too. Ruth Wilson, Indira Varma, Steven Mackintosh, Warren Brown, Saskia Reeves, Paul McGann, there’s not a weak link in this cast.

The score was composed by Paul Englishby, and I think he did a really good job with it. Very brooding, very eerie, really helps maintain the gritty vibe that the writing goes for, often elevating the suspense of certain scenes. They also use licensed songs on occasion, and they work really well in their respective scenes. Overall, there’s good music here.

“Luther” was created and written for the BBC by Neil Cross, with direction by various cool people. And I think the craft here is superb. The scenes have a very deliberate pace to them, shots willing to linger for a while, slowly building this creeping suspense that often culminates in really intense and at times even brutal payoffs. It helps bring the material to life in a fresh and exciting way that wasn’t seen that much on tv back in 2010.

This show/season has been very well received. On Rotten Tomatoes the season has a 91% positive rating and a “Fresh” certification. On Metacritic the season has a score of 83/100. And on imdb.com the show has a score of 8.5/10 and is ranked #247 on the “Top 250 TV” list.

Season 1 of “Luther” makes one hell of a first impression, giving us a dark and captivating six episodes that had me (mostly) enraptured from start to end. It has a great story, great characters, fantastic performances, really good music, and great direction. Time for my final score. *Ahem*. My final score for season 1 of “Luther” is a 9.44/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Luther” season 1 is now completed.

Beware the Ides of Elba, for there’s more coming your way…

Movie Review: Ikiru (1952)

If you’ve followed me for a somewhat extended period of time, you’d know that I covered several movies by this director last year. Well, now the distributor behind those have another box set out (technically it’s been out since last spring, but I digress), and I’m gonna be covering those movies every now and then. So you know… fun?

Ladies, gents, and non-binaries… “Ikiru”.

After he discovers he has terminal stomach cancer, aging bureaucrat Kanji (Takashi Shimura) begins to reflect both on his past, and on the very meaning of life. The story of “Ikiru” is one that is hard to describe, at least from a personal and emotional standpoint. Objectively, it’s a slowly burning, melancholic, yet still hopeful exploration of what it means to live, a tender and humanist look exploration into a man’s heart heart and soul. But I feel that any words I use to try to explain its effect on me aren’t enough. It broke my heart and put it together again in ways I didn’t think possible. It made me think about my own life, both the good and the bad parts. It’s a tragic and beautifully told tale that reached into my very soul and hit in a way I haven’t experienced in a while.

The characters in this all feel very… human, as if they weren’t just characters, but actual people who were simply being filmed, thanks to the sheer amount of love and nuance that they clearly had been written with. What also adds to this are the performances, none of which feel flashy or theatrical. In particular I want to mention Takashi Shimura, the man who plays our lead character. His performance is just utterly devastating and beautiful. We also get supporting work from people like Nobuo Kaneko, Shin’ichi Himori, Haruo Tanaka, Minoru Chiaki, and more, all doing very well in their respective roles.

The score for the movie was composed by Fumio Hayasaka, and much like the story and characters before it, it was just beautiful. A gorgeously melancholic, yet hopeful chain of melodies played on strings, brass, and some woodwind. It’s just great. There’s also one song not originally composed for this movie used here, and it’s used to perfection. This movie just has great music.

Partly based on “The Death of Ivan Ilyich” By Leo Tolstoy, “Ikiru” was directed and co-written by Akira Kurosawa. And he once again proved here what a master he was. Perfectly flowing shots, all lingering for the perfect amount of time, all finding the right way of adding to the emotion of the scene. And the cinematography by Asakazu Nakai is absolutely breathtaking, from framing, to lighting, it all just looks stunning and adds so much to the storytelling on display here. It’s just a terrifically assembled movie.

This movie has been incredibly well received. On Rotten Tomatoes it has a 98% positive rating with a “Fresh” certification. On Metacritic it has a score of 91/100. And on imdb.com it has a score of 8.3/10 and is ranked #100 on their “Top 250” list.

“Ikiru” affected me in a way that few movies have, it’s a stunningly beautiful exploration of what it means to live. It has a fantastic story, great characters, fantastic performances, great music, and fantastic directing/cinematography. Time for my final score. *Ahem*. My final score for “Ikiru” is a 9.95/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Ikiru” is now completed.

Just… wow.

Series Review: The North Water (2021)

I love British TV. I mean, most countries tend to have good TV, but British programming just has something special about them that makes them infinitely watchable and/or interesting. So with that said, let’s talk about one.

Ladies, gents, and non-binaries… “The North Water”.

