Movie Review: Gunpowder Milkshake (2021)

Women are great. That is all. ONWARDS TO THE REVIEW!

Ladies, gents, and non-binaries… “Gunpowder Milkshake”.

15 years after her mother (Lena Headey) disappeared on her, Sam (Karen Gillan) has ended up becoming an assassin, just like her mom. But after a job goes wrong, she finds herself doubting her loyalties when stuck choosing between following the organization that raised her, or helping a little girl (Chloe Coleman) that’s been caught right in the conflict. There are a lot of elements here that we’ve seen in various other action/thrillers before, but I feel like “Gunpowder Milkshake” puts enough of a unique spin on them to not just feel like a derivative. But I’m also not gonna sit here and tell you that this is one of the freshest feeling narratives in recent action efforts. It’s a perfectly enjoyable Friday night popcorn feature story that serves as a solid enough thread to justify the action scenes. I know it sounds like I’m ragging a bit on it, but I swear I’m not. It’s a decent story with enough charm and flair to make it stand out somewhat in the world of action-revenge-going rogue type movies.

The characters in this are colorful, fun, and overall pretty entertaining. Karen Gillan plays Sam, our main protagonist. She’s a tough assassin with a bit of emotional baggage from events in her past. She’s a pretty interesting character and I really enjoyed following her. And Gillan was really good in the role. And the supporting cast, featuring people like Lena Headey, Chloe Coleman, Angela Bassett, Michelle Yeoh, Carla Gugino, Ralph Ineson, Paul Giamatti, and more, are all really fucking good.

The sore for the movie was composed by Frank Ilfman, and I think he did a good job with it. Ilfman blends a few different styles within his score here, most notably a little bit of synthwave, some typical action orhestration, and a fair bit of Morricone-style western tunes. And it makes for a very fun soundscape that really helps elevate each scene within the movie. There’s also a few licensed songs used throughout, and they work quite well in their respective scenes.

“Gunpowder Milkeshake” was directed and co-written by one Navot Papushado, and I’d say he did a good job with it. His directing has a fair bit of energy to it, and when blended with a lot of stylish lighting and editing, makes for quite the electrifying watch. And this especially comes through in the action scenes, all of which are slick, violent, and a ton of fun. It’s just a stylishly crafted flick.

This movie just came out, so these ratings will likely change after this review comes out (and my lazy ass ain’t editing shit over time). On Rotten Tomatoes it has a 64% positive rating. On Metaritic it has a score of 47/100. And on imdb.com it has a score of 6.5/10.

Even though “Gunpowder Milkshake” doesn’t do anything to reinvent the wheel, it’s still a fiercely entertaining action flick that I can happily recommend. It has a pretty good story, pretty good characters, really good performances, really good music, and really good directing. Time for my final score. *Ahem*. My final score for “Gunpowder Milkshake” is an 8.41/10. So I’d definitely say it’s worth watching.

My review of “Gunpowder Milkshake”.

A gunpowder milkshake sounds like a terrible dessert. Sounds like it’d be really gritty and also put you at risk of igniting your entire mouth. Think I’ll stick to regular milkshakes, thank you.

Movie Review: The Mitchells vs. The Machines (2021)

While I miss going to the cinema, it’s nice that I still can experience brand new movies from the safety of my own home. And this one comes to us straight from Netflix.

Ladies, gents, and non-binaries… “The Mitchells vs. The Machines”.

Going on what is meant to be a family bonding road trip, the dysfunctional Mitchell family find themselves caught in the middle of a robot apocalypse, and must do everything they can to survive and possibly also save the world. So yeah, this movie blends a lot of familiar elements into its story. There’s the whole dysfunctional family angle, the misunderstood teenager, there’s a road trip comedy, there’s robots trying to take over, there’s social commentary on modern tech… yeah, this soup has a lot of ingredients. And they all come together quite well to make for a highly enjoyable narrative. Yes, it really doesn’t do much new, but that’s okay, because it handles its familiar ideas in really fun, easily digestible ways. It also helps that it seldom lets anything outstay its welcome, thanks to a crackling pace. But it does also know to slow down when there needs to be a bit of character drama. It’s basically a good, well paced story that I highly enjoyed.

