Series Review: Angel – Season 1 (1999 – 2000)

Hi. So as some of you may be aware of, from 2020 to earlier this year (2022, for future readers) I reviewed every season of “Buffy the Vampire Slayer” as I was rewatching it with my mom. It was a fun experience for me, and at the end of my review of the final season I made a tease that I might cover its spin-off. Well, now it’s happening. So let’s go.

Ladies, gents, and non-binaries… “Angel” season 1.

Following the end of “Buffy” season 3, the vampire Angel (David Boreanaz) moves away from Sunnydale and finds himself a new home in Los Angeles. And shortly after settling in, he meets friends new and old, which prompts him to become a private investigator, helping the people of L.A. fight the supernatural problems that haunt them. I  generally enjoyed the story/ies here. It’s nowhere near as rough as the first season of its older sister series, which likely comes from the extra experience gained between the two. The overarching elements are solid, further developing this already interesting world and lore, while also giving us some interesting present drama for our characters. That said, the overarching stuff is generally taking a backseat to mostly being monster-of-the-week stories, which is where it falls apart a little bit. Not only because it means there’s little to no central hook, but also because, as with most of these types of shows, not all episodes are created equal. For every “I’ve Got You Under My Skin”, you got a “She”. What I will say is that even some of the lesser episodes here are nowhere near the lows of some of the lesser episodes in “Buffy”, so even at its lowest, it’s still decently watchable. And when an episode is good, it is GOOD, just quality TV. So on the whole the storytelling here is pretty solid.

The characters in this are just great, all bring their own unique flavor to the buffet that is the cast, and make for a vital part of the ensemble. First up is of course our titular 90 degree, Angle… I will not apologize for my dumb jokes. Anyhow, Angel, the vampire with a soul, his dreams and conscience haunted by the crimes he committed when he was evil. He’s trying to redeem himself, and he’s an interesting protagonist. At first he might just seem like a moody broody bitch, but we’ll soon see more sides to him, making for quite a fun and dynamic character. And David Boreanaz is really good in the role. Next we have Charisma Carpenter as Cordelia, a former mean girl from Sunnydale that Angel runs into early on. Cordy already saw some interesting development in the other show, and here we see that further fleshed out through some of the shit that happens throughout this season, and I quite like it. Plus, her very blunt personality provides a lot of laughter throughout, which is fun. And Carpenter does a damn good job in the role. Next we have Glenn Quinn (R.I.P) as Doyle, a half demon who gets visions of the future to help Angel in his quest to help people. He’s a bit of a cowardly shyster with a surprising amount of heart, and he’s a fun character, with Quinn giving a really good performance. We also get supporting work from people like Alexis Denisof, Christian Kane, Elisabeth Röhm, Stephanie Romanov, and more, all delivering solid performances.

The score for the season was composed by Robert J. Kral and Christophe Beck, and they did a great job. Big bold brass for action scenes and spooky scares, but also quieter string and piano pieces when they want to be eerie or heart-wrenching. It’s not necessarily the most original score out there, but it’s very well composed and I highly enjoyed listening to it and thought it worked great for the show.

“Angel” was created by David Greenwalt and Joss Whedon. And before we continue, the elephant in the room: We all know by now that the latter person is a turd of a man, just a horrible piece of shit. I am not condoning what he did, and he’s rightfully getting pushed away from Hollywood. I will have positive things to say about the craft here, but I want to be clear that I am not saying it made any of his actions acceptable. Alright? So let’s talk about the craft of this show, which was handled by many different, very talented people.
It’s well made, has a fun noir atmosphere to it in tandem with the darkly whimsical tone that “Buffy” established, making the vibe of this show familiar, yet unique. It sets it apart from its sister show, without straying too far and making it completely separate. And I dig that about it. And generally speaking the direction here is really good. Some fight scenes can be a bit too closely shot and quickly cut, but generally the direction in the show is good. Effects for the time are great too, love seeing a lot of the creature makeup here. But yeah, aside from a few minor snafus, it’s well put together.

This show/season has been generally well received. On Rotten Tomatoes it has no critic score, but at least an audience rating of 94%. On Metacritic it has a score of 75/100. And on imdb.com the show has a score of 7.9/10.

While its storytelling doesn’t quite reach its potential, season 1 of “Angel” is still a damn good season of TV. It has a good story, great characters, great performances, great music, and really good directing/effects. Time for my final score. *Ahem*. My final score for season 1 of “Angel” is an 8.88/10. So it’s definitely worth watching.

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

One down, four to go.

