Movie Review: The Amazing Spider-Man 2 (2014)

Hello there, hope you’re having a good weekend. Only a few days until “Spider-Man: No Way Home” is released, which means it’s time for me to cover the second (and final) movie in the previous reboot. So let’s go!

Ladies, gents, and non-binaries… “The Amazing Spider-Man 2”.

Peter Parker’s (Andrew Garfield) life is a bit of a hectic one, trying to balance being Spider-Man with being a regular New York teenager. But this is going to get way tougher when a series of new villains emerge and start causing chaos. “The Amazing Spider-Man 2” is a curious case of occasional good ideas getting absolutely crushed by the overabundance of superfluous plot threads. First is the Peter/Gwen Stacy (Emma Stone) romance, fine. Then there’s the introduction of Electro (Jamie Foxx), fine. But then there’s also the backstory involving Peter’s parents. And a plot involving Harry Osborn (Dane Dehaan). And then there’s a few more threads throughout. There’s so much shit going on that it really messes with the pacing. First act is fine, and even has some great shit going on. But as the film goes on, it just becomes an overstuffed, underdeveloped, sluggish mess that is hard to engage with. There are moments of quality in the storytelling, but the overall narrative is just… ugh.

The characters in this are a mixed bag. Our two leads, Peter Parker and Gwen Stacy, they’re both charming, fun, engaging, and just overall a great pair, with Andrew Garfield and Emma Stone both delivering top notch performances. Next we have Max Dillon/Electro, who is at first set up as our main villain. His characterization is bizarre, and I don’t completely get why they wrote him the way they did. And Jamie Foxx… it’s a mixed bag of a performance. On occasion I do enjoy it, but it often just didn’t click with me. Dane Dehaan as Harry Osborn? Decent performance, undercooked writing. Paul Giamatti as Aleksei Sytsevich? Unnecessary, but very amusing. I’ll at least say that the rest of the supporting cast is solid, featuring people like Sally Field, Colme Feore, Marton Csokas, Felicity Jones, Campbell Scott, Embeth Davidtz, and more.

The score for the movie was composed by Hans Zimmer, Pharrell Williams, Junkie XL, Johnny Marr, Steve Mazzaro, and Andrew Kawczynski… FUCK, that’s a lot of composers. But they acted as sort of a supergroup to make the music for this, and I think it mostly paid off. It’s an interesting mix of styles and genres, making for a unique and slightly eclectic score that I thoroughly enjoyed hearing throughout the movie. There’s also a handful of licensed songs used throughout, and they are a bit of a mixed bag. Some work pretty well, some less so.

As with the first one, “Amazing Spider-Man 2” was directed by Marc Webb (HA!), and I think he did a solid job. Despite the script being a complete mess, Webb’s direction is sound, flowing beautifully and bringing some nice energy to proceedings. It especially shines in action scenes, which are all generally quite enjoyable. And that’s something I can say, on the technical side of things, this movie is solid.

This movie has gotten some very mixed reception. On Rotten Tomatoes it has a 52% positive rating. On Metacritic it has a score of 53/100. And on imdb.com it has a score of 6.5/10.

Despite a lackluster and overly messy script, “The Amazing Spider-Man 2” still has enough bright spots in it to keep it from total failure. It has some good story moments, it has a few good characters, the performances are (mostly) great, the music is really good, and the direction is really solid. Time for my final score. *Ahem*. My final score for “The Amazing Spider-Man 2” is a 6.23/10. So while flawed, it’s still worth a rental.

My review of “The Amazing Spider-Man 2” is now completed.

*thwip*

Movie Review: The Amazing Spider-Man (2012)

If you’ve been following me for a few years, you might remember that back when “Spider-Man: Far From Home” came out in 2019, I reviewed all of the Sam Raimi-directed webhead movies. Well, now that we’re getting “Spider-Man: No Way Home” in a few weeks I thought it was a good time to finally talk about the two “Amazing” movies. So today I’ll be reviewing the first one, and then the sequel in like a week. Sound good? Then let’s get into it!

Ladies, gents, and non-binaries… “The Amazing Spider-Man”.

