Movie Review: One False Move (1992)

The 90s were such a fascinating time for movies, particularly ones within the crime and thriller genres. Some were kinda typical and formulaic, but often still entertained. But then we also got ones that could subvert expectations. I only say this because 90s thrillers are among my favorite kinds of movies, and today we’re talking about one such movie, one that I only heard about for the first time late last year.

Ladies and gents… “One False Move”.

After a group of criminals commit a violent crime in Los Angeles, they flee the city, heading east towards Arkansas to go into hiding. However, the L.A. police are already onto them, so they get to the quaint Arkansas town first to team up with the local Sheriff (Bill Paxton) to hopefully get his help in apprehending the criminals. In the first half hour or so it may kinda seem like a typical thriller in a lot of ways, but as we move on through the story, it evolves in a lot of unexpected ways, turning into a surprisingly nuanced take on race and humanity. And despite this switch in focus, it all feels natural. The story uses its setups to give us a genuinely clever and layered narrative that managed to keep me enraptured from start to end.

Just like the plot before them, the characters in the movie may seem like one simple idea at first, but as time passes, we find out that there’s more than meets the eye. Bill Paxton plays Sheriff Dale Dixon, a lovable countryside Sheriff who’s ready for action. And the arc he goes through here is so unexpected, yet so compelling, that I can’t help but find him an electrifying character. And Paxton is terrific in the role. Next we have Cynda Williams as a young woman who travels with the criminal group at the center of the story, and we quickly learn she does have some interesting history (to keep it vague). And Williams is really good in the role. Then we have Billy Bob Thornton and Michael Beach as the two main crooks, and they make for an interesting presence in the movie. And both actors are great in their roles. We also get some supporting work from people like Jim Metzler, Earl Billings, Natalie Canerday, and more, all doing well in their respective roles.

The music for the movie was composed by Peter Haycock, Derek Holt, and Terry Plumeri. I really like what they did with the score. There is an interesting mix of genres in the score. At times it sounds like a more typical movie score with regular orchestrations, and at times it goes for blues instrumentation. I find it to be quite a fascinating blend that really adds to the film’s atmosphere, giving it a fairly unique soundscape that I loved listening to throughout the runtime.

Written by Billy Bob Thornton & Tom Epperson, “One False Move” was directed by Carl Franklin, who I think did a great job. He manages to give the entire thing a very grounded feel, without sacrificing any cinematic flair. This also helps bring in some decent suspense at times, which further adds to the nuance of the narrative and world of the movie. So combine Franklins confident direction with James L. Carter’s really good cinematography, and you get an insanely well crafted movie.

This movie has been really well received. On Rotten Tomatoes it has a 96% positive rating and a “Fresh” certification. On Metacritic it has a score of 87/100. And on imdb.com it has a score of 7,1/10.

While the change in narrative focus may put some people off, I personally thought “One False Move” was a great little crime-drama. It has a great plot, really good characters, great performances, really good music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “One False Move” is a 9,80/10. So it gets the “SEAL OF APPROVAL!”.

My review of “One False Move” is now completed.

I miss Bill Paxton.

Movie Review: 99 Homes (2015)

Homes. We live in them. They shelter us from the harshness of the outside world. And yet despite their importance, a few small legal stipulations can instantly take them away from us.

Ladies and gents… “99 Homes”.

After he gets tossed out of his own home, Dennis Nash (Andrew Garfield) goes on a quest to find a job so he can try to get it back. This eventually leads him to working for Richard Carver (Michael Shannon), the real estate agent that made Dennis leave his home. Already there you get an interesting setup. And the movie uses it to its advantage in developing the drama of the story, and it only grows more and more compelling as Dennis delves further down this spiral, becoming more involved with the real estate business. I honestly didn’t see where the story went at first, and even when I got some idea of the path later on, I still found it really engaging thanks to the genuinely interesting writing.

