Movie Review: Storm (2005)

Summer of the Swedes continues. Look at that face in the thumbnail… someone must’ve stolen his sandwich.

Ladies and gentlemen… “Storm”.

DD (Eric Ericson) is a bit of an aimless loner, just living his life and getting by. But that will soon get flipped turned upside down by the sudden entrances of an enigmatic woman (Eva Röse) and a shadowy organization led by a man in black (Jonas Karlsson). This story is a weird one. It wears a decent bit of its inspirations on its sleeves, and I can see how well the various elements could blend together. However, the story here is an absolute clusterfuck. It jumps between tones, it contradicts some of its own logic, nothing is explained, it’s all just a mess. There are some good moments throughout, but none of it jells in a coherent manner. I can see the ambition, I can see the glimpses of light, but it somehow never fully comes together.

The characters in this, kinda like the story, have decent enough ideas to them, but the execution is a bit iffy. Eric Ericson plays DD (short for Donny Davidsson, if you have to know). He’s a bit of a loner, not because he doesn’t know how to manage people, he does, but because it’s a movie thing, I guess. But as far as protagonists go, he’s not the worst. He’s not one of the best either, but he’s given enough little moments to keep him… fine. Ericson gives a really good performance though. Eva Röse plays Lova, an enigmatic woman who is kind of like Trinity from “The Matrix”, but not quite as interesting. They try, but they fail. Röse is pretty good in the role though. And then we have Jonas Karlsson as the man in black, no wait… man in suit. Anyhow, he’s meant to be a menacing villain who’s also like “Join the dark side”. However, Jonas Karlsson (who’s one of my favorite actors) isn’t menacing. When he’s just talking and tries to convince DD of things, he’s good. But when he’s trying to be a scary villain… no.

The score for the movie was composed by Carl-Michael Herlöfsson, and it was good. It’s not memorable, I don’t really remember much other than decent instrumentation involving some strings and piano… so yeah. Decent, but not memorable.

“Storm” was written by Måns Mårlind, and co-directed by him and Björn Stein. And I guess they did a pretty good job with it. Scenes have a decent flow, and they are not incomprehensible. Though their direction is of course a little bit let down by the mess that is the story… which is then carried by Linus Sandgren’s cinematography, which is quite good.

This movie has gotten some mixed reception. On Rotten Tomatoes it has a 54% user rating (no critic rating though). And on imdb.com it has a score of 5.7/10.

“Storm” is a highly ambitious film with some good aspects to it, but overall it is hard to recommend due to being quite a mess. It has a not good story, meh characters, really good performances, okay music, decent direction, and really good cinematography. Time for my final score. *Ahem*. My final score for “Storm” is a 4,55/10. So unfortunately I would have to recommend skipping it.

My review of “Storm” is now completed.

Hmm…

Movie Review: False Trail (2011)

The Summer of the Swedes continues, this time with the sequel of a film we covered a few weeks back. So that’s fun.

Ladies and gents… “False Trail” (Original title: Jägarna 2).

Stockholm policeman Erik Bäckström (Rolf Lassgård) reluctantly gets called in to help out with a murder investigation in his old hometown in Norrbotten. However, as Erik looks into the case he soon finds that it isn’t as simple as first assumed, all while trying to connect with his estranged nephew (Kim Tjernström). So at first glance it seems like a retread of the first movie. And with it being a 15-years later sequel, you’d be forgiven for not having high expectations. But I’ll be damned, the story here is actually not bad. In fact, I’d say it’s good. It uses a similar blend of police thriller and family drama to the first movie, without ever feeling like a complete retread of it all. It feels like a proper sequel that builds upon the world set up in the first one while also working as its own film. Yes, it ties into the first one a lot, but it recaps enough within its own runtime that would help anyone feel mostly welcome. But yeah, the story here is compelling and dramatic and a little suspenseful too. That said, the pacing does drag a little bit towards the middle and maybe also a little towards the second half, which does drag the experience down a little. But I can still happily say that the narrative here still works quite well.

