Series Review: The Journalist – Season 1 (2022)

Journalism! I got nothing else, I thought that excited expression might inspire a more nuanced intro on the importance of journalism, but I got jack shit. So I guess we should just get into the review itself.

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

Japan, 2019. We follow journalist Anna Matsuda (Ryoko Yonekura) as she doggedly investigates suspicions of government corruption. At the same time, we follow a few of the people working within said government, seeing their personal conflicts as they deal with covering of said corruption. I found the story here to be kind of a mixed bag. It’s a slow burn investigative drama, happily showing you the tedium that comes with both the journalism and the governmental bureaucracy. And at times I do like that, for a good chunk of the show (mainly episodes 2-5) it is decently engaging. Even the melodrama in those episodes can be pretty enjoyable. First and final episodes however feel like they drag a bit, and even the better middle episodes never do anything particularly outstanding. It’s one of those narratives that shows great potential, and even does engage for a fair bit of the runtime, but never quite hits the heights it reaches for. So for the most part I enjoyed the story here, despite some of its flaws.

The characters in this are all decently interesting, working well to make the show a little more engaging. I think some of my favorite ones here are the ones who work within the government, as the show actually does an alright job of exploring their inner conflict with having to deal with some shady shit. I can also happily say that the cast in this are all great, featuring people like Ryoko Yonekura, Go Ayano, Ren Hanami, Keisuke Hoashi, Ryusei Yokohama, Shinobu Terajima, and more, all delivering damn good performances.

The score for the show was composed by Taro Iwashiro, and I think he did a really good job with it. For the most part it relies on a melancholic piano to create this serious and emotional tone that I think works really well for the show. There are also occasional strings, guitars, and percussion used for extra impact in certain scenes, and I think that works pretty well too.

Based on a movie of the same name, “The Journalist” was written and directed for Netflix by Michihito Fujii, who I think did a really solid job here. His direction has this cold, slow burn feel to it, which complements the story quite well, and even adds a surprising amount of suspense to it at times. Even in the moments where the writing doesn’t fully engage, Fujii’s direction has a way of keeping me at least somewhat interested in the scene. So yeah, he did a good job with that.

The show/season has been pretty well received. On Rotten Tomatoes it has a 100% positive rating. On Metacritic the general consensus seems to be a 60/100. And on imdb.com it has a score of 7.1/10.

While it never quite reaches the heights of its ambition, and even drags at times, season 1 of “The Journalist” is still a pretty solid political/investigative drama. It has a pretty good story, pretty good characters, great performances, really good music, and really good direction. Time for my final score. *Ahem*. My final score for season 1 of “The Journalist” is a 7.21/10. So while flawed, it’s still worth watching.

My review of “The Journalist” season 1 is now completed.

Come for Go Ayano, stay for… I don’t know, stuff being pretty good, I guess.

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: The Dry (2021)

Hey there. Doing well? I hope you’re doing well… I got nothing clever to intro this with, so let’s just get into this shit.

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

After he returns to his old hometown for a funeral, Federal Agent Aaron Falk (Eric Bana) starts looking into some allegations laid against his dead friend, all while dealing with his past coming back to haunt him. “The Dry” mixes elements of smalltown drama with police procedural, and I think that the story here is quite compelling. It weaves main plot and subplots quite nicely, making for a world and narrative that feels lived in, like we’re going into lives that have existed for years, rather than it feeling like it starts with the audience’s arrival. And while its very deliberate pace might test some people’s patience, I found the slow, drip feeding approach of the storytelling to be quite engaging, as it also made me question everything going on, which added quite a bit of suspense to proceedings. ’tis a damn solid story.

The characters in this are all flawed, layered, and overall quite interesting. Much like the narrative, they all feel pretty real and like they actually had lives and existed before we saw them. And the grounded feel of them helps make this story and world quite compelling. But what really helps sell them are the actors, who all deliver terrific work. I’ve been a fan of Eric Bana for years, but this might be the best performance I’ve seen from him. Further filling out the cast, we got people like Genevieve O’Reilly, Bruce Spence, Keir O’Donnell, Matt Nable, Julia Blake, Joe Klocek, BeBe Bettencourt, and a lot of other talented people.