The characters in this are really interesting, as they’re actually pretty layered. Andrew Garfield plays Dennis Nash, a dedicated single father doing everything he can to keep his family afloat. He is the one that goes through the most development in the cast here (which makes sense, since he’s the main character), going from his emotionally charged starting position to where he ends up. And Garfield is fantastic in the role. We then have Michael Shannon as Richard Carver, real estate agent and dickhead extraordinaire. If you just think of those words together with the casting, you can probably imagine what the character’s like. And you’re mostly right… and it’s awesome. Michael Shannon’s awesome. We also get supporting work from Laura Dern, Noah Lomax, Tim Guinee, J.D. Evermore, and a whole bunch of other people, all doing well in their respective roles.

The score for the movie was composed by Antony Partos & Matteo Zingales, and I think they did a pretty good job with it. The score is a mostly synthesized affair, making for a decently dramatic sound that fits the movie well enough. Not much else I can say. Good, but not too memorable.

“99 Homes” was written by Ramin Bahrani and Amir Naderi, with Bahrani serving as director. And I think Bahrani did a great job. He really knows how to bring you into it. There’s a confidence in his direction that gives the movie a certain flair that elevates it everything else by quite a margin. He almost gives the movie a bit of a documentary-esque vibe, without sacrificing the cinematic flair of the fictional elements. He also knows how to build some good suspense at times, especially with a scene early on that I won’t spoil. Bahrani’s good.

This movie has been well received. On Rotten Tomatoes it has a 93% positive rating and a “Fresh” certification. On Metacritic it has a score of 76/100. And on imdb.com it has a score of 7,1/10.

“99 Homes” is a damn fine drama, taking a nuanced look at some fairly complex issues. It has a great plot, good characters, great performances, pretty good music, and really good writing/directing. Time for my final score. *Ahem*. My final score for “99 Homes” is a 9,62/10. So it gets the “SEAL OF APPROVAL!”.

My review of “99 Homes” is now completed.

Oh, and that “Based on true events label”? Not quite true. It uses the 2008 recession as basis for its story, but beyond that, the story and characters are fabrications.

Movie Review: Bad Education (2020)

I am so thankful for HBO existing over here in Sweden. This means I got to watch this movie the day after it aired in the United States. Yes, I am bragging. Not as an insult to those who can’t watch it, but just because I’m happy over this luck I have. Anyhow, review time.

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

Ladies and gents… “Bad Education”.

Frank Tassone (Hugh Jackman) is the superintendent of the Roslyn school district in the state of New York. He’s beloved by all, always taking time to assist colleagues and students, being a real beacon of hope and success. But as we follow him through the movie, we start to find out that he and his colleagues may have some shady, monetary dealings going on. I really enjoyed the story here, as it takes a very fly-on-the-wall approach to its storytelling. While it makes clear that some of the shady shit going on isn’t okay, it doesn’t necessarily take a side and say that anyone here is an outright bad person, instead just presenting the facts, pimples and shiny smiles alike, allowing the viewer to take their own stance on things. It also has an interesting tone, more often than not going for a more darkly comedic approach rather than straight drama, which I think really adds some extra flavor to proceedings. It’s an interesting story told in a nuanced and engaging way.

The characters are flawed, colorful, layered, and just overall quite interesting. Hugh Jackman plays Frank Tassone, the charismatic superintendent at the center of the story. He’s friendly, charming, coming off as the perfect man to lead the charge in getting a school district to the top. But as we soon find out, he may or may not have a few secrets of his own. Hugh Jackman is excellent in the role, giving a relatively subdued performance where you can read every little emotion and thought in his eyes. Next we have Allison Janney as Pam Gluckin, Frank’s colleague, and also the person who keeps tabs on the economy in the school(s). And as you might expect from that description and the fact that she’s played by Allison Janney, she’s quite an intriguing presence in the story. And Janney is great in the role. I love her chemistry with Jackman as well, they are a lot of fun together. Next we have Geraldine Viswanathan as Rachel, a student at one of the schools in Frank’s district. She’s a bright young lady, working as a journalist for the school paper. She’s one of the more interesting supporting players here as she gets plenty to do, and Viswanathan does a really good job in the role. We also get supporting work from people like Ray Romano, Rafael Casal, Annaleigh Ashford, Stephanie Kurtzuba, and more, all doing very well in their respective roles.