The characters in this are all charming, colorful, and highly entertaining. They all have some quirk to them that is used in fun ways throughout the movie, and it also at times makes for some interesting character dynamics when needed. I don’t really wanna say too much more, as I feel the characters and their unique charms are best left experienced, so let’s just mention some of the actors in this, all of which are great in their respective roles. You got Abbi Jacobson, Danny McBride, Maya Rudolph, Michael Rianda, Eric André, Olivia Colman, Fred Armisen, Beck Bennett, and many more.

The score for the movie was composed by Mark Mothersbaugh, and I think it’s great. It’s very energetic and fun, fitting the fast pace of the movie. I also think the heavy use of synths add a lot to it, complementing both the robot uprising and the bouncy family adventure. There’s also a few licensed songs used here, and they work fine.

“The Mitchells vs. The Machines” was written and directed by Michael Rianda and Jeff Rowe, and I think they did a terrific job with it. This movie has this really energetic and snappy direction that really helps keep any moment from getting stale, and which makes action scenes an absolute joy to behold. Speaking of beholding, holy crap, this animation in this is spectacular. It is of course 3D/CG in its basis, but it also seems to incorporate elements of cel-shading, some traditional 2D animation, and even a few other styles at a few points that I won’t spoil. But yeah, it makes for animation that really pops off the screen lingers in the viewer’s (AKA my) mind. The movie is also insanely funny, there’s so many jokes here I laughed really hard at. There were also a few I didn’t really enjoy, but thanks to the movie’s fast pace they didn’t really outstay their welcome, so the overall experience remained very positive.

This movie just came out, so ratings might change over time (I will however not change anything, for I am lazy). On Rotten Tomatoes it has a 96% 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.

“The Mitchells vs. The Machines” is an insanely fun and hilarious family film that I highly enjoyed. It has a really good story, great characters, great performances, great music, fantastic direction/animation, and hilarious comedy. Time for my final score. *Ahem*. My final score for “The Mitchells vs. The Machines” is a 9.67/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “The Mitchells vs. The Machines” is now completed.

It’s been a while since I laughed so much that it made me cough. Good on ya, movie.

Movie Review: The Karate Kid (1984)

Your suspicions are correct, I only saw this classic for the first time today. I know, shame on me for being late to the party, yada yada yada. Now, for those who haven’t left me over this horrific revelation… let’s talk about the movie.

Ladies and gents… “The Karate Kid”.

Daniel LaRusso (Ralph Macchio) has just moved to California with his mom (Randee Heller). However, things aren’t just sunshine and palm trees for poor Daniel, as he soon starts getting bullied by a group of karate-proficient bullies. This soon leads him to befriending an older Japanese man (Pat Morita) that may or may not be able to teach Daniel how to defend himself. So you get yourself a bit of an underdog story, a bit of a coming of age story, and a bit of martial arts (and even a few drops of philosophy). It’s a narrative that encompasses a lot of things, and handles most of them with a surprising amount of grace and nuance. This does add a little bit to my main criticism with the film, which is that the runtime really could be felt at times. I wasn’t necessarily bored per se, but let’s just say that those 2+ hours do feelt like 2+ hours. Overall it is a fun story that I found myself pretty engaged with, even if it felt like it dragged at points.

The characters in this are colorful, entertaining, and surprisingly layered. Ralph Macchio plays Daniel LaRusso, the Jersey kid forced over to California. At first he can come off as that typical angsty teen, but soon shows that he is more than that. He’s charming, he’s funny, and he’s a good dude who just wants to live his life. And to see that personality get tested through Daniel’s various trials and tribulations is quite interesting, with Macchio giving a great performance. Next we have Pat Morita as Mr. Miyagi, the older man that Daniel befriends and (as you all know) agrees to train. He’s a bit of an eccentric man, which makes him a really entertaining character, with Morita being really good in the role. And I have to say, the chemistry between Macchio and Morita is stellar, and is arguably the best part of the entire movie. We also get supporting work from people like Randee Heller, Elisabeth Shue, Martin Kove, William Zabka, and more, all doing very well in their respective roles.