Series Review: Primal – Season 2 (2022)

Roughly two years ago, I reviewed the first season of this show. It was one my favorite things I have ever watched. And now season 2 has finally wrapped up, and I’m ready to talk about it. So did it live up to the first one? Let’s find out. Oh, and there will be some spoilers for the end of season 1, as that sets up this season. So you’ve been warned.

Ladies, gents, and non-binaries… “Primal” season 2!

Following the capture of his new friend Mira (Laëtitia Eïdo) by some unknown enemies, Spear (Aaron LaPlante) heads out with his trusted dino friend Fang into the vast unknown to find and rescue Mira. Season 2 of “Primal” forgoes the more episodic nature of the first outing for a more overarching story. And while I do miss aspects of the episodic structure, such as the greater variety in creatures, I did still really dig the story here. It’s a fun adventure narrative that tests the mettle of a man on a mission, it also does an excellent job of showing the impact of Spear and Fang’s brutal survival tactics. Like yeah, we do still root for them to succeed, but we also get to see more stuff from the perspective of other characters, and how they react to our heroes. It adds a lot of nuance to proceedings and makes the misadventures of our leads way more compelling and even a little more suspenseful. I also enjoyed how the story explored more cultures. If you’re one of those people who was bothered by the first season’s historically inaccurate premise of “caveman plus dinosaur”, then you’re gonna have a conniption at the amount of historical mixing they do this season. But I like it, because it leads to a lot of fun story and character opportunities. Where the story falters a little bit for me is in the ending, or more specifically the execution of it. I get the idea they’re going for, and it’s not the worst one. But the last minute-ish feels kind of awkward, and bothered me a bit. There is a simple tweak they could’ve done to the script and I wouldn’t have said anything. But as it stands, the very ending here is a little mixed. The overall season on the other hand is fucking great. Fun, scary, compelling, anxiety-inducing, and even heartwarming.

I like the characters in this. Despite (or thanks to) the creator’s penchant for minimal to no (understandable) dialogue, the characters don’t really develop much through words. But they do a good job of humanizing them and making them really compelling through visual storytelling and the actions they take, and it makes them really fun and interesting. And while they don’t get to speak much, I can still say that the voice cast all do a great job with the material/noises they have. Aaron LaPlante Laëtitia Eïdo, Fred Tatasciore, Imari Williams, MyAnna Buring, and more all deliver solid performances.

As with the first season, the music was composed by Tyler Bates and Joanne Higginbottom, and once again they knocked it out of the park. The percussion, brass, strings, and woodwind come together in really fun ways, taking influence from various cultures and exploring various moods in beautiful ways. It’s just stellar stuff that helps elevate the storytelling.

Season 2 of “Primal” had its writing split up between series creator Genndy Tartakovsky, and various other cool people, with directing being handled exclusively by Tartakovsky himself. And yeah, the craft here is just spectacular. The work Genndy and his team did on season 1 was already great, using the medium of animation to great effect. But I think they really outdid themselves here, with more detail in every scene, more dynamic movements, really inventive shots, and some bits that frankly made my jaw drop. You can tell that they really aimed to push themselves and the show further than they had before, and it pays off marvelously. Also, the action’s still bloody as fuck, which might put some off, but I dig it. Really adds weight to this world the characters inhabit.

The show/season has been very well received. On Rotten Tomatoes it has a 100% positive rating. On Metacritic it has a score of 97/100. And on imdb.com the show has a score of 8.7/10 and is ranked #137 on the “Top 250 TV” list.

While the veeeeeery end is awkward and brings it down a little for me, season 2 of “Primal” is still another stellar outing for the violent and contemplative caveman show. It has a great story, really good characters, great performances, fantastic music, and fantastic directing/animation. Time for my final score. *Ahem*. My final score for season 2 of “Primal” is a 9.67/10. So it does still get the “SEAL OF APPROVAL!”.

My review of “Primal” season 2 is now completed.

Open the door, get on the floor, everybody walk the dinosaur…

Series Review: Bodyguard – Season 1 (2018)

I may be four years behind everyone else, but I’m finally caught up on this show… so let’s talk about it.

Ladies, gents, and non-binaries… “Bodyguard”.