After he gets bitten by a genetically modified spider, high school student Peter Parker (Andrew Garfield) starts developing spider-like powers… wait a minute, this is how I kicked off my review of the 2002 “Spider-Man” (absolute hack). But yeah, since this is a reboot, it kind of does have a similar setup to what has come before. But despite this, “Amazing Spider-Man” manages to still stand on its own two feet, largely thanks to a slightly more serious and subdued tone. For the first two acts, I genuinely found myself really invested in the storytelling , it’s an enjoyable and emotionally resonant take on a very familiar setup. It does start stumbling towards the last act however, largely due to the villain of this. Again, early scenes of the character getting introduced are really strong… but the further we go on, the more he loses the compelling drama and just sort of devolves into generic villain, which does affect the drama of the narrative a bit. There are still some really good moments in this final act, and even the weaker elements aren’t outright terrible, but it is enough to bring the overall product down for me a little. Again, on the whole it’s a strong story, even though it does stumble a little towards the end.

The characters in this are all pretty solid, generally I find most of them quite compelling. Peter Parker in this isn’t the überdork he’s been in a few other adaptations, but he still carries some of that awkward charm that the character needs, and it’s all beautifully brought to life by Andrew Garfield giving a fantastic performance. Then we have Gwen Stacy, a smart, clever, and fun young woman who also acts as a love interest for Peter, and she’s great, with Emma Stone killing it in the role. We also get supporting work from people like Rhys Ifans, Irrfan Khan, Martin Sheen, Sally Field, Denis Leary, and more, all delivering really solid performances.

The score for the movie was composed by James Horner, and it was great. Some nicely inspiring and heroic brass, some more somber and emotional pieces, some tense bits involving strings, synths, and some other goodies… it’s just a damn solid score. Horner never missed when he was still around, and this is just further proof of it.

Based on various Marvel Comics, “The Amazing Spider-Man” was directed by Marc Webb, who I swear was chosen for the pun alone. Joking aside (for now), I think he did a damn good job. The direction of this movie has this way of feeling very grounded while still bringing some of the energy of superhero comics to life. But there are also a select few bits that are directed and edited with a bit of a horror vibe, and I really dig it. So on the whole, it’s just a really well crafted film.

This movie has gotten mixed to positive reception. On Rotten Tomatoes it has a 72% positive rating and a “Fresh” certification. On Metacritic it has a score of 66/100. And on imdb.com it has a score of 6.9/10.

While it does stumble in parts, “The Amazing Spider-Man” is still a damn good retelling of the wall-crawler’s origin. It has a really good story, really good characters, great performances, great music, and really solid direction. Time for my final score. *Ahem*. My final score for “The Amazing Spider-Man” is an 8.45/10. So while flawed, I’d still say that it’s worth buying.

My review of “The Amazing Spider-Man” is now completed.

Well, that’s that for today. *Thwip*.

Movie Review: Shang-Chi and the Legend of the Ten Rings (2021)

Been quite a while since I talked about a Marvel movie on here… yeah, 2019, blimey. And before we move on, I know these movies aren’t everyone’s cup of tea, and that’s fine. I just like watching them and I’m gonna keep talking about them as long as they’re made. So yeah… on with the review.

Ladies, gents, and non-binaries… “Shang-Chi and the Legend of the Ten Rings”.

After having lived a quiet life in San Francisco for years, Shang-Chi (Simu Liu) must come out of hiding when his father (Tony Leung) begins stirring to enact a mysterious and potentially dangerous plan. The story in “Shang-Chi” is interesting to me, because it takes some of the familiar themes and structural pillars of other MCU movies, but makes them feel fresh by implementing elements usually seen more in wuxia stories and kung fu movies in general. But it also weaves in a pretty nuanced and surprisingly complex family drama throughout, which really makes the story feel more tangible and emotionally resonant. So when you blend all of these together, you get a narrative that feels familiar yet also fresh and unique for this franchise. And I loved it.