The score for the movie was composed by Michael Abels, and it was good. It has a bit of a classic vibe, leaning mainly on string-based arrangements, with the occasional woodwind to back it up. And I think it works well for what happens in the movie. There’s also one or two licensed songs used throughout, and they decently well too.

Based on the article “The Bad Superintendent” by Robert Kolker, “Bad Education” was written by Mike Makowsky and directed by Cory Finley. And I must say that I am impressed by that side of the movie. There’s a slickness to it all. Finley really gives scenes a nice flow, you can tell that he is in full control of the situations, giving us directing that really made the movie have an interesting and engaging vibe.

This movie has so far been well received. On Rotten Tomatoes it has a 92% positive rating and a “Fresh” certification. On Metacritic it has a score of 79/100. And on imdb.com it has a score of 7,5/10.

“Bad Education” is a really well made biopic that tells a really interesting tale. The story’s really good, the characters are interesting, the performances are great, the music’s good, and the writing/directing is great. Time for my final score. *Ahem*. My final score for “Bad Education” is a 9,77/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Bad Education” is now completed.

Stay in school, kids. Even if shady shit could be going on.

Series Review: Devs (2020)

Technology is fascinating. The way it’s evolved in the past hundred years alone is fucking insane and amazing. And I am always fascinated by how they use it for storytelling. So let’s see if this little tech-drama does that well.

Ladies and gents… “Devs”.

When her boyfriend disappears after starting work at a mysterious tech department, Lily Chan (Sonoya Mizuno) starts investigating what happened, leading her down a dangerous and complex path. Talking about the plot of “Devs” without revealing too much is challenging. It’s a nuanced show that tackles a fair bit of complex and mature subject matters in interesting ways. The show’s slow pace might test the patience of some people, but I feel like it adds to the storytelling, as it gives a lot of moments time to breathe. It’s a clever little thriller that’s more about the brains than pure thrills, making for a unique kind of cerebral experience that we haven’t seen much of in tv before.

The characters are flawed, layered, and interesting. Sonoya Mizuno plays Lily, our protagonist. She’s a computer engineer with some baggage, trying to deal with the recent developments in her life. Seeing her develop throughout the show is quite interesting, and Mizuno does a really good job in the role. Next we have Nick Offerman as Forest, the enigmatic CEO of the tech company at the center of the story. He’s generally a quiet and kindhearted dude, but who carries some shit with him that makes him a bit more complex in his morality. And Offerman is great in the role. We also get supporting work from people like Jin Ha, Alison Pill, Stephen McKinley Henderson, Cailee Spaeny, Zach Grenier, Karl Glusman, and more, all doing very well in their respective roles.

The score for the show was composed by Geoff Barrow and Ben Salisbury, with assistance from experimental jazz group The Insects. The score has a very interesting vibe, at times sounding a little “Blade Runner”-esuqe, but never feeling like it’s ripping that off. The sound is very dreamlike, helping in create a really unique and eerie vibe that stays with the viewer after an episode ends.

“Devs” was created, written, and directed by Alex Garland for the FX network, and I think he did a great job with that stuff. His directing is slow and very deliberate, going for that almost dreamlike vibe I mentioned in the music section. And when combined with the immaculate set design and Rob Hardy’s mesmerizing cinematography, you get one of the mot stunningly crafted shows I’ve had the pleasure of laying my eyes on in a while. There were a lot of scenes in this show that made my jaw fall to the floor. I still have trouble keeping it on when thinking about those scenes.

This show has been well received. On Rotten Tomatoes it has an 81% positive rating and a “Fresh” certification. On Metacritic it has a score of 70/100. And on imdb.com it has a score of 7.9/10.

“Devs” is an excellent little tech-thriller, featuring a great plot, good characters, great performances, great music, and great writing/directing/cinematography/etc. Time for my final score. *Ahem*. My final score for “Devs” is a 9,87/10. Which of course means it gets the “SEAL OF APPROVAL!”.