The story follows police sergeant David Budd (Richard Madden) who in the wake of increased terror presence gets assigned to protect highly controversial politician Julia Montague (Keeley Hawes). And throughout the season we get to see David try to balance a rocky home life and his duty to protect Montague, who seems to have more enemies than allies. I found the story here to be quite riveting, it’s six episodes of unrelenting tension, a grey as hell and thematically complex conspiracy thriller that constantly made me question who was on the side of whom, who can be trusted, and why certain events happen. And while it generally tries to put David and his plight as the element we’re supposed to root for, the writing does a good job of still making that feel layered and make it clear that it’s not all black and white, even for our supposed hero. And even when the show gets a little less murky about what’s going on, it still found ways of keeping me in suspense, making my heart race and stomach churn at many points. It’s a damn good suspense thriller narrative.

The characters in this are all very layered, flawed, and have a certain wornness to them, like they feel like they’ve actually been around for a while and didn’t just pop into existence when the camera first shows them. First off we have David Budd, the titular bodyguard, a former soldier and current policeman who gets put through the absolute wringer in this show, getting some of the most interesting development I’ve seen from a protagonist in a while. He’s an engaging character, with Richard Madden delivering an absolutely fantastic performance. Next is Keeley Hawes as Home Secretary Julia Montague, a brash, no-shit-taking, kinda manipulative politician. She has a really interesting thematic presence within the show and the way her relationship to David evolves is always interesting, which leads to a lot of the grey area I mentioned earlier. And Hawes does a great job with the role. And we also get supporting work from people like Sophie Rundle, Stuart Bowman, Ash Tandon, Tom Brooke, Nina Toussaint-White, Anjli Mohindra, and many more, all delivering top notch work.

The score for the show was composed by Ruth Barret and Ruskin Williamson, and it is great. Utilizing a mix of classic orchestration and complexly woven electronics, the pair create a score that manages to perfectly nail home the uneasiness of every situation David finds himself on. It also has its own weird quirks at times that’ll stick in my mind for a while. For example, in one track there was this one faint ringing sound that I at first thought was a nearby car alarm, but turns out it was just the score doing something odd to ratchet up tension. So that’ll stick in my noggin for the foreseeable future. But yeah, the music here’s great.

“Bodyguard” was written and created by Jed Mercurio, with directing duties divided between Thomas Vincent and John Strickland, and cinematography handled by John Lee. And the craft here is absolutely superb, with every piece coming together to a show that somehow manages to feel both grand and claustrophobic at the same time, making the conspiracy and situation feel huge while still allowing the tension to always feel near, always in the room with you, smothering you, never really allowing you to breathe properly. It’s just some of the most chest-tensing tv craft I’ve ever experienced. Mercurio and Strickland are no strangers to this, having worked together on the anxiety-inducing “Line of Duty” before (and after) this, but it really feels like they were allowed to really ratchet up the intensity and stakes here to a scope and degree that “Line of Duty” never really seems to have had the chance to. I still adore that show, don’t get me wrong. Just saying, this just seems… bigger in a way, and it allowed them to play around more with what kinds of suspense they could craft.

This show/season has been very well received. On Rotten Tomatoes it has a 93% positive rating and a “Fresh” certification. On Metacritic it has a score of 79/100. And on imdb.com it has a score of 8.1/10.

So yeah, “Bodyguard” is a fantastic bit of suspense television. It has a great story, really good characters, fantastic performances, great music, and fantastic directing/cinematography. Time for my final score. *Ahem*. My final score for “Bodyguard” is a 9.56/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Bodyguard” is now completed.

Apparently they’re gonna make a second season, but I have no god damn clue how they’d be able to follow on from this.

Series Review: Guilt – Season 2 (2021)

Hiya. So almost a year ago (September 2nd, so very close) I reviewed the first season of this show. It was flawed, but on the whole I was quite fond of it. And recently season 2 arrived on our shores, and I’m ready to talk about it. Oh, and beware of spoilers for season 1, as the end of that does tie into the start of this. So yeah, can’t say I didn’t warn ya.

Ladies, gents, and non-binaries… “Guilt” season 2.

Two years after ending up in prison, Max McCall (Mark Bonnar) gets released and immediately starts working to trying to get his shit back on track. Meanwhile on the other side of town, two people die in the basement of a woman named Erin (Sara Vickers). And over the course of the series how these two seemingly unrelated events slowly converge, leading to a complex web of backstabs, betrayals, and other forms of sneaky shit. Season 2 of “Guilt” continues the twist-filled storytelling of the first outing, weaving a complex set of threads that cross in all sorts of intriguing ways. I liked the story here, it builds a good bit of intrigue and has its share of good dramatic beats. It’s also kind of the inverse of the first season, where the first two episodes were the best, and the latter two were still good, but not *as* good. But here the first two episodes are pretty good, but then the latter two are where it really woke me up and had me more or less glued to the screen. And yeah, I enjoyed where the narrative went, it’s a fun crime-thriller with some decent suspense and a few dashes of dark humor to give it that extra flavor. Admittedly the highest highs of season 2 never gets to the level of season 1’s highest points, but it also doesn’t quite get to the lowest lows either, making for a slightly more consistent experience. So on the whole it’s a solid story.