The characters in this are colorful, fun, pretty layered, and overall just quite interesting. Simu Liu plays Shang-Chi, our protagonist. He’s a man who’s gone through a lot of things in life, and it does create an interesting conflict with his more lighthearted side and the good stuff he’s experienced since moving to America. And I find him to be an interesting lead, with Simu Liu giving a damn good performance. Tony Leung plays Shang-Chi’s dad, Xu Wenwu, a mighty leader of the shady organization The Ten Rings. He’s a complex and interesting character that makes for a really compelling antagonist, and Leung is great in the role. We also get supporting work from people like Awkwafina, Meng’er Zhang, Fala Chen, Michelle Yeoh, Florian Munteanu, and many more, all giving great performances in their respective roles.

The score for the movie was composed by Joel P. West, and I think he did a great job with it. It’s big and epic, but it can also be quiet and emotional. And it creates this really cool vibe for the movie by blending elements of typical western action movie music with traditional Chinese music, and it makes for a really engaging soundscape that worked insanely well for the movie. There are also a few licensed tracks used throughout, and they’re fine. They’re not something I’d really find myself listening to in my spare time, but they worked well enough within their respective scenes.

Based on various Marvel comics, “Shang-Chi” was directed and co-written by Destin Daniel Cretton, and I think he did a great job with it. He has this really fun, yet grounded energy to his style that melds really well with a lot of the big budget comic book stuff. And it does help give the movie a nice vibe and flow that I highly enjoyed. I especially think his direction shines in the action scenes that are spread throughout this movie. There’s some nice, decently long takes, and we always get a good view of the action going on. But what I appreciate most about it is the focus on martial arts. Don’t get me wrong, I love the big, pew pew action of the other MCU movies, but there’s something so refreshing when instead of Iron Man flying around blowing shit up, it’s a dude using kung fu to fend off an opponent. And even when the action got way bigger in scale and effects budget, it was really fun and well handled. It’s just really well made and comes together so well.

This movie has been well received. On Rotten Tomatoes it has a 92% positive rating and a “Fresh” certification. On Metacritic it has a score of 71/100. And on imdb.com it has a score of 7.6/10.

“Shang-Chi and the Legend of the Ten Rings” is a fun and absolutely wonderful action movie with some well written and nuanced character drama. The story’s great, the characters are great, the performances are great, the music is great, and the direction is great too. Time for my final score. *Ahem*. My final score for “Shang-Chi” is a 9.90/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Shang-Chi and the Legend of the Ten Rings” is now completed.

I really need to watch more Tony Leung movies.

Movie Review: The Addams Family (1991)

Hello friends, how does another Month of Spooks piece sound to you? Bad? Awesome, let’s go!

They’re creepy and they’re kooky, mysterious and spooky, they’re altogether ooky… “The Addams Family”!

Gomez (Raúl Juliá) and the rest of the Addams family are in for a shock when their long thought dead relative Fester (Christopher Lloyd) shows up on their door step. What they don’t know however is that it’s not actually Fester, but a con man with his sights set to scam the family of all they have. Half heist movie, half Addams antics… and it’s a fun mix. I would’ve been perfectly fine with good ol’ Fester just being good ol’ Fester throughout, but I really enjoyed this spin on the classic characters. It makes for a fun story that contains a surprising amount of good character moments throughout. There’s also a lot of funny stuff throughout, with jokes ranging from very goofy to quite macabre. Now, not all jokes land, there were a handful that didn’t really elicit any reaction at all if I’m gonna be honest. The good jokes still outweigh the meh by quite a bit, but those that didn’t make me laugh still definitely stick out. But overall, I had fun with the story here.

The characters here are creepy and kooky, mysterious and spoo- god damn it, sorry. But I don’t know how else to describe them. They’re all wacky and weird and wonderful, and I love them all. They’re well written and all feel like wonderfully updated interpretation of the classic characters. I also think the cast helps in this department. Raúl Juliá is an amazing Gomez, Anjelica Huston is perfect as Morticia, Christopher Lloyd is terrific as Fester-not-Fester, Christina Ricci and Jimmy Workman are adorable and hilarious as Wednesday and Pugsley, Carel Struycken kills it as Lurch, Judith Malina is great as Granny. And the supporting cast of Dan Hedaya, Elizabeth Wilson, Christopher Hart, Dana Ivey, and more are all great too. It’s just a wonderful cast.