Much like the story, the characters surprise by having an unexpected amount of depth, making them quite compelling to follow. Rolf Lassgård of course returns as Erik, the big, burly, but sensitive cop returning to his home. We have the layers of the first movie’s setup, while also adding some of the trauma from the end of that one to make for an even more nuanced individual. And Lassgård is fantastic in the role. Next we have Peter Stormare as Torsten, a fellow policeman who lives in the area Erik comes back to. He’s an interesting individual in that you quickly learn that he is one complex son of a bitch. There’s a lot of surprising nuances to him that makes him not only a good character on his own, but also a great foil for Lassgård’s Erik. And Stormare is fantastic in the role. And the supporting cast is great too, with people like Kim Tjernström, Annika Nordin, Lo Kauppi, Eero Milonoff, and more all giving damn good performances.

The score for the movie was composed by Johan Söderqvist, and I must say that I might prefer it a bit over the first film’s score. Not that the one in the 1996 film was bad, but the music here relies a little less on the melodramatic sounds of the first one, giving us a score that manages to resonate a bit more, create a much more interesting soundscape.

“False Trail” was directed by Kjell Sundvall, the man behind the 1996 original. And yeah, the dude has stepped up his craft quite a bit. His directing is more intense, being able to create a lot of tension in a scene, all without sacrificing the emotional intimacy that’s so integral to the experience. It helps make for some really investing scenes.

This film has been decently well received. On Rotten Tomatoes it has a 100% positive rating. And on imdb.com it has a score of 6.5/10.

Pacing issues aside, “False Trail” is a the rare unnecessary sequel that builds upon the first film and makes for another engaging experience. It has a good story, good characters, fantastic performances, really good music, and great directing. Time for my final score. *Ahem*. My final score for “False Trail” is an 8.77/10. So while hampered by those pacing issues, it’s still certainly worth buying.

My review of “False Trail” is now completed.

Crazy bastards did it.

Movie Review: The Hunters (1996)

The Summer of the Swedes continues, this time moving a bit further north in the country.

Ladies and gents… “The Hunters” (Original title: Jägarna).

Erik Bäckström (Rolf Lassgård) is a policeman who recently moved from Stockholm to his old home in Norrbotten following his father’s funeral. While there he starts investigating a case of large scale reindeer poaching. And as he investigates it, he soon starts discovering some dark secrets in and around his home. Yes, this sounds like a typical police film with a mildly unique setting. And at times it does feel like that. But then it also throws in its secondary main plot, which is Erik trying to reconcile with his estranged brother (Lennart Jähkel). And that relationship and the drama surrounding it is pretty fucking compelling, often managing to really get in my heart and my head and actually elicit some emotions. And while the main cop plot isn’t the most original or even nuanced (it does feel kinda shallow), it does work pretty well. And while that’s all good, there are a few bits throughout that don’t work too well for me, all falling within the second half of the movie. They don’t break the entire package, but they do bring it down somewhat. Overall though, the story here is quite good.

The characters in this are for the most part surprisingly layered and interesting. Rolf Lassgård might at first seem like “tough cop with a past”, but we do see throughout that he does have a sensitive side to him that helps endear us to him, with Lassgård giving a great performance. Lennart Jähkel as Lassgård’s tragic backwoods brother is fucking excellent. And the rest of the cast, containing people like Jarmo Mäkinen, Tomas Norström, Göran Forsmark, Thomas Hedengran, Editha Domingo, and more, all generally do very well in their respective roles.

The score for the movie was composed by Björn Lindh, and it was generally pretty good. It’s often pretty emotional and tends to add to the quality of the movie. Though there are admittedly a few tracks that maybe are a little bit too melodramatic for their own good. But generally the score here is good.

“The Hunters” was written by Kjell Sundvall and Björn Carlström, with Sundvall handling directing. And good god damn, the direction here is great. I am so used to movies here having a very “press record” kind of look. But you can tell that they really gave a fuck about making a well crafted drama here. The cuts are well done, the shot lengths are great, and the atmosphere Sundvall’s direction is just palpable. This is further complemented by the cinematography by Kjell Lagerroos, which is fucking stunning.

While this film doesn’t have too much data on my usual sites, I can still say that it was generally well received. And on imdb.com it has a score of 7,1/10.