The characters here are all flawed, colorful, and very interesting to watch. Even when the story doesn’t reach as far as it might want, the characters still end up being fun to follow. First up is of course Max, our returning… hero? Villain? Occasionally decent twat? Anyhow, Max is back, still  complex, scheming, self-centered dude who is an absolute delight to follow. And once again, Mark Bonnar knocks it out of the park, he’s simply fantastic in the role. Next up we have newcomer to the show Erin, a young woman with a troubled past and shady family members. To see her arc here in this is quite fascinating, as she’s trying to lead a normal life, but gets dragged into shady dealing by what happens on that fateful night. And Sara Vickers does a damn good job in the role. We then see the return of Emun Elliott as Kenny, the private investigator once used by Max for shady means, now sober and trying to be a good boy. He has a few arcs this season, all of which are really fun to watch unravel, but what I like most about his presence this season is his dynamic with Max. Back in season 1 he was this sad puppet of Max’s, manipulated through his weakness to alcohol. But here he’s a bit clear in the head, and they do a lot of fun stuff with him and Max that ended up being my favorite parts of the season. Anyhow, Kenny’s great, and Emun Elliott does a great job in the role. Then we also get supporting work from people like Henry Pettigrew, Rochelle Neil, Stuart Bowman, Phyllis Logan, Greg McHugh, Ian Pirie, and more, all delivering really solid performances.

Arthur Sharpe returned to compose the music once again, and I think he did a damn good job with it. Some fun jazzy instrumentation, some panicky strings, bit of piano, there’s just a good variety of instrumentation from Sharpe to create an interesting and engaging soundscape for the show. There’s also a fair bit of licensed songs used throughout the soundtrack, and they all fit quite well too.

Season 2 of “Guilt” was completely written by series creator Neil Forsyth, with Patrick Harkins handling the directing duties. And the craft here is just good stuff. Nicely shot, every scene has a nice flow in its direction and editing, and especially comes alive during some of the more tense scenes, where Harkins really shows what to do and not to do in order to build the suspense. It’s just a well made show.

While the season itself doesn’t have many actual ratings on my usual sites, I’ll still put them here just to keep with my habits. So here’s Rotten Tomatoes. Here comes Metacritic. And on imdb.com the show overall has a score of 7.3/10.

So yeah, season 2 of “Guilt” is another solid crime romp. It has a good story, really good characters, great performances, really good music, and great direction. Time for my final score. *Ahem*. My final score for season 2 of “Guilt” is an 8.44/10. So while not perfect, it’s still definitely worth watching!

My review of “Guilt” season 2 is now completed.

Mark Bonnar is a treasure.

Movie Review: Belle (2022)

Hi, how are you? Long time no see. Anyhow, let’s talk about some anime!

Ladies, gents, and non-binaries… “Belle”.

Following a traumatic event many years ago, high schooler Suzu (Kaho Nakamura) has become a shadow of her former self, becoming very quiet and withdrawn. But one day seh joins “U”, an online community where you can be whoever you want to be. In here she becomes Belle, an internationally beloved pop star. However, her reign soon takes a turn after she finds out about a mysterious user known as The Beast (Takeru Satoh). As you can probably tell, this story takes some cues from “Beauty and the Beast. And it uses some of those elements as a springboard to tell a tale of finding oneself again, exploring the effect of trauma on a person, and how it makes on act in real life and online. And I think it does a beautiful job exploring its themes, all while perfectly balancing emotional resonance with popcorn friendly fun, creating a magnificently wonderful story.

Much like the story before them, the characters in this strike a really nice balance between an emotionally rich realness and easily digestible tropes. Many of the characters at first glance sort of fit into familiar stereotypes in various animes and coming-of-age dramas. But as we go on throughout the movie, more is unveiled about our cast to add depth. And then you add the characters’ reactions to the immediate events of the story, they feel more dynamic and real and I found the entire cast quite engrossing. Speaking of cast, the actors in this are all quite good. Featuring people like Kaho Nakamura, Takeru Satoh, Ryo Narita, Lilas Ikuta, Shota Sometami, Toshiyuki Morikawa, Koji Yakusho, and many more, there’s not a weak link in this cast.