The score for the movie was composed by Marc Shaiman, and it was really good. Energetic, bouncy, a little spooky, it’s got everything you could really ask for when it comes to music in a mildly horror-adjacent family fil- Wait, this is PG-13? Oh shit, I guess I can’t call it a family film then… or can I? Anyhow, Shaiman’s score is good.

Based on the comic strips by Charles Addams, “The Addams Family” was directed by Barry Sonnenfeld, and he did a really solid job. His direction here has this snappy energy that really fits the story and characters and keeps any scene from getting dull. Even when something happens that didn’t cause laughter (despite the clear intentions of the crew), Sonnenfeld’s direction at lest kept me watching. I can also say that I really liked the effects in this. Some great hair and makeup effects are featured throughout, a few fun and unexpected things I don’t wanna spoil, and of course Thing. Some of the compositing in a few moments can look slightly jank, but I think it kind of adds to the charm of it. I just like the way this film’s made.

This movie has been decently well received. On Rotten Tomatoes it has a 65% positive rating. On Metacritic it has a score of 57/100. And on imdb.com it has a score of 6.9/10.

“The Addams Family” is a charming and quite funny little caper adventure. It has a good plot, great characters, great performances, really good music, really good direction, and funny comedy. Time for my final score. *Ahem*. My final score for “The Addams Family” is an 8.65/10. So it’s definitely worth buying.

My review of “The Addams Family” is now completed.

*Snap* *Snap*

Movie Review: Joker (2019)

Hoo boy, a lot of talk around this one last year, which is part of why it’s taken me so long to get around to it. Whether people were on the positive or negative side of the discourse, I wanted to wait until shit calmed down before I finally gave it a go. And now that things are a bit more quiet, I can give my two cents. So which side of the aisle will I be on? Let’s find out.

Ladies and gents… “Joker”.

Gotham City, 1981. Arthur Fleck (Joaquin Phoenix) is a mentally ill lower class citizen trying to make ends meet as a clown for hire. However, since the society around Arthur is so awful to him, that is of course easier said than done. As he starts to really come to terms with this, Arthur starts going down a dark and violent spiral of carnage. This movie tries to have a message… or two… or three… or, I think you get the point. “Joker” is trying to say a lot, but never does it in a way that really engages, barely scraping the surface level on any of its ideas. And when you have that surface level stuff over multiple messages it tries to convey, everything gets a bit fucking muddled. What doesn’t help is that the movie really seems to think that it’s really something, but ultimately ends up being almost nothing. Never does the movie get under my skin (despite trying), never does it get me emotionally invested (even though it damn well attempts to), and never does it get me on its side regarding any of the things it tries to say. It’s a shallow mess.

The characters in this aren’t great. The writers have tried giving them depth and nuance, but like the story before them, due to the writing it kinda fails. Joaquin Phoenix plays Arthur, our central protagonist, a poor man with mental health issues. He is basically the punching bag of society, everyone always kicks him while he’s down, he’s not having good days, h- do you see these unsubtle things I’m hammering home? I don’t mind things being obvious, but Arthur’s “development” is so hammered home that it gets a bit much. At least Joaquin Phoenix does a good job with that material he’s given. We also get supporting work form people like Zazie Beets, Robert De Niro, Frances Conroy, Brett Cullen, Shea Whigham, Bill Camp, Glenn Fleshler, and more, all giving solid work, even if the writing around their characters isn’t great.

The score for the movie was composed by Hildur Guðnadóttir, and it was utterly terrific. It’s intense and dark and scary and one of the most emotionally arresting scores I’ve heard in recent years. It’s by far the best aspect of the movie. There’s also a handful of licensed songs used throughout, and they work fine, I guess. They’re good songs, and they kinda fit the situations they’re used in.

Loosely based on the DC Comics character, “Joker” was directed and co-written by Todd Phillips. And I guess he did an okay-ish job with it. Much like the story, it just feels shallow and hollow. Violence, despite having some genuinely cool blood and gore, lacks impact, and the general shot composition and editing just feels hollow, like it’s trying to be epic and beautiful, but feeling like it lacks something. Lawrence Sher’s cinematography does generally look good, but there’s something about everything around it that just falls flat.