The score for the movie was composed by Peter Raeburn, and I think he did a really good job with it. It’s very somber, leaning heavily on strings to deliver a fairly serious and often also sad score that really helps sell the drama and desperation of Aaron’s investigation and predicaments. It’s good.

Based on the novel of the same name by Jane Harper, “The Dry” was directed and co-written by Robert Connolly, who I think did a damn good job here. Connolly’s direction is (for the most part) not very flashy, but rather quite subdued, which I think fits the story and the pacing of the movie, really letting every dramatic beat simmer nicely. Stefan Duscio’s cinematography adds a lot as well, giving us some really nice shots that still captures the dry, gritty vibe of this place and story wonderfully.

This movie’s been pretty well received. On Rotten Tomatoes it has a 90% positive rating and a “Fresh” certification. On Metacritic it has a score of 69/100. And on imdb.com it has a score of 6.9/10.

While its slow, deliberate pace may put off some people, I found “The Dry” to be a highly engrossing crime-drama. It has a great story, really good characters, fantastic performances, really good music, and great direction/cinematography. Time for my final score. *Ahem*. My final score for “The Dry” is a 9.61/10. Which does mean that it gets the “SEAL OF APPROVAL!”.

My review of “The Dry” is now completed.

I am so used to seeing Bruce Spence as aliens, monsters, and creeps, so it was a nice change of pace to see him as a regular dude for once.

Movie Review: Nightmare Alley (1947)

With the impending release of Guillermo del Toro’s adaptation of this story (super excited for that), I thought it could be fun to watch the first film bearing the title. So without further ado… let’s go.

Ladies, gents, and non-binaries, I’d recommend not walking down… “Nightmare Alley”.

The story follows Stanton “Stan” Carlisle (Tyrone Power), a con man currently working with a traveling carnival. And we follow him as he lies and deceives everyone around him for his own personal gain, and what consequences that brings to his life. It’s an interesting narrative, filled with twists, turns, and good ol’ noir suspense. It’s a fascinating look at a very shady and fascinating man, giving us a fairly nuanced and clever little noir narrative. Its pacing can be a little bit weird at times, sometimes jumping a little too quickly and sometimes dragging its feet. It doesn’t completely break the story, as I’d say it mostly paces itself quite well. And the overall narrative is quite engaging, so it does mostly even itself out.

The characters in this are colorful, flawed, layered, and overall just highly interesting. At the enter of our story is Stan Carlisle, a con man and supposed mentalist, always working and scheming to further his own interests. He’s quite a solidly written and engaging lead character, with Tyrone Power giving a great performance in the role. We also get supporting work from Joan Blondell, Coleen Gray, Helen Walker, Mike Mazurki, Taylor Holmes, and more, all doing very well in their respective roles.

The score for the movie was composed by Cyril J. Mockridge, and I can’t remember any of it. Nothing sticks out as bad about it, nothing sticks out as good about it… it just doesn’t stick out in any way at all. It’s probably perfectly passable, but man, I wish I had more to say.

Based on the novel of the same name by William Lindsay Gresham, “Nightmare Alley” was directed by Edmund Goulding, who I think did a damn good job. Do you like seedy, dimly lit sets with very atmospheric shadows draping over the characters? Well, that’s what you get here, and it’s handled to perfection in that regard. It takes the classic noir stylizations and does them beautifully. It’s a solidly crafted film.

This movie has been well received. On Rotten Tomatoes it has an 88% positive rating and a “Fresh” certification. On Metacritic it has a score of 75/100. And on imdb.com it has a score of 7.8/10.

While its pacing can let it down a little, “Nightmare Alley” is still a damn good noir film. It has a really good story, really good characters, great performances, and great direction. Time for my final score. *Ahem*. My final score for “Nightmare Alley” is an 8.45/10. So while flawed, I’d still say it’s definitely worth buying.