While flawed, “The Hunters” still rises above many of its peers in the police drama genre, thanks to the crew actually giving a fuck about being compelling. It has a good story, good characters, great performances, pretty good music, and great directing/editing/cinematography. Time for my final score. *Ahem*. My final score for “The Hunters” is an 8,76/10. So I’d say it’s worth buying.

My review of “The Hunters” is now completed.

The Swedish word “jäkel” can be translated as “asshole” or other such rude words. Which is funny when there’s such a character in this, played by a man named “Jähkel”.

Series Review: We Got This – Season 1 (2020)

For anyone unaware, I’m from Sweden. However, despite this, it is quite rare for me to talk about shows and movies made in my own country. But today I’m actually doing that. Yay?

Mina damer och herrar… “We Got This” season 1.

American ex-pat George (Schiaffino Musarra) has been living in Sweden for some time. However, he has recently acquired quite a huge tax debt. However, he soon finds out that there’s a 50 million SEK reward for solving the assassination of former prime minister Olof Palme. So George teams up with a colorful group of people to try to solve this nearly 40-year old case. But as they investigate, George and his team find themselves delving into a way deeper conspiracy than they probably expected. This concept is a bit on the absurd side of things, and the writing is fully aware of that, taking full advantage of said knowledge to give the storytelling a self-aware and charming tone that gives it a surprising edge over other conspiracy stories. Now, that’s not to say that “We Got This” doesn’t have any serious moments, because it does. But often it leans into a more comedic tone, almost reminding me of stuff from the Coen brothers at times. And I must say that I was thoroughly entertained by the storytelling here.

The characters in this are colorful, a bit weird, and all highly entertaining. Schiaffino Musarra plays George English, American expat trying to fix his financial situation. He’s a kind, smart, but also slightly impatient fella who’s fallen on hard times. And seeing his determination through the series to try to solve this case is quite entertaining. And Musarra is really good in the role. Next we have Alexander Karim as Alex, an old school journalist in a changing landscape. He’s also a friend of George, and the one who’s often the voice of reason (until proven wrong). He has an interesting dynamic within the show that I find quite fun. And Karim is great in the role. Next we have Olle Sarri as Björn. Björn is a bit special. He’s one tinfoil hat away from total kook, but his madness does make him and entertaining and surprisingly valuable part of the cast. And Sarri is great in the role. We also get supporting work from people like Anki Larsson, Hans Mosesson, Sandra Andreis, Christian Svensson, Johanna Wilson, Lennart Jähkel, Ida Hedlund-Stenmarck, and more, all doing really well in their respective roles.

The music for the show was composed by Goran Kajfes, and I think he did an alright job with it. It’s often a fairly jazzy affair, helping sell the lighthearted, working class absurdism of the premise. My main problem is that there aren’t really enough tracks. It makes the few in here (which generally are good) feel slightly repetitive due to some overuse. Again, the music’s pretty good… there just isn’t quite enough unique tracks.

“We Got This” was created by Schiaffino Musarra, who wrote all episodes along with Santiago Gil and Patrik Eklund, with Eklund directing all the episodes. And from that standpoint, the show is quite good too. There’s a lot of fun blocking and camera movements in the show that show how much they actually cared about the actual craft behind the show. And my god, the editing is marvelous. I did not expect to get a show with editing this snappy and energetic and fun. Reminds me a little of Edgar Wright at times. And since the show is a comedy, how’d the humor? I found it quite funny. Now, a lot of it can get lost in translation, unfortunately. But as far as I’m concerned, I laughed.

This show isn’t exactly a big, international thing, so there isn’t much review data on it on most sites I use for this section. But on imdb.com it has a score of 7,1/10.

I’ll be honest, I did not expect much from “We Got This”… but boy, am I glad I was proven wrong. It’s an absolute blast from start to finish. It has a really fun plot, great characters, great performances, pretty good music, and great directing/editing. Time for my final score. *Ahem*. My final score for “We Got This” season 1 is a 9,51/10. So it most certainly gets the “SEAL OF APPROVAL!”.

My review of “We Got This” is now completed.

Maybe the title was to make me feel secure with watching the show. “You want a good show? Well don’t worry, We Got This!”.

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: White Boy Rick (2018)

Don’t do crimes.

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… “White Boy Rick”.