This movie has gotten some mixed reception. On Rotten Tomatoes it has a 68% positive rating. On Metacritic it has a score of 59/100. And on imdb.com it has a score of 8.5/10, and is ranked #60 on the “Top 250” list. The movie won 2 Oscars in the categories of Best actor (Phoenix) and Best original score. It was also nominated for an additional 9 Oscars in the categories of Best picture, Best director, Best adapted screenplay, Best cinematography, Best costume design, Best makeup, Best film editing, Best sound mixing, and Best sound editing.

Despite its many accolades, I was honestly not a fan of “Joker”. It’s a shallow drama with muddled messages and surface-scraping drama. The story isn’t very engaging, neither are the characters, the acting’s good though, the score is superb, and the directing is fine. Time for my final score. *Ahem*. My final score for “Joker is a 4.45/10. So sadly I have to say that I’d skip it.

My review of “Joker” is now completed.

*Eyes dart in every direction* Oh dear…

Movie Review: Justice League Dark: Apokolips War (2020)

If you’ve followed my blog for an extended amount of time, then you’re probably aware that I have a certain fondness for animated movies based on DC superhero comics. I tend to watch them all, and review a lot of them. And today we’re doing just that. So here we go!

Ladies and gentlemen… “Justice League Dark: Apokolips War”!

After the Justice League fails to defeat the alien despot Darkseid (Tony Todd), the world turns into a post-apocalyptic wasteland. And with the League basically gone at this point, it’s up to a ragtag gang of remaining heroes and villains to team up to make one final attempt at stopping the alien dictator. So this is basically the big, “everything looks dire” finale to this specific universe of animated films. And you can really feel that the crew of this movie are taking a big swing at giving us an emotionally satisfying finale to this universe that they’ve kept going since 2014. And I think they succeeded quite well. For only having a 90 minute runtime, they manage to get a lot of stuff in there without making any of it feel forced. As the title implies, we get to see a little more of the Dark League, especially since John Constantine (Matt Ryan) more or less acts as the main character here. We get the Suicide Squad involved, we get payoffs from the Teen Titans stuff from other movies. They somehow manage to involve payoffs from pretty much all branches of this movie universe, and it all works marvelously… for me as a fan who’s followed these films for years, at least. I felt satisfied with this wrap-up. It’s dark, it’s exciting, it’s fun, and it even got me a little emotional. It’s just a solid narrative.

The characters in this are colorful, fun, and surprisingly nuanced. We both get to see the personalities we’ve come to know (and mostly love) over the years as they are, but we also get to see a surprising amount of nuance and character development throughout that really made me care for them all much more. And since this is the big finale, they bring in the big guns on the cast. A lot of recognizable names, and all giving top notch voice performances. Matt Ryan, Jason O’Mara, Roger Cross, Tony Todd, Camilla Luddington, Jerry O’Connell, Taissa Farmiga, Stuart Allan, Ray Chase,Liam McIntyre, Rainn Wilson, and more all deliver their talents wonderfully.

As with a lot of the previous DC animated movies, the score for this one was composed by Frederik Wiedmann. And as per usual he knocked it out of the park. Of course he gives us the familiar superhero brass, but he also gives us a fair bit of somber pieces as well to really show how desperate the entire situation is for our heroes. And really, Wiedmann has never failed before, but this is still somehow his best work for this series.

Based on various comics from DC, “Justice League Dark: Apokolips War” was directed by Matt Peters and Christina Sotta. And I think they did a terrific job. As with the story, you can tell that they were going all out on the directiong/animation on this one. Because out of all the movies in this animated universe, this is the best looking one. The animation is crisp, and everything flows beautifully. And this makes action scenes an absolute blast to watch. They also went all out on violence in this. People die… and not in nice ways. And that helps add some extra impact to fights. So yeah, the crew killed it.

This movie has been well received. On Rotten Tomatoes it has a 100% positive rating. And on imdb.com it has a score of 7.8/10.

I know some of you don’t care for these movies, but for me “Justice League Dark: Apokolips War” was a satisfying and exciting finale to this specific run of DC animated features. It has a really good story, great characters, great performances, great music, and great directing/animation. Time for my final score. *Ahem*. My final score for “Justice League Dark: Apokolips War” is a 9.78/10. Which of course means that it gets the “SEAL OF APPROVAL!”.