My review of “Devs” is now completed.

Alex Garland will basically get my time anytime he releases something.

Series Review: Buffy the Vampire Slayer – Season 2 (1997 – 1998)

As some of you may know, earlier this year my mother and I started our rewatch of this show. And I promised to document said journey. Episode-by-episode thoughts will be posted to my twitter as soon as an episode is watched. And as each season gets finished, I will (as seen here) write a review of them all. Enough dawdling, review time!

Ladies and gentlemen… “Buffy the Vampire Slayer” season 2!

Summer holiday is over, which means Buffy (Sarah Michelle Gellar) makes her return to Sunnydale after spending some time with her dad in L.A. Which means it’s back to business as usual: Trying to get good grades in school while also working to save the people of Sunnydale from various supernatural threats, including the newly arrived vampires Spike (James Marsters) and Drusilla (Juliet Landau). Season 2 takes the basic setup of the first season, and improves upon it tenfold thanks to increased budget and confidence in the writing. The main arc(s) in this season mesmerizes, creating an emotionally resonant experience that leaves a unique emotionally visceral impact by the end of it all. The highs of this season are even higher than the first one. Yes, there are still a dud or two, such as the much maligned “Go Fish” or the messy “Bad Eggs”. But then you get some truly awesome experiences in exchange, such as the wonderful “Halloween” or the spectacular and gut-wrenching “Passion”. So while there are a few less than stellar episodes, the overall package is a huge leap in quality from the first season, making for a fucking terrific batch of stories.

The characters in the show are still very colorful, fun, and entertaining, but also get a shitload of development, deepening our bond to them even further. Sarah Michelle Gellar of course returns as the titular vampire slayer. She gets to go through a loooot of stuff this season, and whoa, by the end she has developed so much as a character, which is truly compelling. And Gellar is great in the role, really getting to flex her acting muscles even more than in the first season. David Boreanaz returns as Angel, the vampire with a soul… that means he’s not a bitey bastard anymore, for you uninitiated folks out there. And like Buffy, he goes through a lot of stuff this season that is really interesting to see, both in how it affects him as a character, and how it affects his relationship with Buffy. And Boreanaz is great in the role. Alyson Hannigan, Nicholas Brendon, and Charisma Carpenter return as Buffy’s friends, and they’re all great, both on the character and acting front. Anthony Head is still wonderful as Buffy’s Watcher/mentor Giles. Now let’s talk about some newcomers… namely Spike and Drusilla, the newly arrived vampires. Spike is an anarchic punk, an absolute dick who likes to cause chaos and fear where he goes… and that kind of makes him the best character, because he’s just a blast to watch, especially since James Marsters clearly has a blast with the role. Next is Drusilla, Spike’s girlfriend, and resident crazy person. I don’t wanna say much more, since I find her personality and arc to be more fascinating to experience rather than told. But I’ll say that she’s interesting and Juliet Landau does a good job in the role. And with people like Robia LaMorte, Kristine Sutherland, Armin Shimerman, Seth Green, Danny Strong, and many more filling out the supporting cast, you get a lot of solid performances.

Season 1 composer Walter Murphy did not return for this second go-around, with compsing duties being handed over to Christophe Beck. And just like with the storytelling and character arcs, the music of season 2 is a vast improvement on the first season. Way fewer synthesizers to emulate orchestras are used, with real instruments getting to take center stage. And while there are some big, bombastic pieces for action set pieces, the overall vibe of the score this season is somber, giving off an understated feeling of sadness that still manages to have some hope behind it. Of course this is best shown in the track “Close Your Eyes”, but it does show in a few other pieces too. Beck really brought his A-game here. There’s a few licensed tracks used throughout too, and they’re fine.