Detroit, the 1980s. Teenager Richard Wershe Jr. (Richie Merritt) comes from a broken home. But soon he finds himself on quite an interesting rise, as he starts getting involved both as an FBI informant and a drug trafficker. So now we have our crime-drama. The premise of it all I find highly intriguing, and there are some decent moments and ideas going on throughout the movie. But looking at the package as a whole, it feels quite underwhelming, with the script, while not bad, feels severely underwritten. The writer’s should’ve probably done another draft or two to truly flesh out a lot of the storytelling, because as it stands, it doesn’t quite reach the dramatic heights it sets out for. And this makes it often feel a lot more boring and uninteresting than one would want a fascinating premise like this to be.

Much like the story, the characters in this story suffer due to the undercooked script. I can see what the team were going for with all of them, but they never quite get far enough to make ’em that compelling. Richie Merritt plays Richard Wershe Jr, the young man at the center of the story. He’s the closest we get to a compelling character, as he gets the biggest arc of the bunch (probably due to his status as “protagonist”). And Merritt is okay in the role. Next we have Matthew McConaughey as Richard Wershe Senior, the father of our main character. He’s a bit of a hick, while also trying to be a decent dad. As said before about other things: Good idea, mediocre execution. At least McConaughey gives a really good performance. We also get supporting work from people like Bel Powley, Jennifer Jason Leigh, Brian Tyree Henry, Rory Cochrane, RJ Cyler, Jonathan Majors, Eddie Marsan, and more, all doing pretty well in their respective roles.

The score for the movie was composed by Max Richter, and it was really good. Richter’s a talented composer, and he managed to bring some really compelling synth/piano goodness to the soundscape of this movie. It manages to take scenes that are mediocre at best, and manages to make them alright. There’s also a few licensed songs used throughout, and they work fine I guess.

“White Boy Rick” was directed by Yann Demange, and I think he did an okay job with it. There are scenes in the movie that I think are really well directed, but then there are also scenes that I feel are a bit drab in execution. Again, it’s kind of a mixed bag in execution, which unfortunately really brings me out of the experience. There are scenes where Demange’s directing truly shines, and I applaud those moments. But there are times where it dips too, which is a shame.

This movie has gotten some mixed reception. On Rotten Tomatoes it has a 59% positive rating. On Metacritic it has a score of 59/100. And on imdb.com it has a score of 6,4/10.

“White Boy Rick” has some decent elements to it, but in the end is a disappointment. It has an undercooked story, less than compelling characters, good performances, really good music, and okay directing. Time for my final score. *Ahem*. My final score for “White Boy Rick” is a 4,78/10. So despite some bright spots, I’d recommend skipping it.

My review of “White Boy Rick” is now completed.

Mustache McConaughey.

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.

Movie Review: Perfume: The Story of a Murderer (2006)

If you were to ask me for perfume related advice, then I’d simply tell you that you’d gone to the wrong guy. All I can say “this one makes my nose burn” or “this one doesn’t make my nose burn”. So you better go ask someone else. But if you wonder about a perfume related movie, then I’d be happy to assist.

Mesdames et Messieurs… “Perfume: The Story of a Murderer”.

Jean-Baptiste Grenouille (Ben Whishaw) was born with an insanely powerful sense of smell, putting him on a quest to make perfumes. But as he searches for that ultimate scent, he starts spiraling a dark and sinister path from which there is no return. This setup shows a lot of promise, and even has some moments that could make for excellent drama. And yet I never gave a shit about anything going on throughout the story. That’s not to say I was bored, or that anything was outright bad, because it was all perfectly watchable. It’s just that the storytelling felt quite flat and lifeless. I’m not sure how else to explain it. The tale itself is interesting, but the way that it’s told just never felt like it had any actual purpose or even interest in adding actual depth to proceedings.

The characters, like the story, have interesting enough setups, but in execution falls somewhat flat, only really being elevated by the actors playing them. Ben Whishaw is excellent as Grenouille, giving a mesmerizingly restrained performance that was hard to take my eyes off of. Dustin Hoffman is really good as Grenouille’s cantankerous mentor. Alan Rickman is great in his role. Really, every actor in this kills it. Just wish the material they were given had more life to it.