The year is 1859. Former army surgeon Patrick Sumner (Jack O’Connell) finds himself taking a job on a whaling ship heading towards the arctic. And we follow him as he deals with working on this ship, struggling not just the elements, but his fellow crewmates as well. What I do find quite interesting about “The North Water” is that it’s not the most plot-driven show. It’s not about a MacGuffin, there’s no real goal to this journey. Instead it’s a dark exploration of how the trauma of a man’s past and present can change you, bring you closer to the darkness. It’s a somber, moody, and often disturbing deep dive into the damaged psyche of Patrick and a few of his fellow crewmates, and I found it absolutely riveting from start to end. The deliberately glacial (HA!) pace may throw some people off, but I personally think it added to the atmosphere, making any suspense and general sense of unease even greater, which helped make for one hell of an engaging narrative.

As I kind of implied, this show is very much more character-driven. And lucky for us, the characters in this are spectacular. All of them clearly damaged in some way, hiding either intentions or their own trauma, which led to me not really knowing who to trust, which adds a lot to the vibe of the show. What also helps is that there’s not a weak link in the cast. Jack O’Connell is fantastic as our lead, Sumner. Colin Farrell is unsettlingly fantastic as the enigmatic Henry Drax. Stephen Graham is terrific as the ship’s captain. And the rest of the cast, contining people like Roland Møller, Sam Spruell, Gary Lamont, Philip Hill-Pearson, Kieran Urquhart, and more, all delivering top notch work.

The score for the show was composed by Tim Hecker, and I think he did a terrific job with it. It’s a low-key, moody, almost horror-esque score, relying heavily rumbling strings, some subtle piano, and even occasional bit of synths to create an unsettling sound that fits really well with the setting and characters. It’s great stuff.

Based on the novel of the same name by Ian McGuire, all episodes of “The North Water” were written and directed by Andrew Haigh, and the man has just absolutely outdone himself. His direction really captures the feeling of helplessness and isolation that one might feel while going on this type of journey, making every moment of the journey feel uneasy. It doesn’t really matter if it’s a regular conversation, a flashback, or a scene of hunting being done, Haigh’s direction is tense and terrific. He also doesn’t shy away from showing us some grisly fucking stuff. The blood and violence in this show is quite disturbing, and at times even quite disgusting, and while I do think it works for the show and adds to the storytelling, I do think it could put some people off. So if you got a weak stomach or you generally just don’t like gruesome content… you have been warned. On a less icky note, the cinematography by Nicolas Bolduc is absolutely spectacular. The angles, the lighting, the colors, it all looks spectacular and works really well to elevate the storytelling even further. This show is just immaculately crafted.

This show’s been quite well received. On Rotten Tomatoes it has a 95% positive rating. On Metacritic it has a score of 74/100. And on imdb.com it has a score of 7.6/10.

“The North Water” is one of the best shows I’ve seen in recent years. It has a great story, great characters, fantastic performances, great music, and fantastic direction/cinematography. Time for my final score. *Ahem*. My final score for “The North Water” is a 9.88/10. So it gets the “SEAL OF APPROVAL!”.

My review of “The North Water” is now completed.

Interesting to think that something so dark and disturbing can come from the same director as the tender and warm “Weekend”.

Movie Review: Scream (2022)

My friends, it is finally here. The reason for my content output the last two weeks. It’s finally here and I can talk about it. And after this, you’ll be free of me rambling about this franchise… until the next inevitable one in 5-10 years. But for now, this is the last one you’ll hear me talk about. So let’s see if it’s another worthy entry in this franchise.

Ladies, gents, and non-binaries… “Scream”, which is also “Scream 5”.

25 years after the original Woodsboro murders, everything is seemingly nice and quiet in the small California town. But this peace is brought to a halt when a new masked murderer starts stalking a group of teens, seemingly with the intention of drawing out the town’s darkest secrets. The story of “5cream” is really strong, and talking about it is difficult. Of course we see a lot of the familiar meta/characters aware of horror tropes stuff come back, but it doesn’t just feel like a retread of what’s come before. While it’s here to poke that sort of fun at horror tropes, it also takes its time to satirize lovingly legacy movies and so-called “elevated horror”, while als taking some absolutely brutal stabs at toxic fandoms. And all of that helps make for a strong, pertinent, funny, tragic, and quite well written satire narrative, while still of course also indulging in a bit of violent carnage. It’s a damn good story that I liked from start to end, but can tell will piss some people off.

The characters in this are all pretty good. Do I think all of them carry the same memorability as some of the cast from the older movies, not quite. But out of the core cast, there’s none that felt like they didn’t belong or like they were outright poorly written. And as for the actors, there’s not a weak link. Of course you have the old trio of Arquette, Campbell, and Cox coming back, all slipping beautifully back into these roles, once again delivering top notch performances. And within the new cast you have people like Melissa Barrera, Jenna Ortega, Jack Quaid, Dylan Minnette, Jasmin Savoy Brown, Mikey Madison, and more, all great in their respective roles.