As with season 1, Joss Whedon and a bunch of other cool people handled writing and directing for the season, and generally it is all really well handled (yes, even in bad episodes). It’s well shot, fight choreography ranges from alright to really good, the craft is just generally improved from the first time around (wow, saying that is really getting old). You can tell that the creatives behind the show really cared, trying to bring it to 110% each time (with varying results). Even the effects are improved… even though that doesn’t say much, because we’re talking about late 90s tv budget CGI for certain effects. The practical stuff looks fantastic, but hooooo boy, some of them there fancy computer effects aren’t so fancy anymore. It doesn’t ruin the experience for me, but it’s worth pointing out. Generally the craft here is terrific.

The show/season has been well received. On Rotten Tomatoes it has a 92% positive rating. On Metacritic it exists, but with no critics rating. And on imdb.com it has a score of 8,2/10.

While it does have one or two low points, season 2 of “Buffy the Vampire Slayer” is still a great sophomore outing that takes its simple premise and elevates it to something really special. It has a great story, great characters, great performances, great music, and great writing/directing/action/effects. Time for my final score. *Ahem*. My final score for “Buffy the Vampire Slayer” season 2 is a 9,78/10. So yes, that is correct, it does indeed get the “SEAL OF APPROVAL!”.

Season 2 of “Buffy the Vampire Slayer” is now completed.

“Go Fish”, more like “Go Fuck Itself”.

Series Review: Buffy the Vampire Slayer – Season 1 (1997)

Oh hello there. So you’re probably wondering why I’m talking about this show. Well, frankly, it’s because I’ve been a fan of it for quite a while, but it’s been years since I actually properly watched it. So my mother and I recently sat ourselves down with the DVD box set and started a rewatch. And that made me think “Hey, maybe I could talk about each season on my blog as we get through them”. So that’s what we’re gonna do for however many months this’ll take. I’ve been looking for a long-term thing to do on this blog (like the Mangoldathon I did in 2017), so this might be a decent one for now. Anyhow, let’s get on with it.

Ladies and gentlemen… “Buffy the Vampire Slayer” season 1.

After she gets kicked out of her old school, Buffy Summers (Sarah Michelle Gellar) moves to a small town called Sunnydale to start over. However, things aren’t just classes, boys, and parties, as the town lies upon an ancient secret called the Hellmouth, which brings all kinds of demonic bullshit to the area. And since Buffy is the Slayer, a young woman chosen to fight off demons, it is up to her, with the help of her new mentor (Anthony Head) and friends (Nichols Brendon, Alyson Hannigan) to deal with any demonic threats terrorizing Sunnydale, including the sinister vampire lord known as the Master (Mark Metcalf). The story here is a weird roller coaster. When it focuses on main stuff regarding Buffy’s development as a Slayer, and the Master’s plan to take over the world, it can be quite interesting, as the creators put their own unique spin on vampire mythology that still honors the traditions set by older adaptations. But then there’s also a fair bit of filler throughout, which is very hit-and-miss. From the really dumb “I, Robot, You, Jane” to the surprisingly high concept “Nightmares”, you can feel that they hadn’t quite found their footing/voice yet. This does not dismiss the entire season as outright bad though, despite its tonal and stylistic inconsistencies. It just means the road is rocky, but is filled with enjoyable and sometimes even compelling highlights (see the aforementioned “Nightmares”). So overall the story stuff here is… fine.

Where the plot may falter at times, the characters make up for it thanks to being interesting and entertaining. Sarah Michelle Gellar plays Buffy, the titular teenage vampire slayer. Like every girl her age, she doesn’t want all this responsibility of having to save the world, but is of course begrudgingly drawn into it because it’s the right thing to do, and she’s a good person and all that. And seeing her duty vs. desire sides clash creates some interesting dynamics for her. And Gellar is really good in the role. Nicholas Brendon plays Xander, one of Buffy’s new friends. He’s a bit of a dork, but also knows when to stand up for those that need it. He gets a tiny bit of development this season, but not enough to make him as good as he could be, though he is still an enjoyable presence who I wouldn’t trade for anything. And Brendon is really good in the role. Next we have Alyson Hannigan as Willow, Buffy’s other friend. A shy, slightly timid nerd, she’s the brains of the main trio, but it’s also clear that she has a tougher side to her somewhere deep down. And Hannigan is really good in the role. Anthony Head as Giles, the mentor/Watcher is great, bringing a sort of father figure presence to the group. Charisma Carpenter plays a mean girl at the school, and she kills it in that role. Mark Metcalf is deliciously villainous and campy as the evil Master. And there’s a lot of other supporting characters/actors I could talk about, but I won’t, but they’re all good.

