Movie Review: Ready or Not (2019)

ReadyOrSpooks

Mawwiage. Mawwiage is what bwings us togevah today. Alright, enough of that. Time for Month of Spooks content.

Ladies and gentlemen… “Ready or Not”!

Grace (Samara Weaving) is a lovely young woman who’s going through the happiest day of her life, finally getting married to her beloved Alex (Mark O’Brien). And after the main wedding it is time to take part in Alex’s family’s wedding tradition of playing a game. The game chosen is hide or seek. What Grace doesn’t know however as she goes to hide is that the family will hunt her down using lethal weapons… ain’t that fuckin’ lovely? And I’ll just come right out and say it, I fucking loved the story in this movie. It may not be that deep or heartwrenching, but it’s insanely entertaining. It’s a fast-paced thriller with a dark sense of humor, never leaving me bored at any point. And even though it has a lot of humor to it, the story still manages to create a suspenseful and sinister vibe that keeps it from just feeling silly. It rides the line between thriller and pitch black comedy beautifully. And it’s a complete blast to follow.

The characters in this are colorful, fun, entertaining, and pretty interesting. Samara Weaving is excellent as Grace, a kind, sassy woman whose life gets flipped turned upside down. Seeing her development over the runtime is interesting, and Weaving’s performance really sells it all amazingly. Mark O’Brien plays Alex, Grace’s new husband, a man in conflict with his two sides. One side just wants to save his wife, and the other understands that this is some sick, fucked up tradition that has to happen, and that conflict is pretty cool, with O’Brien giving a great performance. The last one we’ll go slightly in depth with is Adam Brody as Daniel, Alex’s brother. He’s taking part in this weird tradition, but you can always tell that he’d so jaded because of it. He’s not enthusiastic, but he’s also not strictly for it… it has just worn him down, which makes him an interesting wild card in the story. And Brody is fantastic in that role. We also get some supporting work from Andie MacDowell, Henry Czerny, Nicky Guadagni, John Ralston, and more, all doing great in their respective roles.

The score for the movie was composed by Brian Tyler, and I think he did a damn good job with it. It’s not exactly the most original score I’ve heard, but it is a solid enough thriller score with enough bombast and subtle creepiness to make it an enjoyable addition to this movie.

“Ready or Not” was directed by Matt Bettinelli-Olpin and Tyler Gillett, and I must say that I’m really impressed by their work here. They know how to keep ratcheting up the intensity in scenes, always keeping me on edge with what was going on. Sometimes they succeed with this through fast-paced chases, and sometimes it’s achieved through slower points that focus more on a creeping suspense. And holy fuck, some of the violence in this is really nasty. I know horror has a penchant for brutality, but it’s worth noting that it’s rare for it to get to me like it did here. It’s brutal in a way that makes me squirm, without completely sacrificing the overall fun factor of the entire thing. Still… yikes.

This movie has been pretty well received. On Rotten Tomatoes it has an 88% positive rating and a “Fresh” certification. On Metacritic it has a score of 64/100. And on imdb.com it has a score of 6.8/10.

I absolutely fucking loved “Ready or Not”, it’s one hell of a good time. It has a great story, great characters fantastic performances, good music, and great directing. Time for my final score. *Ahem*. My final score for “Ready or Not” is a 9,90/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Ready or Not” is now completed.

Can someone please make a video game out of this? Like, can we task Creative Assembly to do that?

Great Music #37

Hello there, friends! I hope you’re doing well. So it’s time for another Great Music post. You know, those irregularly posted things of mine where I ramble about music I enjoy. Nothing deep, nothing analytical… just good tunes. So let’s get into it.

So last time we went for a somber ballad. But today is a little different. It’s still a song with an interesting narrative baked into it, but it’s presented in a slightly more digestible and (for lack of a better word) fun package. Today we’re talking about “I Was Just a Kid” by Nothing But Thieves.

Hailing from Southend-on-Sea in the UK, Nothing But Thieves is a rock band in a similar vein to Royal Blood. And in 2017 they released their album “Broken Machine”, an album all about how nothing in this world is perfect. On said album is “I Was Just a Kid”, a fast-paced rock tune with relatively mellow vocals on verses and loud shouts on the chorus, a combination befitting a song about the loss of innocence. Combine this with thumping percussion, driving guitar, and some nice bass to back it up, and you get a really great song. So on the surface it can be seen as just a fun hard rock tune, but if one cares to delve deeper, nuance can be found. And I guess that dichotomy is part of what has helped me appreciate it. Because I first discovered it while playing “Need For Speed: Payback”, getting pumped up by it as I tried to beat my opponents in various races. And since then I’ve learnt to appreciate its deeper meaning. So that’s cool.