My review of “Justice League Dark: Apokolips War” is now completed.

I’m really gonna miss looking forward to new movies in this series.

Series Review: Doom Patrol – Season 2 (2020)

Last year I watched (and reviewed, nudge nudge wink wink) the first season of this show. I absolutely loved it. So now that I finally finished season 2, the question becomes “Is the show able to follow up on such a strong first outing?”. Well, today we’re gonna find that out.

Ladies and gents… “Doom Patrol” season 2!

We once again follow the dysfunctional adoptive “family” of mad scientist Niles Caulder (Timothy Dalton), now recently having added Caulder’s real, estranged daughter Dorothy (Abigail Shapiro) to their mix. All the while they deal with their own personal demons in the chaotic and often destructive ways we’ve come to know from them. As with the first season, the sophomore outing of “Doom Patrol” isn’t afraid of exploring the stranger sides of the DC Universe, giving us some of the strangest and most insane characters from the comics. And while this helps create some absurd hilarity throughout, the writers still take the time to really take us into the characters’ heads and dramas, creating a strong emotional bond that keeps the viewer invested in everything going on, even when things get absolutely fucking bonkers. It’s a damn good mix of strange, hilarious weirdness, and genuinely emotional drama.

The characters in this are flawed, extremely nuanced, colorful, fun, engaging, and overall just insanely interesting. I won’t go into detail with each character as that would take all month, but let it be known that they all have really fascinating arcs this season that add upon developments from the first season quite well. I can at least say that the returning core cast, including people like Diane Guerrero, April Bowlby, Matt Bomer, Brendan Fraser, Joivan Wade, Timothy Dalton, Matthew Zuk, and Riley Shanahan all give excellent performances in their respective roles. And newcomer Abigail Shapiro (in her first on screen role no less) holds her own excellently against these more established performers, playing the inexperienced and naive Dorothy beautifully. And some of the supporting and guest actors are great too. It’s just an overall great cast.

As with season 1, the music for season 2 was done mainly by Kevin Kiner, with some assistance by Clint Mansell. And good god damn, the score here is excellent. It’s mostly based around synths, but it helps create a sound that is a little weird and otherworldly, perfectly befitting of this show’s overall tone, fitting both the insane and emotional sides of the narrative. There’s also a bunch of licensed songs used throughout, and they work quite well in their respective scenes.

The episodes of “Doom Patrol” season 2 were written and directed by a whole bunch of people, and the craft on display here is superb. The shot composition is great, the pacing is great, the cinematography is beautiful, everything just together perfectly. Even the special effects have had a bit of a step up in quality, from being very hit and miss in the first season to all looking pretty damn good here. And as implied earlier, this show has a fair bit of comedy to it. And I felt like it all landed, creating many loud, belly laughs.

This show/season has been very well received. On Rotten Tomatoes it has a 96% positive rating. On Metacritic it has no score. And on imdb.com it has a score of 8.0/10.

Season 2 of “Doom Patrol” is another excellent batch of insane, emotionally resonant stories. It has a great story, great characters, fantastic performances, great music, great directing/cinematography, and hilarious comedy. Time for my final score. *Ahem*. My final score for “Doom Patrol” season 2 is a 9,94/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Doom Patrol” season 2 is now completed.

Long live weirdness.

Movie Review: Reign of the Supermen (2019)

As has been made clear many times on this here blog, I like watching animated adaptations of DC Comics properties. Yes, there’s been a few less than stellar ones through the years, but I always root for them, because of my nearly lifelong love of these characters. So with this said, let’s talk about one.

Ladies and gentlemen… “Reign of the Supermen”.

Set six months after “The Death of Superman“, the world is still trying to recover after one of its biggest heroes died at the hands of the monster known as Doomsday. And in the wake of the Man of Steel’s demise, several new and mysterious Supermen start revealing themselves, all trying to be the new hero of Metropolis. While the movie at times suffers from trying to cram a lot of plot into 80 minutes, I still found myself enjoying the hell out of proceedings. The creative team really know how to squeeze genuine emotion and clever storytelling out of this admittedly silly premise. There were times where I really felt something more than just “Yay, superheroes!”. Again, it’s not perfect as it has a lot of plot to dish out in a very short runtime, but for the most part the story holds up, even providing a surprising amount of nuance.