My review of “Nightmare Alley” is now completed

Is it just me, or is “Tyrone Power” one of the coolest names ever?

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: Dracula (2020)

Look, I know that the Month of Spooks is over, so I should logically take a break from horror stuff for a bit. But I’ve been watching this recently, and I have some shit I have to say about it.

Ladies and gentlemen… “Dracula”, the Netflix/BBC adaptation.

Transylvania, the late 1800s. Jonathan Harker (John Heffernan) finds himself recounting his less than pleasant stay with Count Dracula (Claes Bang) to a kindly, if sassy nun (Dolly Wells). As we go through the three episodes of this show, we get to see what happened before, during, and after Jonathan’s meeting with this nun. And the narrative in this show is quite fascinating, because it fluctuates wildly in quality… sort of. Episode 1 is honestly fantastic, a scary, fun, and emotionally engaging way to bring us into this new take on a classic tale. Episode 2 isn’t as fantastic, but it’s still a really solid episode of television. Then episode 3 completely shits the bed. There are good ideas within that episode, but the drop in quality is still ridiculously vertical. How do you go from one of the most exciting and electrifying new horror-dramas around to that mess, that quickly? I don’t know. But while that last episode can be classified as bad, what came before is good enough that I can’t give the show/story too much grief. Two thirds being this good has to count for something. And it does. I can still say I liked a lot of the story on display, even if there’s still that one final chunk that tarnished the overall package.

The characters in this are fascinating, because some of them are really fascinating and engaging, and some of them are in episode 3 (I’m being a salty bitch, aren’t I?). Let’s start with the Count himself, played by Danish actor Claes Bang. He is one charismatic motherfucker, manipulating people with his charm, wits, and general presence. And Bang is absolutely amazing in the role. Next is Dolly Wells as Agatha, the nun I mentioned earlier. She has quite a fascinating presence within the narrative that I won’t spoil, because it’s genuinely interesting. But what I can say is that Dolly Wells is great in the role, and has some excellent chemistry with Bang when they get to verbally spar. John Heffernan is great as Jonathan Harker, Morfydd Clark does an okay job as Mina. And we get some great supporting work from people like Sacha Dhawan, Mark Gatiss, Jonathan Aris, and more. Many actors do a really good job, and some aren’t great (guess where they were).

The score for the show was composed by David Arnold and Michael Price, and I think they did a fantastic job with it. That’s right, no shade thrown here, just admiration for good compositions. Their music here is creepy, intense, emotionally charged, and just overall helps add to a lot of scenes throughout the three episodes.

Based on the classic Bram Stoker novel, “Dracula” is a Netflix/BBC collaboration written and created by Mark Gatiss and Steven Moffat (who also gave us “Sherlock”). And as discussed before, the writing takes a bit of a dive in that final episode. But leading up to that, this is a well written show. And the directing, split up between Paul McGuigan, Damon Thomas, and Jonny Campbell, is generally great. There’s a good sense of pacing to the directing, no shot or moment lingers too long or too briefly. And when paired with the beautiful cinematography, set design, and visual effects, you get one of the most visually arresting tv shows I’ve had the pleasure of looking at. Speaking of visual stuff: There’s some really brutal and grisly body horror going on throughout this show, and it is awesome. Kudos to the crew for going all out on that.

This show has gotten some mixed reception. On Rotten Tomatoes it has a 70% positive rating. On Metacritic it has a score of 75/100. And on imdb.com it has a score of 6.8/10.

While it does end on a sour note, “Dracula” still has enough good stuff to warrant a recommendation. It has a mixed plot, mixed characters, great performances, great music, and excellent directing/cinematography/effects. Time for my final score. *Ahem*. My final score for “Dracula” is a 7.12/10. So while it is heavily tarnished by that final episode, I can still say that it’s worth watching.

My review of “Dracula” is now completed.

One, two, three episodes. Ah-ah-ah!

Movie Review: Doctor Sleep (2019)

I just love that header image. My amazing buddy The Craggus took the first poster that was released for this movie and added a little of my shenanigans to it. Anyhow, let’s talk about a belated sequel.