The score for the movie was composed by Yuta Bandoh, Ludvig Forssell (SWEDEN REPRESENT!), Miho Hazama, and Taisei Iwasaki, and it’s great. It’s a varied mix of traditional orchestration with more more electronic/synthy sound, which I think perfectly marries the real world drama and cyberspace parts of the world/story marvelously. It’s exciting, it’s emotional, it’s fun, it just works so well. There’s also a few song-songs (for lack of a better word) done by Japanese group Millennium Parade, and holy fuck, they are so good. Not only are they a delight to listen to on their own, but they also help with the storytelling in their respective scenes. So yeah, this movie has some wonderful music.

“Belle” was written and directed by Mamoru Hosoda, with animation by his own studio, Studio Chizu. And once again, everything on that end is top tier. Every shot is lovingly crafted, drawing the eye to the visual splendor in every frame. What I also like is how they differentiate the real world from the world of “U”. The real world is pretty much all 2D animation, with fairly muted colors, whereas nearly everything going on inside of “U” is done in 3D with some really slick cel-shading and plenty of saturated and crisp colors. And just briefly, that 3D stuff is some of the best I’ve seen. Cel-shaded 3D in anime can often look really rough, but the insane wizards at Chizu managed to make it pretty much flawless. But pretty art/animation only gets you so far, but luckily I can happily say that Hosoda’s direction shine’s here. From the quiet scenes between characters, to the action scenes inside of “U”, to the more comedic bits, all of it is perfectly directed.

This movie’s been quite well received. On Rotten Tomatoes it has a 95% positive rating and a “Fresh” certification. On Metacritic it has a score of 83/100. And on imdb.com it has a score of 7.2/10.

So yeah, I absolutely loved “Belle”. It’s an emotionally rich adventure that I can’t wait to revisit in the future. It has a fantastic story, great characters, great performances, fantastic music, and fantastic direction/animation. Time for my final score. *Ahem*. My final score for “Belle” is a 9.93/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Belle” is now completed.

Hosoda-san sure loves the internet, huh?

Series Review: The Responder – Season 1 (2022)

Sorry about the lack of posts in the last few weeks. Been running into various issues, including my laptop being dumb, the summer heat making things unbearable, and even catching the ‘rona. But here I am again, ready to share my terrible opinions with y’all again. I actually intended to get this review out a little over a week ago, but you know… aforementioned conundrums. Anyhow, British TV.

Ladies, gents, and non-binaries… “The Responder” season 1.

Set in Liverpool, the story follows first responder Chris Carson (Martin Freeman) as he works the night shift, trying to uphold order in the city, all while his own life starts to crumble. I thought the story here was absolutely fantastic, giving us a very tense and nuanced take on some familiar cop show elements. It manages to give us this dark and nuanced crime-drama, presenting plenty of suspenseful twists and developments, while also blending in elements of real police work. It’s not a glamorous, action-packed crime solving fest, and the show gains so much by showing the less clean (for lack of a better word) side of the job. And then it also does one hell of a job in developing the personal plights of Chris and the other characters, tackling things such as PTSD, addiction, and abuse, building an emotionally rich and deeply engaging web of drama. So yeah, the narrative here is great.

The characters in this are all very flawed, layered, and all feel very real. They are written with an incredible amount of nuance, that make them very compelling, and surprisingly real-feeling. First up is our main man, Chris Carson. He’s a good-hearted man who cares about people way more than he may let on, all while also being very bent, and dealing with a lot of psychological trauma from shit that’s happened to him in the past. He’s a deeply fascinating protagonist, played to perfection by Martin Freeman, who gives what might be the best performance of his career. Next up we have Rachel, a young officer who works alongside Chris. I don’t wanna say too much about her, but she has two arcs, one involving her work with Chris, and one on a more personal level, and they intertwine really nicely, making her a really interesting character. And Adelayo Adedayo who plays her is fantastic in the role. The rest of the cast is great too, containing people like Ian Hart, MyAnna Buring, Josh Finan, Emily Fairn, Warren Brown, Philip Barantini, David Bradley, and more, all delivering top tier work.

The score for the show was composed by Matthew Herbert, and I think it’s really good. Low percussion, droning synths, some light stringwork, it’s this moody score that really helps emphasize the darkness of not only Chris’ situation, but also the darker side of Liverpool that we get to see. But at times it also brings out this beautifully tragic side that helps the soundscape feel even richer. There’s also a handful of licensed songs used throughout, and they work well in their respective scenes.