Have a good one and enjoy!

Movie Review: The Fate of the Furious (2017)

Well this review was a long time coming. If you’ve followed my blog for an extended amount of time, you’re probably aware that I spent a decent chunk of 2015 reviewing every “Fast & Furious” movie leading up to the seventh installment. Then later that year I did that one. So this franchise has become a bit of a staple for this blog. So let’s talk about the eighth installment.

Family… “The Fate of the Furious”.

After our beloved gang pulls another job for the government, their leader Dom Toretto (Vin Diesel) betrays them and starts working for a shady hacker/terrorist known as Cipher (Charlize Theron). So we follow the crew as they do everything in their power to stop Cipher and get Dom back. Not gonna lie, I found myself surprisingly engaged by the narrative here. Maybe I’m biased because I’ve grown attached to this world and these characters, but I felt like there was a lot of effort put into making the story here as dramatically engaging as possible without sacrificing the fast and furious thrills of the franchise. This does bring down the pace ever so slightly, but never to the point of ruining the movie. It’s still generally a fast-paced action fest, and I do appreciate some of the slower moments as they add a surprising amount of nuance and genuinely interesting conflict to the story. So yeah, not perfect, but still very good.

The characters in this are just as colorful, charming, and entertaining as ever, but now also have added character conflict due to the aforementioned part of Dom going bad. Speaking of which, let’s start with Dom, once again played by mumblegrumble master Vin Diesel. Dom is usually the same ol’ guy in every movie, so it’s nice to see him get a little extra character development for a change. And I must say, this is the best I’ve seen Diesel in this franchise, the dude shows that he can do more than just his signature mumblegrumble. Charlize Theron as newcomer villain Cipher is really good in that role, playing her with a generally quiet menace right out of a 90s movie (which I love). Next we have Dwayne Johnson and Jason Stathamas Hobbs and Shaw, both returning characters, mortal enemies forced to work together to stop Cipher. Their banter here is amazing, their chemistry is amazing, they are amazing. Michelle Rodriguez, Ludacris, Tyrese Gibson, Nathalie Emmanuel, and Kurt Russell all return in their roles, and they are all very good in their roles. And in a few other supporting roles we have Scott Eastwood, Patrick St. Esprit, Kristofer Hivju, and Celestino Cornielle. So overall it’s quite a well rounded cast.

The score for the movie was composed by franchise mainstay (bar the sixth one) Brian Tyler. And it’s another good score. Big bold brass and the occasional soft string and piano. It’s not exactly the most original or unpredictable score, but it serves the movie just fine. There’s also a handful of licensed songs used throughout, all hip hop, all fitting really well in their scenes. So yeah, the movie has good music.

“The Fate of the Furious” was directed by F. Gary Gray, and I think he did a good job with that. He shows with his direction that he knows how to make actions feel like they have weight. So when things happen, they feel like they happen and really hurt, even when it’s clearly done mainly in a computer. Which brings us to the action scenes, which are the dumbest, silliest, most insane set pieces this franchise has seen so far… and I love all of them. I love heavy dramas, I love being intellectually challenged… but sometimes I just need something ridiculously stupid to put a big smile on my face. And the action in this movie did just that. The action in this is an absolute blast to watch.

This movie has been decently well received. On Rotten Tomatoes it has a 67% positive rating. On Metacritic it has a score of 56/100. And on imdb.com it has a score of 6.7/10.

“The Fate of the Furious” is an absolutely bonkers action movie with a lot of heart, and while that might not be everyone’s cup of tea, I absolutely loved it. It has a really good story, really good characters, great performances, good music, and great directing/action. Time for my final score. *Ahem*. My final score for “The Fate of the Furious” is a 9,56/10. So it gets the “SEAL OF APPROVAL!”.

My review of “The Fate of the Furious” is now completed.

Sometimes you just need something stupid.

Movie Review: Mulan (1998)

Confession time: I have never actually watched this movie before. I know dishonor on me, dishonor on my cow, blah blah blah. But I then thought that since Disney recently released their live action remake, I might actually give this animated version a go (finally). So let’s get down to business.

Ladies and gentlemen… “Mulan”.