The score for the movie was composed by Bill Conti, and it was a lot of fun. It has a lot of familiar 1980s cheese to it with big, inspirational brass and what I’d like to call “montage synths”. You know, those kinds of synths that only show up in old underdog stories to serve as some sort of personal growth/montage thing for the character (you’ll know ’em when you hear ’em). Either way, I think his score is a lot of fun and works well for the movie. There’s also a bunch of licensed songs used through, and they work pretty well in their respective scenes.

“The Karate Kid” was directed by John G. Avildsen, and I think he did a good job. Shots have a nice flow to them, and his direction has a certain type of energy that really helps bring you into the scene. He also makes the story feel a bit more grandiose than it is. Because if you think about it, the story itself is relatively small scale, but Avildsen has a way of making it feel quite substantial. I will also say that I enjoy the way he shoots martial arts. It doesn’t show up that much in the film, all things considered, but when it does it’s nicely shot and gets properly shown off.

This movie has been pretty well received. On Rotten Tomatoes it has an 89% positive rating and a “Fresh” certification. On Metacritic it has a score of 60/100. And on imdb.com it has a score of 7.3/10. The movie was also nominated for 1 Oscar in the category of Best supporting actor (Morita).

So while it does have some mild pacing issues, “The Karate Kid” is still a highly entertaining coming of age story that I really enjoyed. It has a good story, good characters, great performances, really good music, and great directing. Time for my final score. *Ahem*. My final score for “The Karate Kid” is an 8.60/10. So while flawed, it’s still certainly worth buying.

My review of “The Karate Kid” is now completed.

You’re the best around, nothing’s gonna ever keep you down…

Movie Review: Logan Lucky (2017)

Heist movies! I love ’em. Well, I love ’em when they’re good at least. Which begs the question: Is this movie any good? Well, how about we get into the review to find out.

Ladies and gents… “Logan Lucky”.

The story follows two down on their luck brothers named Jimmy and Clyde (Channing Tatum and Adam Driver) as they decide to pull off a heist while a huge NASCAR race is going on. Basically it’s “Ocean’s Eleven”, but with hints of “Dukes of Hazzard” and even “Beverly Hillbillies”. And I highly enjoyed the story being told here. Sure, we’ve seen these beats told time and time again over the years, and even the format is very familiar to the director, but I just can’t deny how fresh and fun this take feels. It just has a pace and energy that I love. It also has plenty of heart, which is shown through many moments throughout. So yeah, it’s not an original narrative… but it’s a hell of an enjoyable one.

The characters in this are all very colorful and entertaining, but for the most part are all also quite interesting and at times even surprisingly nuanced. First up is Jimmy Logan, a blue collar worker/ex-sportsman who finds himself in quite a bad spot after he’s laid off. This is of course what drives him to wanna pull the heist, so he can live and also provide for his daughter. He’s a compelling lead, and Channing Tatum is really good in the role. Next we have Clyde, Jimmy’s brother. He’s a former soldier and current bar owner. His dynamic with his brother is pretty interesting, and I think he makes for a pretty interesting character in general. And Adam Driver is great in the role. And the final one we’ll go into detail on is Joe Bang, a legendary explosives expert that the brothers have to bust out of prison to pull off the heist successfully. He’s an enigmatic motherfucker who I loved watching, mostly because he’s played by Daniel Craig. And not just Daniel Craig… but Daniel Craig chewing all the scenery. He is amazing in the role, a ton of fun. The rest of the supporting cast is great too, featuring people like Riley Keough, Jack Quaid, Brian Gleeson, Katie Holmes, David Denman, and more, all doing very well in their respective roles.