The score for the season was composed by Walter Murphy, and I know the show at this point ran on a ham sandwich budget, but jeez Louise, it sounds bad. Not like “Resident Evil” director’s cut bad, but it’s not great. They have fun ideas for some action/horror tunes throughout, but due to its weird synth-pretending-to-be-orchestra sound, it often falters. But then we also get a few piano-based pieces throughout, and those sound great. So I’m weirdly split on it, because parts sound less than stellar, and others sound really good. Oh, and the main theme by rock band Nerf Herder is pretty good too.

Based on the movie of the same name, “Buffy the Vampire Slayer” was created for the WB network by Joss Whedon, who also wrote and directed some of the episodes, with some help on other episodes by other cool people. And here’s where I have a lot of praise for the show. It’s pretty well known that season 1 of “Buffy” was running on a ham sandwich budget, which can often break a lot of shows. But the crew really push every penny to its absolute god damn limit. Yes, some of the effects look a bit… not great, but for the most part the crew does wonders with the few means they have of creating monsters, eerie sets, and vampire slaying tools. There’s even some decent shot composition every now and then.

The show/season has been well received. On Rotten Tomatoes it has a 92% positive rating and a “Fresh” certification. On Metacritic it has a score of 80/100. And on imdb.com it has a score of 8,2/10.

While it’s a little rocky throughout, season 1 of “Buffy the Vampire Slayer” is still a solid start to the show. It has an okay plot, really good characters, great performances, meh music, and good writing/directing. Time for my final score. *Ahem*. My final score for season 1 of “Buffy the Vampire Slayer” is a 7,80/10. So while flawed, I’d still say that it’s worth watching.

My review of “Buffy the Vampire Slayer” season 1 is now completed.

Nice to have another blog series going.

Movie Review: Blindspotting (2018)

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

Ladies and gents… “Blindspotting”.

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

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

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

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

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

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

My review of “Blindspotting” is now completed.

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

Movie Review: BlacKkKlansman (2018)

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

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

Ladies and gentlemen… “BlacKkKlansman”!

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

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

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

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

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

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

My review of “BlacKkKlansman” is now completed.

This kind of stuff is why I love movies.

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.

12 Films of Christmas 2019 (Part 9)

As mentioned in my previous post, you’ll be getting two 12 Films of Christmas entries today. The previous one was technically yesterday’s the I missed. So this here is officially speaking the entry for today. So I hope you enjoy getting two pieces about contrivances today.

So for this one we’ll be talking about “Bad Times at the El Royale”, a 2018 pulp thriller written and directed by Drew Goddard. The movie is about a group of strangers who all converge at the El Royale motel for the night, and how all their pasts come to a head, creating one hell of a tumultuous experience. So what does this have to do with christmas? Well, let me learn ya somethin’.

This movie is a metaphor for family christmas dinners. Think about it. A bunch of differing people coming together and clashing? That’s very much christmas. A kindly grandpa with some skeletons in his closet (Jeff Bridges), a smug sales type who is probably your aunt’s new shitty husband (Jon Hamm), your mom who is ready to defend herself from any bullshit (Cynthia Erivo), your conniving sister (Dakota Johnson), and then there’s the cult leader (Chris Hemsworth). What, your christmas dinners don’t have charismatic yet ruthless cult leaders attending? Oh man, you should give it a try, it’s a blast… except for the one time my cousin got set on fire by said cult leader… that was a bit awkward. So yeah, “Bad Times at the El Royale” can be seen as a metaphor for insane family christmas dinners.

And even without the holiday implications, “Bad Times at the El Royale” is still a damn fine thriller filled with fantastic actors and tense moments.

Have a good one.