This is the first one in the series not to be composed by Marco Beltrami, with Brian Tyler instead taking on that task. And lucky for us, Tyler killed it. His score hearkens back to Beltrami’s scores with a lot of similar musical tricks and stylings, without ever feel like he’s just rehashing what came before. From brash, intense brass to more subtle, emotional tracks, it’s all here, and it all works wonderfully. There’s also a handful of licensed songs used throughout, and those work well in the movie too.

Unlike previous ones, “Scream 5: The Fifth Screaming” wasn’t written by Kevin Williamson or directed by Wes Craven (R.I.P). Instead writing duties fell on James Vanderbilt and Guy Busick, with direction being handled by Matt Bettinelli-Olpin and Tyler Gillett (who also gave us the wonderful “Ready or Not”). Aaaaand, they knocked it out of the park. The direction here is really suspenseful and intense, never really letting the viewer feel at ease, even during seemingly safe scenes. This really helps keep the whodunnit element relevant and exciting, while also making sure that when Ghostface appears, it actually feels scary. Speaking of the ol’ mouthgaper, Jesus Christ, the kills in this are savage. Not that the other killers in the series weren’t violent psychos, but there’s something about the violence in this that just feels extra mean-spirited and brutal, which does fit with the story and tone of this movie, and helps make el spookerino feel like more of a threat than ever. So yeah… this movie’s well crafted.

At the time of writing, this movie been pretty well received. On Rotten Tomatoes it has a 76% positive rating. On Metacritic it has a score of 60/100. And on imdb.com it has a score of 7.4/10.

I think it’s pretty clear that I think “Scream: Another Scream” is another fit for the franchise. It has a great story, really good characters, great performances, great music, and fantastic direction. Time for my final score. *Ooga booga*. My final score for “Scream” is a 9.76/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Scream the Fifth” is now completed.

Let’s end this on a classic question, because it’s fun and I genuinely wanna know… What’s your favorite scary movie?

Movie Review: Scream 4 (2011)

My friends, this is it. The final movie in this franchise… until I see the new one on Saturday. But for now, this is the final “Scream” movie. I’m finally caught up (woo!). So without further ado, let’s talk about it and see if it’s a good one.

Ladies, gents, and non-binaries… “Scream 4”!

15 years have passed since the Woodsboro murders, and we see Sidney (Neve Campbell) return to her old hometown as the first stop on her book tour. However, what should be a simple visit soon turns into a complex nightmare when people start getting murdered by another masked killer. Right from the get-go, “Scre4m” shows that it’s not fucking around, giving us arguably the most clever and expectation-subverting opening in the series. And from that point on, it doesn’t let up with its meta nature. The entire series has had a very meta approach to telling its stories, but this one leans into it the most, while also being a surprisingly prescient takedown of fame and social media, all while subverting and indulging in slasher tropes to great effect (as it has in the past), creating possibly the most intense, fun, and clever narrative in the series. Yeah, I really liked the story here.

The characters in this are all really solid, either through being well written and nuanced, or through being fun and colorful. But what does also help is that they all have some level of self-awareness, perfectly befitting the story told, which does also make it really tricky to identify who can be trusted and who can’t, keeping me on my toes from start to end. And the entire cast is terrific, featuring returning people like Neve Campbell, David Arquette, and Courteney Cox, along with newcomers like Emma Roberts, Rory Culkin, Roger Jackson, Alison Brie, Hayden Panettiere, Marley Shelton, Erik Knudsen, Adam Brody, and more.

For the fourth time in a row, Marco Beltrami came in to do the score, and once again he did a damn good job. You get some familiar note progressions, some more typical horror stings, and some subtle, creeping tracks. It’s a solid score that works really well for the movie. There’s also a few licensed songs used throughout, and they work well in their respective scenes. It is a bit of a shame to not have “Red Right Hand” back in this one, but it doesn’t completely ruin it for me.

“Scream 4” saw Kevin Williamson come back as screenwriter, with Wes Craven once again directing (THE DREAM TEAM IS BACK, BAYBEEEE!). And the craft behind it is once again top tier. Intense, creepy direction once again manages to build a fair bit of suspense, it’s Craven at the height of his powers. Also, there’s a lot of really intense violence and gore in this. And while I don’t necessarily think more gore = scarier, I do think it adds a certain unrelenting intensity to this movie that makes it a bit more disturbing and scary. It’s just really well made.

This movie’s gotten a bit of a mixed reception. On Rotten Tomatoes it has a 61% positive rating. On Metacritic it has a score of 52/100. And on imdb.com it has a score of 6.2/10.

I might get severely shamed by people for this, but “Scream 4” might be my favorite of the bunch. It has a great story, really good characters, great performances, great music, and fantastic direction. Time for my final score.  *AAAAAAAAAH*. My final score for “Scream 4” is a 9.80/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Scream 4” is now completed.

Alright… let’s hope the Radio Silence dudes can do this franchise justice.