The score for the movie was composed by David Holmes, and it was good. His score has a fairly lighthearted, funk rock inspired vibe that perfectly melds the heist premise with the southern setting wonderfully, working very well in those moments when it’s used. There are also quite a few licensed tracks used throughout, and they work insanely well in their respective scenes. There’s good music here, yo.

“Logan Lucky” was directed by Steven Soderbergh, and he of course brought his A-game. His directing is slick and energetic in a way that of course hearkens back to his “Ocean’s” movies, but while still having its own flavor to it. And that flavor can probably best be described as beer and cheap chicken wings. I’m just kidding, though I do think that the sort of bumpkin feel Soderbergh’s going for is captured marvelously and adds such a unique and fresh feel to the heisting procedures. The movie also has a charming sense of humor that I found my self laughing quite hard at at times. And as with a lot of Soderbergh’s work, the editing is of course terrific. It’s a very well crafted movie.

This movie has been pretty well received. On Rotten Tomatoes it has a 92% positive rating with a “Fresh” certification. On Metacritic it has a score of 78/100. And on imdb.com it has a score of 7.0/10.

While a lot of its story beats can feel very familiar, I still found “Logan Lucky” to be a highly enjoyable and charming heist dramedy. It has a really good story, great characters, great performances, great music, and great directing/editing. Time for my final score. *Ahem*. My final score for “Logan Lucky” is a 9.76/10. Which does mean that it gets the “SEAL OF APPROVAL!”.

My review of “Logan Lucky” is now completed.

Cauliflower

Movie Review: The Kid Detective (2020)

I’ve always found the idea of private investigators a fascinating one. Whether they’re investigating missing cats, potentially cheating spouses, or other things that are too petty for the police, these detectives are interesting to me, and often help make for some great fiction. So let’s talk about a detective story.

Ladies and gentlemen… “The Kid Detective”.

When he was a kid, Abe Appelbaum (Adam Brody) was a famous detective, solving cases left and right, being celebrated by everyone around him. Now in his thirties, he’s grown cynical, jaded, and often hungover, still scraping by on petty cases. But one day a high schooler (Sophie Nélisse) walks into his office, with the offer of his first “proper” case: Solving the murder of her boyfriend. Detective fiction is tricky to pull off in a way that feels fresh, often stumbling into very familiar tropes and clichés. But “The Kid Detective” is that rare gem that manages to stick out a bit. While it does allow itself to indulge in some of the tropes of detective fiction, it also does a lot to play around with and subvert most of them, delivering a take on the genre that feels very refreshing and unique. Meanwhile it also acts as an interesting and darkly comedic character study about someone with a bright future who ultimately stumbled. And when you mix these two elements you get a very compelling whole that went to places I never expected from it.

The characters in this are all very colorful, entertaining, and interesting. First up we have Abe, the titular dick. Once a bright young mind beloved by all, now cynical and not taken seriously by anyone. Seeing how far he’s stooped from that original splendor is really interesting, and is further complemented by a small glint in his eye that shows the old Abe might still be in there. He’s a really compelling protagonist, and I think Adam Brody is terrific in the role. Next is Caroline, the girl who seeks Abe’s assistance with investigating her boyfriend’s murder. She could best be described as wide-eyed and naive, being an innocent observer to Abe’s antics. But I also think she makes for a nice counterbalance to Abe, creating an interesting dynamic there. And I think Sophie Nélisse does a good job in the role. We also get supporting work from Jonathan Whittaker, Wendy Crewson, Peter MacNeill, Tzi Ma, and more, all doing very well in their respective roles.

The score for the movie was composed by Jay McCarrol, and I think he did a really good job with it. One thing I really appreciate about it is how it actually incorporates instrumentation and some thematic elements from all kinds of detective fiction. You get some more noir inspired stuff, like out of the 40s and 50s. You get some stuff that sounds like it’s out of the 80s. And even some more modern flourishes appear too. And it all makes for a really nice whole that works really well for the movie. There’s also one or two licensed songs used throughout, and those work pretty well too. The music’s just good, yo.