Ladies and gentlemen… “Doctor Sleep”. The director’s cut.

A little over 30 years after the horrifying events at the Overlook hotel, a now grown up Dan Torrance (Ewan McGregor) tries to get his life back together. While doing this he befriends a young girl (Kyliegh Curran) who also can Shine. But these powers also makes her the target of a dangerous cult that tracks down kids who can Shine, and then kills them and steals their power. So yeah, it’s a little bit of a departure from the claustrophobic thrills of “The Shining”. But that’s okay, because I found the story on display utterly enthralling. It’s a slow, contemplative burn of a narrative. Going in-depth with the effects that the Overlook incident’s had on Dan’s life, the story really gets to the heart of a lot of stuff, and it’s wonderful to follow… even made me cry at a point. But it’s not just heartfelt drama here, as this is also a horror movie. It’s not the scariest one I’ve seen, probably wouldn’t even crack the top five in terms of pure scariness. That’s not to say that there isn’t any creepy shit here. There is some good, subtle creepiness and suspense going on throughout, occasionally punctuated by some decently grim shit. And I think it works quite well here. Again, not the scariest, but I still enjoyed the horror elements of the narrative.

The characters in this are quite nuanced, flawed, and highly interesting. Ewan McGregor plays Dan Torrance, former tricycle enthusiast and currently broken man. Seeing the low point his life has come to after you-know-what is fascinating in itself, but it’s what comes from that that makes it even more interesting, as he has a really great arc in this movie. And McGregor does a great job with his performance. Kyliegh Curran plays Abra, the young girl that Dan befriends. She’s a smart, funny, and charming little kid who I think made for a good foil for Dan. And Curran is fantastic in the role. Next we have Rebecca Ferguson as Rose, a hat wearing lady who loves meeting new people… oh, and she’s also an immortal who kills people who can Shine, just so she can keep being immortal. Yeah, she’s our main villain, and she’s so mesmerizing and intense, with a lot of that coming from Rebecca Ferguson’s spectacular performance. We also get supporting work from people like Zahn McClarnon, Emily Alyn Lind, Carl Lumbly, Cliff Curtis, Bruce Greenwood, Jacob Tremblay, Carel Struycken, and more, all doing very well in their respective roles.

The score for the movie was composed by The Newton Brothers, and I thought it was great. It’s an emotionally charged and eerie score that, while taking a lot of familiar horror cues into certain tracks, manages to feel somewhat unique to this movie. They also utilize some familiar notes from the original “Shining” film on occasion, and it never feels overly intrusive, but rather works as a nice tie-in to that. So yeah, there’s some good music here.

Based on the “Shining” sequel of the name name written by Stephen King, “Doctor Sleep” was written and directed by Mike Flanagan, and I think he did a fantastic job with it. His direction is bold, confident, and manages to create a good amount of suspense throughout. There’s something otherworldly about it, which helps add a good amount of eeriness to proceedings. And Michael Fimognari’s cinematography certainly helps add a lot to that, giving us a lot of gorgeous, dynamic shots that add to the atmosphere of the movie. It’s just really well crafted.

This movie has been decently well received. On Rotten Tomatoes it has a 77% positive rating and a “Fresh” certification. On Metacritic it has a score of 59/100. And on imdb.com it has a score of 7.3/10.

“Doctor Sleep” (director’s cut at least) is a fantastic horror-drama that manages to both entertain and deeply engage. It has a great story, really good characters, fantastic performances, great music, and fantastic directing/cinematography. Time for my final score. *Ahem*. My final score for “Doctor Sleep” is a 9.90/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Doctor Sleep” is now completed.

Three hours seldom fly by so fast for me.

Movie Review: Angel Heart (1987)

Ladies and gentlemen of the interwebs, it is that time of year again. The time where I for a full month focus my blog in on the spookier side of entertainment. I welcome all of you to the 6th iteration of The Month of Spooks! So let’s enter the nightmare.

Ladies and gents… “Angel Heart”.