“The Responder” was created and written by Tony Schumacher, with directing duties split between Tim Mielants, Fien Troch, and Philip Barantini, and I loved the craft behind this show. It manages to feel very cinematic (and not just because of the letterboxing) while also having a very fly-on-the-wall quality to it. It somehow rides that line marvelously, having this sweeping feel without feeling flashy, giving us some of the most engaging filmmaking of this year. It’s just wonderfully crafted television.

This show/season has been well received. On Rotten Tomatoes it has a 100% positive rating and a “Fresh” certification. And on imdb.com it has a score of 7.4/10.

So yeah, season 1 of “The Responder” is an absolutely fantastic bit of television. It has a great story, great characters, fantastic performances, great music, and great directing. Time for my final score. *Ahem*. My final score for “The Responder” season 1 is a 9.76/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “The Responder” season 1 is now completed.

*Ted Hastings voice* Bent coppers.

Movie Review: Boiling Point (2022)

No, this isn’t a movie about that one Rat Boy song that was in “Need For Speed: Payback”. WHAT? What do you mean that reference is too niche? *sigh*. Anyhow, let’s check into the kitchen.

Ladies, gents, and non-binaries… “Boiling Point”!

It’s christmas time, and Andy Jones (Stephen Graham), the head chef at a nice restaurant, has to try to keep himself and his staff in check on what seems to be the busiest night of the year. Much like the title suggests, the story of “Boiling Point” is a constant simmering tension that is on the cusp of shit going boom at any point. Right from frame one when we first see Andy walking into the restaurant, there is this uncomfortable tension, and it never really lets up, in fact it just gets more and more tense as the night goes on, and things in the restaurant start getting more and more strained and uncomfortable for Andy and the other employees, confronting both their personal flaws and the demands of the customers. So yeah, I think the story here is fucking great. A really tense and highly compelling narrative of people trying to survive walls closing in on all ends.

The characters in this, much like the story, I find utterly compelling. They all have this lived-in quality to them, making them feel like real people in this world, and not just characters who’ve been plonked in there for the sake of a story. And what I also like is that the movie puts their flaws on display first and foremost, making for some really strong drama and character development. What also helps is the cast, all of whom are just on point. Stephen Graham is an actor I’ve admired for several years now, and once again he knocked it out of the god damn park. But I also have to commend the rest of the cast, containing people like Vinette Robinson, Alice Feetham, Ray Panthaki, Hannah Walters, Malachi Kirby, and many more, all of whom are fucking spectacular.

The score for the movie was composed by David Ridley and Aaron May, and I will be frank… I have no memory of it. I watched it this evening, and I can’t recall any music of any kind, beyond the end credits song by Sam Fender (which is a good song). But the score itself, I sadly can’t comment on.

“Boiling Point” was directed and co-written by Philip Barantini, based on a short film he made a few years back (also starring Stephen Graham). And boy howdy, did he kill it. If you’re not aware, this movie was done in one long take, which is a gimmick we’ve seen in other movies, but I think “Boiling Point” uses it in a way that makes sense. It really helps capture the unrelenting pressure that is on the characters. There is no relief for them they’re constantly in the moment, and I think that’s beautifully captured through the tense direction, and Matthew Lewis’ impressive cinematography. It’s just incredibly well crafted.

This movie has been very well received. On Rotten Tomatoes it has a 99% positive rating and a “Fresh” certification. On Metacritic it has a score of 73/100. And on imdb.com it has a score of 7.5/10.

“Boiling Point” is a suspenseful and really compelling drama. It has a great story, great characters, fantastic performances, and fantastic direction and cinematography. Time for my final score. *Ahem*. My final score for “Boiling Point” is a 9.60/10. Which does mean that it gets the “SEAL OF APPROVAL!”.

My review of “Boiling Point” is now completed.

You know, I wasn’t set on becoming a chef before I saw this, but now I’m even less inclined to do it.

Series Review: We Own This City (2022)

*Ted Hastings voice*. Bent coppers.

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, gents, and non-binaries… “We Own This City”.