Fearing that her father might die if he goes to war, young Mulan (Ming-Na Wen) steals his gear and pretends to be a man so she can take his place in the army. We all know the basic setup at this point, even if you haven’t seen this movie. And the way it’s handled here I quite enjoyed. It’s not without fault however. There are parts of the story that I feel they glossed over a bit, kinda rushing through some aspects in an effort to get to the “good stuff”. That’s not to say that the story here is bad, it’s still a fun family adventure without a good message at its core. I just wish it maybe slowed down a little more to let certain moments simmer more. But as it stands, the story and the way it’s told is still quite entertaining.

The characters in this are colorful, charming, fun, and surprisingly nuanced at times. First up is Mulan, title character and very relatable person. While the people around her want her to be a fancy girly-girl to honor her family, even though she’s not like that at all. And to see her development in the movie from somewhat clumsy and insecure to someone a bit more tough and confident, that’s engaging. And Ming-Na Wen does an excellent job voicing Mulan. Next we have Mushu, a guardian dragon who sets out to help Mulan become a hero… even if he’s only doing it for his own gain. He’s mostly there to bring laughs, but I think the filmmakers found a good balance in that and making him a valuable part of certain emotional developments. And while it might seem slightly jarring to put Eddie Murphy in a role like that at first, I must say that he was great in the role. Then you also get supporting work from people like B.D. Wong, James Hong, Harvey Fierstein, Soon-Tek Oh, Miguel Ferrer, Pat Morita, Frank Welker, and more, all doing very well in their respective roles.

The music of this film is quite good. The main score was composed by Jerry Goldsmith, and it’s an absolute treat for the ears, creating a lot of emotion through the various tracks, giving us a some great background ambiance. Then you have the songs (’cause you know, Disney) that were done by Matthew Wilder and David Zippel. While I don’t think that all of them are among the upper echelon of Disney musical songs, they still generally work pretty well for the movie. The peak of the tracks is of course “I’ll Make a Man Out of You” (sung by Donny Osmond), a most excellent montage song. So yeah, overall this movie has good music.

Based on a Chinese folk legend, “Mulan” was directed by Tony Bancroft and Barry Cook (with writing credits given to a shitload of people, good grief). And I must say that the craft on display here is absolutely superb. The art style for example takes inspiration from traditional Chinese artwork, and blending it with traditional Disney animation to create an absolutely stunning look for this movie that feels wholly its own. The animation is especially breathtaking in motion, where it shows great fluency that is a treat for the eyes.

This movie has been well received. On Rotten Tomatoes it has an 86% positive rating and a “Fresh” certification. On Metacritic it has a score of 71/100. And on imdb.com it has a score of 7.6/10.

While its storytelling isn’t the best, due to its fast pace, “Mulan” is still another winning movie within the Disney catalogue. It has a good story, good characters, really good music, and great directing/animation. Time for my final score. *Ahem*. My final score for “Mulan” is an 8,77/10. So while a little flawed, it’s still worth buying.

My review of “Mulan” is now completed.

Sometimes you just a need a film that can make you smile. This one did that for me.

Series Review: Transformers Prime – Season 2 (2012)

There are probably those in the world who would say “You’re 23, stop watching cartoons!”. And to that I say “Be quiet, fool, I’m trying to watch a cartoon”. Oh, and there will be spoilers for the end of season 1, just so you don’t say I didn’t warn you.

Ladies and gents… “Transformers Prime” season 2.

At the end of the previous season, we saw Optimus (Peter Cullen) defeat the mighty Unicron. But that doesn’t mean him and his fellow Autobots get any time to rest, since they find themselves in a race against Megatron (Frank Welker) and his Decepticons to find and gather up mighty Cybertronian artifacts, all scattered across Earth. Yes, most of this season is a MacGuffin hunt, but so are all the “Indiana Jones” movies, and those are great. And “Transformers Prime” does it really well too by throwing in a lot of enjoyable character development, some clever twists, and genuinely fun sci-fi concepts. It also continues the show’s exploration of “Transformers” lore in really nuanced ways. The narrative manages to be a lot more compelling than a lot of contemporary cartoons… and a lot more compelling than the live action movies… what I’m saying is that the story here is great.

The characters here are flawed, layered, colorful, and just in general great. In season 1, they kinda started out one way, kind of being a cliche. But by the end of it, they had developed further. And they kept that going here in season 2. A lot of cartoons return to the status quo every now and then, just to make syndication easier. But none of that’s here. Character development sticks, and even gets furthered throughout the season. And the voice cast is great too. Peter Cullen, Frank Welker, Kevin Michael Richardson, Jeffrey Combs, Sumalee Montano, Josh Keaton, Tania Gunadi, Steve Blum, Ernie Hudson, and a few more all return from the previous season, all delivering damn good voice performances. And some of the newer additions, including the likes of Tony Todd, David Kaye, and Nolan North, are also great great.