The score for the movie was composed by Reinhold Heil, Johnny Klimek, and Tom Tykwer, and I thought it was quite good. It’s quite eerie, but also has an underlying sadness to it, making for a somewhat haunting soundscape that helped in keeping my attention through the movie.

Based on the novel of the same name by Patrick Süskind, “Perfume: The Story of a Murderer” was directed by Tom Tykwer, whom I think did a mostly great job. Where the screenplay (which was co-written by Tykwer, Andrew Birkin, and Bernd Eichinger) falters at times, they often make up for it with the production values. Tykwer’s otherworldly direction makes for an almost hypnotic experience, especially when combined with Frank Griebe’s breathtaking cinematography, which often had me going “wow”.

“Perfume” has gotten mixed reception. On Rotten Tomatoes it has a 59% positive rating. On Metacritic it has a score of 56/100. And on imdb.com it has a score of 7,5/10.

“Perfume: The Story of a Murderer” may have a lifeless narrative and slightly underdeveloped characters, but I can kind of recommend it if you want to experience great acting, music, and cinematography on a rainy Sunday. Time for my final score. *Ahem*. My final score for “Perfume: The Story of a Murderer” is a 6,08/10. So while heavily flawed, I can still say that it could be worth renting.

My review of “Perfume: The Story of a Murderer” is now completed.

Meh.

Movie Review: Sexy Beast (2001)

Despite what the title implies, this is not a porno. I know, I’m just as shocked as you are. But hey, life is weird like that sometimes.

Ladies and gents… “Sexy Beast”.

Gary Dove (Ray Winstone) is a former safecracker who has now retired to Spain with his wife (Amand Redman). However, his seemingly quiet life soon gets interrupted when volatile gangster Don Logan (Ben Kingsley) shows up to try to recruit him for another job. So now we have the setup for our British crime story… except not exactly. There is definitely a setup for a British crime/heist story, but what “Sexy Beast” does is put the job to the side for most of it, focusing on Gary trying to navigate the dangerous waters knows as Don fucking Logan. So it’s really more of a character-driven thriller rather than a typical crime story, and I really dug that. It’s fast-paced, it’s suspenseful, and it’s a lot more nuanced than one might expect from that title.

The characters are flawed, colorful, and really interesting. First up we have Ray Winstone as Gary “Gal” Dove, the former crook at the center of our story. At the start you don’t see much from him in terms of development, but as soon as ge knows Logan’s about to enter, he starts going through some interesting character stuff. And Winstone is really good in the role. Next we have Ben Kingsley as Don Logan, someone that our protagonist clearly has some history with. He’s a scary, unpredictable motherfucker that adds so much to the development of the story and characters. And Kingsley is fucking phenomenal in the role. We also get supporting work from people like Ian McShane, Amanda Redman, Cavan Kendall, James Fox, Julianne White, and more, all doing very well in their respective roles.

The score for the movie was composed by Roque Baños, and he did a good job with it. Sure, I don’t exactly remember any of it enough to hum it to you, but it worked well enough in the scenes where it could be heard. There were also a handful of licensed songs used throughout, and they worked quite well in their scenes.

“Sexy Beast” is the directorial debut of Jonathan Glazer, who I must say did a fucking great job for someone who’d never made a movie before. I admit that some of the surreal imagery used in the movie doesn’t fully click for me, but generally I liked Glazer directed. It’s energetic, it’s snappy, and it just has a way of creating a unique vibe seldom seen within the genre. And the editing is on point too.

This movie has been really well received. On Rotten Tomatoes it has an 86% positive rating and a “Fresh” certification. On Metacritic it has a score of 79/100. And on imdb.com it has a score of 7,3/10. The movie was nominated for 1 Oscar in the category of Best supporting actor (Kingsley).

“Sexy Beast” is an excellent crime-thriller that subverts the expectations one has of the genre. It has a great plot, good characters, great performances, good music, and great directing/editing. Time for my final score. *Ahem*. My final score for “Sexy Beast” is a 9,62/10. Which means it gets the “SEAL OF APPROVAL!”.

My review of “Sexy Beast” is now completed.

Never heard Kingsley swear this much before, holy shit.

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.