Baltimore, Maryland, 2017. Within this city exists the Gun Trace Task Force, a special squad created to try to find illegal guns and drugs. We soon find out however that things aren’t quite so black and white, as the members within it are investigated for corruption. And so we jump back and forth between the main investigation of the present, and the past events that led to it. “We Own This City” is a compelling true crime sort of series, weaving a complex and compelling drama about the corruption within Baltimore’s law enforcement, and how that creates mistrust from and fraught relationships with the public. Now, while the drama in itself is compelling, I do have my issues with the overall structure of the storytelling. This show has to cover A LOT of ground in only six episodes, and when combined with the jumping back and forth within the timeline, it can make it feel a bit choppy and overly bullet-pointy (for lack of a better word). It’s not necessarily bad, as I do still find the situations really interesting and engaging, but I do think the overall structure does remove some of the impact. But despite it being a little let down by that, it’s still a really well written story.

The characters in this are layered, flawed, and overall really interesting, all feeling very believable and natural. There’s this lived-in feel to them, and their interactions and relationships work really well in creating engaging drama, and at times even a little bit of humor. What also helps is the cast, all of which are fucking superb, featuring people like Jon Bernthal, Wunmi Mosaku, Jamie Hector, Josh Charles, McKinley Belcher III, David Corenswet, Delaney Williams, Dagmara Dominczyk, and many more.

The score for the show was composed by Kris Bowers, and it was fine. Nothing stood out as really good or bad, it was just kinda there. A perfectly passable score. There’s also a few licensed songs used throughout, and those work well in their respective scenes.

Based on a book by Justin Fenton, “We Own This City” was developed by George Pelecanos and David Simon, with writing by them and a few other cool people, and directing handled by Reinaldo Marcus Green. And I would like to say that Green’s direction is really good. His directing isn’t very flashy, but he has this uncanny ability of giving scenes this subtly crackling energy, even during more quiet moments, which keeps each moment really engaging. It’s just really well crafted.

This show’s been pretty well received. On Rotten Tomatoes it has a 93% positive rating and a “Fresh” certification. On Metacritic it has a score of 83/100. And on imdb.com it has a score of 7.7/10.

While its structure lets down some of its impact, “We Own This City” is still a compelling and engaging drama about the darker side of Baltimore law enforcement. It has a really good story, great characters, fantastic performances, alright music, and great direction. Time for my final score. *Ahem*. My final score for “We Own This City” is an 8.56/10. So even if it’s flawed, it’s still definitely worth watching.

My review of “We Own This City” is now completed.

Shoulda sent AC-12

Series Review: StartUp – Season 1 (2016)

Before we get started with the review itself, I just want to take a second to mention that I think crypto seems like complete fucking bogus. Aaaaand that is all, let’s get into the main thing.

Ladies, gents, and non-binaries… “StartUp” season 1.

When they happen to cross paths for various reasons, a timid banker (Adam Brody), a struggling entrepreneur (Otmara Marrero), and a gangster (Edi Gathegi) team up to try to launch a new form of digital currency, all while a corrupt federal agent (Martin Freeman) lurks around, causing trouble. I found the story of “StartUp” to be pretty enjoyable… but seldom did it go beyond that. There’s a few moments where it perked up a bit more, a few dramatic turns where I was like “Hey… a bit of drama!”. Otherwise it’s sort of just another perfectly enjoyable crime-drama featuring good people and bad people crossing paths in various ways. It’s kinda hard to describe how I felt about the storytelling here, because it doesn’t stick out that much. It’s just sort of there, serving up 10 episodes of not-bad-but-also-not-great story. I wasn’t ever bored, but never did I find myself super engaged either. Like I said, it’s roughly seven hours of alright crime-drama storytelling.

The characters in this are all decently interesting. Not necessarily the deepest ever, but they had enough going on to the point where I found them quite engaging. First off is Nick Talman, a kind-hearted banker who decides to help another one of our leads with her project. He’s arguably one of the blander characters in our cast, but he works as a good buffer to balance out the cast. Plus, Adam Brody gives a really nuanced performance, which does add another layer of depth. Next we have Ronald Dacey, a family man and gangster. He is my favorite character in the show, because he shows a lot of interesting layers, all while having one of the more substantial arcs of the season. And Edi Gathegi is absolutely fantastic in the role. Next we have Izzy Morales, the entrepreneur and hacker who sort of gets the ball rolling on that new digital currency thing. She’s driven, she’s flawed, she’s layered, and she’s just generally a really interesting character, with Otmara Marrero giving a damn good performance. And then we have Phil Rask, our resident bent federal agent. He’s an interesting fella, works really well in terms of writing… so let’s talk performance. Rask is played by Martin Freeman, an actor I like a lot. And when he has to be a little quiet, friendly, vulnerable, that sort of stuff, Freeman’s good, that’s the type of stuff he works for. But he also has a good amount of moments where he has to be menacing and a bit of tough guy, aaaaaand I just don’t believe Freeman in those moments. He is acting his heart out in those moments, which I do have to give kudos to. But he really feels a bit miscast in this role. Like I said, I like Freeman a lot, and he has his moments in this, but on the whole he feels a little off for the part. As for supporting cast, we got people like Tony Plana, Kelvin Harrison Jr, Jared Wofford, Aarony Yoo, and more, all doing well in their respective roles.