Like with the story, the crew managed to give a surprising amount of nuance to the characters in here, giving them interesting motivations and entertaining arcs. I won’t go too much into details about them, as it would risk spoiling stuff, so I’ll just leave it on all characters having something interesting to them. Also, holy crap this cast. Rebecca Romijn, Cameron Monaghan, Cress Williams, Jerry O’Connell, Rainn Wilson, Charles Halford, Rosario Dawson, and so many more… it’s an incredible cast, with everyone giving their A-game.

As with a lot of these DC animations, the score for “Reign of the Supermen” was composed by Frederik Wiedmann, and as per usual, it is terrific. This man brings us terrific tunes every time he composes the score for one of these movies. It’s big and epic, but also low-key and intimate. My man brought his A-game once again.

Based on the 90s comic storyline of the same name, “Reign of the Supermen” was directed by DC animation regular Sam Liu. And if you’re somewhat unfamiliar with that name, let’s just say that he’s one of the most reliable hands in the DC/WB animation department. The man knows how to infuse properties with a certain energy that is quite engaging to experience. When scenes need to slow down and be more emotional, his direction is great. And when action happens, his direction is great. The man knows how to deliver on animated comic book goodness. Speaking of which, the animation here is great. It has a decent amount of detail, and it has a nice fluidity to it that really shines during action scenes.

This has been pretty well received. On Rotten Tomatoes it has a 93% positive rating. And on imdb.com it has a score of 6,8/10.

“Reign of the Supermen” may buckle slightly under the weight of too much plot in too little time, but it still manages to be a damn fine animated feature. It has engaging plot, it has really good characters, great performances, great music, and really good animation/direction. Time for my final score. *Ahem*. My final score for “Reign of the Supermen” is an 8,87/10. So while flawed, it’s still definitely worth buying.

My review of “Reign of the Supermen” is now completed.

Fun fact: As I was writing this, I put on some music. And one of the songs that came on was “Land of Confusion” by Genesis, which has the oddly fitting lyric “Oh Superman, where are you now?

My Favorite Scenes: Doom Patrol – People Like Us

Holy shit, ain’t this a corpse. When was the last time we did a My Favorite Scenes post? February 2017? Okay, not quite as far back as I thought, but still… that’s nearly three years. Well, for any newer readers, this series is all about me explaining why I like certain scenes in movies and tv. A blogger friend of mine had a similar series and I nicked the idea from him. As you can probably imagine, this involves some spoilers for any particular movie or series that the scene is featured in. So be warned. Anyway, let’s talk about “Doom Patrol”!

Based on the DC comic book team of the same name, “Doom Patrol” is about a group of misfits who have all been brought together by Doctor Niles Caulder (Timothy Dalton), since they really have nowhere else to go. And in the show, Niles goes missing, which leads to various adventures where the team tries to find clues to his whereabouts, while also dealing with their own personal demons. I actually reviewed the first season of the show in 2019 (*cough* shameless plug *cough*), and mentioned in that show that I absolutely adored its mix of relatively unknown superheroes, compelling character drama, and hilariously crude humor. And today we’re talking about a scene that kind of encapsulates some of that. So it goes without saying, spoilers for “Doom Patrol”, and in particular its 8th episode, “Danny Patrol”.