New York, 1955. Private investigator Harry Angel (Mickey Rourke) gets hired by the enigmatic Louis Cyphre (Robert De Niro) to find a singer who’s gone missing. But as Harry investigates this disappearance, things start taking a darker turn than originally expected. What’s intriguing about “Angel Heart” in context to this month’s theme is that it isn’t immediately horrific, starting out more as a pulpy detective thriller that over time evolves into more of a psychological affair, building a looming sense of dread and paranoia. And I think the evolution is beautiful and electrifying. I am a fan of detective fiction, so to see it evolve into a horror story is fascinating to me, especially when THIS well. Never was there a moment I was bored, and many moments had me truly glued to what was going on. It’s a fascinating and creepy story that went places I didn’t expect, keeping me on edge throughout its entire runtime.

The characters in this are pretty interesting, all feeling relevant to the plot while also being engaging in their own right. Mickey Rourke plays Harry Angel, silver-tongued, snarky gumshoe from Noo Yohk. At first that is the side we see of him, something very familiar. But over the movie he develops in some interesting ways that I don’t wanna spoil. And Rourke is great in the role. Robert De Niro is great as the mysterious Louis Cyphre. We also get supporting work from people like Lisa Bonet, Charlotte Rampling, Michael Higgins, Brownie McGhee, and more, all doing well in their respective roles.

The score for the movie was composed by Trevor Jones, and I thought it was great. Like the narrative, it shifts a bit in genre, which is fine because of how well composed it is. Sometimes it’s eerie and suspenseful and sometimes Courtney Pine seduces you with his noir-inspired saxophone solos. It’s good shit. There’s also a few licensed songs used throughout, and they work quite well in their respective scenes too. So yeah, this movie has some good music.

Based on the novel “Falling Angel” by William Hjortsberg, “Angel Heart” was written and directed by Alan Parker (recently passed away, R.I.P). And I think he did an excellent job here. His directing hearkens back to old detective noir while still bringing the uncompromising imagery and suspense of 80s horror, and it mixes together wonderfully. This is especially evident when paired with Michael Seresin’s breathtaking cinematography. The combo makes for an insanely well crafted film.

This movie has been pretty well received. On Rotten Tomatoes it has a 79% positive rating. On Metacritic it has a score of 61/10. And on imdb.com it has a score of 7.3/10.

“Angel Heart” is a beautifully crafted and disturbing gumshoe horror that I loved watching. It has a great story, good characters, great performances, really good music, and fantastic directing/cinematography. Time for my final score. *Ahem*. My final score for Angel Heart” is a 9,87/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Angel Heart” is now completed.

Man… young Mickey Rourke was a handsome motherfucker.

Movie Review: Lady Macbeth (2017)

That’s right, this summer isn’t just about films from my own country. I can review other things too if I’m in the mood. And right now I am in the mood to review something not in my own language.

Ladies and gentlemen… “Lady Macbeth”.

19th century England. Katherine (Florence Pugh) lives in an unhappy marriage that she’s been forced into. But as we follow her throughout the movie, we see her evolution as she slowly comes into her own, which may or may not stir some shit up in the house. Now, when the movie started out it felt somewhat familiar. A romantically inclined period piece drama with themes of personal liberation. However, as it went on it started leaning into directions I didn’t expect. And I really feel like this gradual shift in tone and even genre really helps “Lady Macbeth” stand out among the crowd of period dramas out there. It helps give the movie a unique identity and impact that I haven’t really seen before. It goes to some dark fuckin’ places at times, and I’d argue it really helped the storytelling out quite a bit. It is slow paced, which might put some people off, but I for one really found the story engrossing.

The characters in this are flawed, quite layered, and just overall quite interesting. Florence Pugh plays Katherine, a young woman who’s been forced into an unhappy marriage with a rich dickhead. Due to her situation she is a bit repressed, but over the movie we do see her evolving quite a bit as a character, making her really fascinating to follow. And Pugh is terrific in the role. The and the supporting work from people like Cosmo Jarvis, Paul Hilton, Naomi Ackie, and more is all pretty great too.