“The Kid Detective” was written and directed by Evan Morgan, and I think he did a really good job with it. He shows that he has a knack for keeping a scene flowing nicely at a good pace, without making anything feel rushed. He lets moments breathe, allowing scenes to simmer a bit in the viewer’s mind, giving us the intimacy and breathing room necessary for the story to work as well as it does.

This movie has been pretty well received. On Rotten Tomatoes it has an 80% positive rating and a “Fresh” certification. On Metacritic it has a score of 74/100. And on imdb.com it has a score of 6.8/10.

“The Kid Detective” is a subversive and refreshing take on the detective formula that I loved. It has a great story, really good characters, great performances, really good music, and really good directing. Time for my final score. *Ahem*. My final score for “The Kid Detective” is a 9.89/10. So it gets the “SEAL OF APPROVAL!”.

My review of “The Kid Detective” is now completed.

Between this and “Ready or Not”, Adam Brody is proving himself to be a force to be reckoned with.

Series Review: Seis Manos – Season 1 (2019)

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

Dames y hombres… “Seis Manos” season 1.

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

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

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

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

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

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

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

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

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

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

Ladies and gentlemen… “History of Swear Words”!

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

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

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

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

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

FFFFFFFFFFFFFFFUUUUUUUUUUDGe is delicious.

Movie Review: Parasite (2019)

Well hello there, friends of the interwebs! How are you? Welcome to 2021, where dreams are made and/or shattered, and where Markus catches up on movies that everybody already have seen. So let’s go, yo!

Ladies and gentlemen… “Parasite”!

Shortly after young man Ki-woo (Choi Woo-sik) gains employment as a tutor for the daughter of a wealthy family, he starts scheming with his family to get them employed for these wealthy folks too. What’s fascinating about “Parasite” is that it spans more genres than the entire filmography of more directors. Is is a crime story? Yes. But it’s also a family drama. And a black comedy. And a thriller? But despite all of this, there never is any clashing as we flow through the movie. They blend together beautifully, held together by some of the tightest writing I’ve experienced in a film in recent memory. All of this making for a brilliant satire on class differences within modern day South Korea (and possibly other parts of the world), while in general also being a highly enjoyable narrative to follow on a surface level. The storytelling of “Parasite” can be enjoyed both as this deep, nuanced satire, and as a general piece of entertainment. It’s just great stuff.

The characters in this are incredibly interesting, because it’s clear that a lot of time and love has gone into making them feel as real and nuanced as possible. I believe every second of their characterization, and that makes them extremely compelling. And when you pair that with an excellent cast, featuring people like Song Kang-ho, Lee Sun-kyun, Park So-dam, Choi Woo-sik, Jang Hye-jin, Jung Ji-so, Cho Yeo-jeong, and more, you get some extremely engaging character work going on.

The score for the movie was composed Jung Jae-il, and it was terrific. It’s a fairly minimalist score, all things considered. It’s based mainly around piano, some strings, and light percussion, which helps give the movie a uniquely fascinating vibe that is equal parts fun and uncomfortable. And I love it.

“Parasite” was directed and co-written by Bong Joon-ho, and I think he did a superb job with it. Few directors have as much control over every scene as he has here. Every moment is perfectly crafted and calibrated in a way that I seldom see in movies. I also have to take a second to praise the cinematography by Hong Kyung-pyo, because it is not only ridiculously pretty, but it also adds so much to the overall storytelling, with each shot being able to convey so much about a moment. And when you take the superb editing into account, you get one of the most perfectly crafted movies I’ve seen. It’s insane how perfectly constructed this is.

This movie has been very well received. On Rotten Tomatoes it has a 98% positive rating and a “Fresh” certification. On Metacritic it has a score of 96/100. And on imdb.com it has a score of 8.6/10 and is ranked #30 on their “Top 250” list. The movie won 4 Oscars in the categories of Best picture, Best director, Best original screenplay, and Best international feature. It was also nominated for an additional 2 Oscars in the categories of Best production design and Best film editing.