As with the previous outing, the music for season 2 was composed by Brian Tyler, and he once again did a good job with it. It’s a big, bold, badass, brass-based score that fits the tone of the show really well while adding an extra layer of emotion to certain scenes throughout.

In my review of season 1, I praised the show’s animation for being fluid and dynamic without sacrificing much in terms of detail. Well, I can happily say that it’s still the case here. The animation is beautiful. Sure, the human characters look a bit like putty, but that’s an acceptable compromise for the titular robots. My god, they look amazing. The amount of detail on them, from parts, to shine, to wear and tear in their paint… you can tell that the crew really cared to make them look amazing. And the good animation carries over to the action too, which has plenty of exciting fights, shootouts, and chases. It’s all fluid and super fun, without compromising on any of the detail.

On imdb.com the show has a score of 7,8/10.

The crazy bastards did it. They somehow managed to give “Transformers Prime” another terrific season. It has a great plot, really good characters, great performances, really good music, and excellent animation/direction. Time for my final score. *Ahem*. My final score for “Transformers Prime” season 2 is a 9,82/10. Which does mean that it gets the “SEAL OF APPROVAL!”.

My review of “Transformers Prime” season 2 is now completed.

Roll out…

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!”.

Lock-down Godzilla

Hey there, friends. Today’s post is a little different. In some ways, one could probably consider it a part of my Great Music series, but I that I wouldn’t do that in this case. As you all know, the world’s in a bit of a shitty spot right now with a certain virus-related thingamabob going on. I’m not trying to make light of it, I just don’t wanna say its name too much, as you already know what it is. Anyhow, it’s not just us regular folks who are in lockdown. Famous artists are stuck too, which means they can’t really be out touring and playing gigs… but that’s not stopping some from entertaining the masses.

Recently a video was posted to youtube by one of my favorite bands. That band of course being Blue Öyster Cult. And in it, we have the current band members Buck Dharma, Eric Bloom, Danny Miranda, Richie Castellano, and Jules Radino sitting in their respective homes, giving us a fresh rendition of their 1977 classic “Godzilla”. Not only do I like this because I adore the band in general, but I also like it because the guys clearly still got it. Really, it’s just a fun little video that I’ve been enjoying recently. And I thought I’d share it with you guys, because I enjoy sharing things that I like with my friends.

Have a good one and enjoy!

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.

The Agony of Apathy

Hey, y’all. I hope you’re all doing well. This’ll be a slightly different post than the ones I usually make. It’s not something too severe, so there’s no need to feel worried. Just don’t expect the laid back discussion of media that I usually unleash upon your feeds.

When I made this blog, I set up a bit of a schedule, with only occasional pieces put out. But after a while, when I’d gotten a feel for the entire thing, I loosened it quite a bit, posting whenever I felt like talking about something (usually a movie). And that worked out for me, as it helped my blog grow to a decent degree while giving me some wiggle room in case my schedule ever threw stuff for a loop. And even if I had a very loose posting schedule, I managed to keep a semi-regular rhythm to it all. For the past year, however, things have been a bit different in that regard. I’ve not been able to post quite as much as I have in the past. I can already see how y’all are typing in the comments “Oh you’re probably busy, so we understand”. But I’m both unemployed and not studying, giving me a very open schedule. So what’s keeping me from doing this?

As you could see in the title of the post, and in this thing posted right above this paragraph… Apathy is to blame. Don’t think I don’t like you guys. You all are great, and the constant supporting of my reviews and other antics I cherish with every inch of my heart and mind. I just don’t get as enthused about writing as I used to do. I watch a movie, and when I think “I might review that”… nothing. There’s been multiple occasions this year alone when I’ve had that thought but not fulfilling it. I like giving you guys content, but there’s just something in my mind keeping me from doing it.

Maybe I’m just burnt out.

Don’t think I’m enjoying this lull in not writing. Sure, I might be doing fun things I enjoy… but not being able to put out content for y’all causes me agony. I love blogging. It’s just that six years of doing it semi-regularly maybe has me a bit fucking knackered in the noggin.

Arnold might be onto something.

Don’t think I’m quitting now, there’s still a ton of movies and shows and tunes that need my terrible opinions showered on them. Just know that if I’m taking a little while until my next piece, just know that it’s for my own mental well-being, and to hopefully be rid of this apathy.

I love you guys. Have a good one.

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.