The score for the movie was composed by Dan Jones, and it was good. Compared to so many other movies that use musical tracks in every other scene, this score only appears at a few points. And even then, none of the tracks are loud or particularly attention seeking, going for a more low-key suspense/emotional resonance, and I think that works pretty well.

Based on a novel by Nikolai Leskov, “Lady Macbeth” was directed by William Oldroyd. And I think Oldroyd did a really good job with it. He makes the most of the remote location the film is set in, really creating an engaging atmosphere that enhances the storytelling. And the cinematography by Ari Wegner is pretty fantastic too, both in the wide shots of the moorlands, and in the more cramped indoor scenes.

This film has been well received. On Rotten Tomatoes it has an 88% positive rating and a “Fresh” certification. On Metacritic it has a score of 76/100. And on imdb.com it has a score of 6.8/10.

“Lady Macbeth” is a uniquely engaging period piece that I highly enjoyed. It has a really good plot, good characters, great performances, good use of music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “Lady Macbeth” is a 9,64/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Lady Macbeth” is now completed.

Florence Pugh? More like Florence Prettyfuckinggoodatacting.

Movie Review: The Guardian Angel (1990)

Oh hi. Ready for another Summer of the Swedes entry? Cool, let’s go!

Ladies and gentlemen… “The Guardians Angel” (Original title: Skyddsängeln).

Some fictional European country, the 1910s. A revolution rages on, and one of the country’s ministers (Etienne Glaser) has decided to have a nice, relaxing summer with his family in the countryside. He has also brought his new bodyguard (Philip Zandén). And we follow these people as they go through ups and downs throughout the summer. This film tries to say things about stuff, but it never succeeded in putting it in my head. I don’t mind a movie trying to say something about humanity or politics or whatever the fuck, but you got to have a clever way of saying it that speaks to people. This right here is just fucking pretentious and boring, seldom doing anything remotely engaging. And even in those rare moments where something that could be called mildly interesting happens, the presentation (which we’ll get deeper into later) pushes it into nonsensical pretentiousness again. And while pretentiousness can be acceptable (see Ingmar Bergman), you’re gonna need something interesting to back it up… which this tale doesn’t.

The characters try to be dramatic and engaging and interesting, but guess what… nah. They all clash, as if they’re in different movies. Take Etienne Glaser for example. He very much has the vibe of an uptight asshole in a 50s drama. But then you have Björn Kjellman who feels like he should be in a 90s rom-com. And then there’s Philip Zandén whose performance feels like what Matthew Macfadyen would end up as if he wasn’t allowed to be expressive. The actors are trying, and generally I can’t actively say anything about their performances (except for Björn Kjellman, whose performance just feels weirdly anachronistic).

What’s interesting about the music in this movie is that there isn’t much of it. And the little we get is music licensed for the film. It doesn’t have a typical score. But how do these few licensed tracks work throughout? Eh. The tracks themselves aren’t bad, but the way they’ve been implemented just feels slightly off.

Based on a novel by Ricarda Huch, “The Guardian Angel” was directed by Suzanna Osten. And I have mixed feelings about the execution of her directing. It’s clear that she knows what she wants in her direction, the confidence is very evident in what we see. However, some of the choices made don’t really work for me. There are some shots that are a bit… off. But even more baffling is the editing, which is all over the fucking place, often just leaving me stunned as to why you would make a lot of those cuts, sometimes causing a weird sense of nausea even.

On imdb.com this movie has a score of 6.6/10. That’s all I got… the movie barely fucking exists on my usual sites.

“The Guardian Angel” is a bit too slow and pretentious for me, just ending up being a drab and less than engaging experience. Its plot is slow and nonsensical, its characters not that engaging despite (mostly) good acting, weirdly chosen music, the direction okay, and the editing being fucking baffling. Time for my final score. *Ahem*. My final score for “The Guardians Angel” is a 3,11/10. So I’d recommend skipping it.

My review of “The Guardian Angel” is now completed.

Zzzzz…