Yeah, guess I’m joining the choir in saying that “Parasite” is fucking fantastic. It has a great story, great characters, fantastic performances, great music, and fantastic directing/cinematography/editing. Time for my final score. *Ahem*. My final score for “Parasite” is a 9.91/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Parasite” is now completed.

Not a bad start to my movie watching this year.

12 Films of Christmas 2020 (Part 11)

Only one more of these left after today. THANK GOD. Don’t get me wrong, I love writing for you guys. But writing for 12 days straight is a bit draining. So when this is over I’m gonna take a few days off. But until then, let’s talk about the penultimate movie for this series.

So for today we’re talking about a brand new movie (oh my god). That movie is “Happiest Season”, a christmas dramedy about Harper (Mackenzie Davis), a young woman who is bringing her girlfriend (Kristen Stewart) along for christmas with the family… except they don’t know that Harper isn’t gay, so the pair have to keep it a bit of a secret until Harper feels ready to come out of the proverbial closest. Cue the sneaking around, misunderstandings, emotional baggage, and personal demons. While I wouldn’t say that “Happiest Season” is the best movie I’ve seen this year, I still think it’s really solid. It handles its subject matter with a fair bit of tact, giving us a pretty nuanced take on this premise. While the movie primarily acts as a comedy, it isn’t afraid to get a bit more serious, really letting us sit with the characters and their emotions for a bit. And while I do think it gets the balance of comedy and drama down quite well, it doesn’t always hold up perfectly in that regard. When you have serious contemplations about the nature of your relationship one minute and awkward slapstick the next, it can get slightly jarring. It’s not enough to ruin the movie, but it did take me out for a sec.
Also, I just have to go off on one thing for a second. Dan Levy. Dan god damn Levy. This guy is gutbustingly funny. Any time (bar one more serious part) he was on screen he made me absolutely lose it. The rest of the cast is great too, there’s not a weak link in that department… but Levy is definitely the MVP here.
So in conclusion, “Happiest Season” may not be perfect, but it’s still a really solid holiday dramedy that both made me laugh, and made me care about these characters. I’d happily watch it again next year.

On the eleventh day of christmas, I watched something gay
And hey guess what, it was truly quite good, yay

12 Films of Christmas 2020 (Part 10)

Hello there, friends, I hope you’re doing great. Not many more of these to go. So soon enough you’ll get a break from my holiday rambling. Just gotta be a little bit more patient. Also, this post is dedicated to my good friend over at iamjacsmusings. He’s not dead or anything, he just helped me pick this one.

So today we’re talking about “Anna and the Apocalypse”, a British indie musical-horror-comedy released in 2018. It’s about Anna (Ella Hunt), a young woman who finds herself trying to survive the zombie apocalypse along with a group of other people, while also trying to find the group’s loved ones. And how will they accomplish this? By bashing the zombies of course! And also SINGING! So it’s a holiday zombie movie that also features people singing and prancing around. It’s one of the most unique mixtures of elements I’ve ever seen in a movie. Yes, we’ve seen holiday musicals. Yes, we’ve seen British zombie comedies. But we’ve never seen all those four combined before… I think, I could be very wrong. Either way, “Anna and the Apocalypse” was my first exposure to it. And it’s a fun time. It’s a breezy jaunt filled with endearing characters, fun jokes, and some really boppin’ tunes.
Now, it does struggle a little bit in the tonal department. I get that a zombie apocalypse is gonna have some serious shit going on (even “Shaun of the Dead” had that), but the shifts in tone don’t feel quite as seamless. It’s not enough to ruin the movie, but it does bring it down a little bit. But with this said, it’s still a fun time.
“Anna and the Apocalypse” is a fun little zom-com-holiday-musical, and definitely worth checking out this holiday season if you haven’t already. And with that, I’ll just leave you with one of the catchy tunes in its soundtrack.