So in episode 8, “Danny Patrol”, two of the team’s members, Larry Trainor/Negative Man (Matt Bomer/Matthew Zuk) and Cliff Steele/Robotman (Brendan Fraser/Riley Shanahan) get transported to Danny, a sentient, teleporting, gender-queer street (yes, you read that right), when it needs help from Doctor Caulder (who is still missing at this point). While here, Larry and Cliff make acquaintances with Maura Lee Karupt (Alan Mingo Jr.), a sort of front person for Danny, the sentient, teleporting, gender-queer street (god, I love saying that). And during a scene in the episode, Larry gets invited up to sing some karaoke, in which he does and begins covering “People Like Us” by Kelly Clarkson. And during this musical number, you see Larry open up, show some actual joy. His entire life, he’s been a bit of an outsider, starting as a closeted gay man in the 1960s U.S. Army, and then later being a bit of a radioactive freak with a strange alien being living inside of him, which of course kinda prevented him from bonding with people. But finally it seems like he has found some people who just accept him for who he is. Freaks, outcasts… “People like us, we gotta stick together”. And then when the ending of the scene revealed itself, it was a bit of a gut punch to me. In lesser hands, this could’ve just been a goofy scene of a mummy-man singing a song from an American Idol winner while visiting a sentient, teleporting, gender-queer street. But thanks to the wonderful writing and world-building of “Doom Patrol”, it became one of the most uniquely compelling scenes I’ve experienced in any recent tv show, even making me tear up when I first saw it.

Scenes like this is why I adored season 1 of “Doom Patrol”, and is why I am really looking forward to whatever madness they’ll be concocting for season 2.

Have a good one, and show some love to people around you, even when you’re not standing near a sentient, teleporting, gender-queer street.

Series Review: Watchmen – Season 1 (2019)

That’s right, it’s not just christmas contrivances you’ll get. Regular reviews will show up too, I ain’t forgettin’ my roots. So, let’s talk about a comic book thing.

Ladies and gentlemen… “Watchmen” season 1!

Set in an alternate version of 2019, “Watchmen” follows a whole bunch of people, as they try to navigate the strange and intense happenings of this world they live in. And that’s pretty much all I’ll say in regards to explaining the core plot, because it’s such a weird and unique experience that if explained further, it would risk kinda ruining it. But I’ll say that the ways it ties into the classic comic book are really neat, and even looking at it without really knowing much (if anything) about the comic, it’s still a highly entertaining and unique journey that has a satisfying beginning, middle, and end.

The characters in this are flawed, layered, colorful, and just really interesting. Regina King plays Angela Abar, an undercover police officer who more or less serves as the main protagonist of the story. She’s tough, but she does also have a vulnerable side that makes her feel more human and relatable. And King is great in the role. And that’s all the cast I’ll go into, as some reveals are better left experienced (kinda like the plot). But I can say that the cast is filled out with people like Jean Smart, Tim Blake Nelson, Sara Vickers, Jeremy Irons, Don Johnson, Louis Gossett Jr, Yahya Abdul-Mateen II, Tom Mison, James Wolk, and many more, all doing very well in their respective roles.

The score for the show was composed by Trent Reznor & Atticus Ross, and good god damn, they did a phenomenal job with it. They do some tracks that are quite exciting and cool-sounding, while also providing some tracks that are a bit more dramatic and emotional. They have created a score that not only covers every emotion one needs created for a show like this, but also fits the weird and unique style of everything else in the show. There’s also some licensed tracks used throughout, and they work quite well in their respective scenes too. So yeah, this show has good music.

Based on the classic DC Comic by Dave Gibbons and Alan Moore, “Watchmen” was developed for HBO by Damon Lindelof, who also served as lead writer, while giving directing duties to a whole bunch of other people. And the craft on display here is absolutely superb, creating a world that is familiar (thanks to it technically still being earth), and yet a bit alien, thanks to its awesomely off-kilter tone. The directing is energetic, but also suspenseful, fun, and engaging. The cinematography too is stunning, giving us some great lighting and framing. And with all this said, episode 6… some of the best craft in a tv episode this year, from the shots, to the editing, to the directing… it’s fucking spectacular.

This show has been well received. On Rotten Tomatoes it has a 96% positive rating and a “Fresh” certification. On Metacritic it has a score of 85/100. And on imdb.com it has a score of 7,8/10.

“Watchmen” is one of the best new shows of 2019. It has a great plot, great characters, fantastic performances, great music, and great writing, directing, cinematography, and editing. Time for my final score. *Ahem*. My final score for “Watchmen” is a 9,90/10. Which means that it gets the “SEAL OF APPROVAL!”.

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

I know I called this season 1, but I sincerely hope there are no more seasons. This is a perfectly contained package.