The score for the season was composed by Chris Hajian, and I think he did a good job with it. The score’s mostly based in an electronic, synthesized sound to sort of fit with the whole tech, start-up type setting/story we got, and while it doesn’t necessarily stick out in my mind, I did think it worked well enough for the show. There’s also a few licensed songs used throughout the season, and they all work well for their respective scenes.

“StartUp” was created by Ben Ketai, with writing and directing over the season being done by him and various other people. And I think the direction on display here is alright. It does everything it’s supposed to, but never sticks out that much in my mind. Shots are well done and well paced, action beats are handled just fine, it’s just fairly solid craft on the crew’s part. Again, much like the story, it’s well done, but also doesn’t go above and beyond. It’s good.

This show/season has gotten a mixed reception. On Rotten Tomatoes the season has a 36% positive rating.  On Metacritic the season has a score of 52/100. And on imdb.com the show has a score of 7.8/10.

While it does stumble a little bit in some regards, season 1 of “StartUp” is still a solid enough crime-drama. It has a pretty good story, good characters, great performances, pretty good music, and good directing. Time for my final score. *Ahem*. My final score for season 1 of “StartUp” is a 7.66/10. So I’d say it’s worth watching.

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

“The future of currency”, my ass.

Movie Review: Unhinged (2020)

On the Crowe again, just can’t wait to watch Russ Crowe agai- Oh hi, didn’t see you there. Uuuuuhhhhh… let’s talk about Russell Crowe road movie.

Ladies, gents, and non-binaries… “Unhinged”.

After she has an altercation with a man (Russell Crowe) while in traffic, Rachel’s (Caren Pistorius) day turns into a living nightmare as the man begins stalking and terrorizing her. What I like about the story in “Unhinged” is that there’s no pretense of greatness here. At first glance it’s a popcorn thriller, and upon further inspection, still a popcorn thriller. And that is sort of the story’s biggest strength, as it’s just 80 minutes of relentless tension, Crowe chasing Pistorius around, wreaking havoc. It makes it a bit of  a breeze to watch.

The characters in this are fine. Rachel, our leading lady hasn’t really been given much in terms of personality, but what little there is works well enough to make me root for her, and I think Caren Pistorius does a really good job with the material. Now, let’s talk about the man… that’s how he’s listed in the credits, so don’t blame me for the vagueness. Anyhow, Russell Crowe is fucking terrifying in this. Just an unhinged, surprisingly calculating psychopath that I never really knew what to make of. He’s just a mysterious agent of chaos, and Crowe’s performance is absolutely fantastic. Anytime he was on screen, he was electrifying. Supporting cast’s solid too, limited though their screentime may be. Gabriel Bateman, Jimmi Simpson, Austin P. McKenzie, Juliene Joyner, they’re all good.

Score for the movie was composed by David Buckley, and I really liked it. Nice mix of electronic sounds with a few regular instruments every now and then, helps to add nicely to the tension throughout. Sure, it’s not the most groundbreaking of scores, but it worked well for this movie. So yeah… good stuff.

“Unhinged” was directed by Derrick Borte, and I think he did a really good job behind the camera. Action scenes are well shot and feature some really gnarly stunts and even grisly violence at times that really add to the intensity of the movie, making the danger of the situation and Crowe’s character feel all the more visceral. Borte really knew how to make the most out of the premise and out of Carl Ellsworth’s script, crafting some really suspenseful scenes that never really let up until the credits.

This movie’s been pretty mixed in its reception. On Rotten Tomatoes it has a 48% positive rating. On Metacritic it has a score of 40/100. And on imdb.com it has a score of 6.0/10.

Is “Unhinged” one of the greatest movies ever? No. But if you’re like me and you like brisk, tense, pulpy thrillers right out of the 90s, then I can easily recommend it for a rainy afternoon. It has a fun story, okay-ish characters, great performances, really good music, and really good directing. Time for my final score. *Ahem*. My final score for “Unhinged” is a 7.88/10. So I’d say it’s worth a rental.

My review of “Unhinged” is now completed.

Vroomssel Crowe