Movie Review: Blindspotting (2018)

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

Ladies and gents… “Blindspotting”.

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

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

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

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

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

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

My review of “Blindspotting” is now completed.

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

My Favorite Albums of 2019

Well howdy there, ladies and gents, I hope you’re all doing great. It’s that time of year again. That time when I go over my favorite albums from the year that’s recently passed. It’s a yearly tradition on this blog, and I have no intention of stopping it yet. So, let’s go over some rules first.

Rule 1: Please keep it civil. These are my picks. If you don’t agree with them, that’s fine. If you want to have a discussion about good music from last year, then I’m very much open to it. All I ask is that you keep it civil. Be kind and respectful.

Rule 2: No movie soundtracks/scores. I love listen to movie music, but if I included any of those albums, this list would go on for days, and no one has time or patience for that.

Rule 3: No “Greatest Hits” albums. I think that explains itself, no compilations of a band’s best songs. That’d be cheating.

That should about cover it. Now, without further ado.. my favorite albums of 2019!

Number 15: Rival Sons – Feral Roots (Sample: Do Your Worst)

Kicking off the bottom of the list (bottom does not equal bad, just means least awesome) is the latest release from Californian rock band Rival Sons. These dudes have a very old school approach to their style that I appreciate, since good ol’ fashioned hard rock doesn’t dominate the airwaves as much as it once did. So it’s good to hear a band keeping that sound alive. It’s a fun album.

Number 14: Dream Theater – Distance Over Time (Sample: Untethered Angel)

At number 14 we got the latest release from long running  prog-metal band Dream Theater. It’s a slightly more stripped back and focused affair than some of DT’s other releases… but that doesn’t stop it from being a fun, epic, and frankly fun album to listen to. It doesn’t really do much to seem like something new in the band’s discography, but it also doesn’t need to, because it’s still a badass album.

Number 13: Whiskey Myers – Whiskey Myers (Sample: Die Rockin’)

At number 13 we find the latest release from Whiskey Myers, an American country/southern rock band from Texas. I actually discovered them earlier in 2019 when I heard two of their older songs in an episode of “Yellowstone”. Obviously liking what I heard, I of course started checking out the band more (like their previous album/social media). And that’s when I found out they were releasing a new album, which had me interested. And when I listened to it… well, the inclusion of it on this list should be a dead giveaway as to my feelings on it. The band is like a heavier version of Lynyrd Skynyrd, and I really like that sound, which is why this is on the list.

Number 12: Beth Hart – War in My Mind (Sample: Bad Woman Blues)

Next up we have the new release from American blues singer Beth Hart. In this release, Beth strikes a nice balance between blues, funk, and soul to create a sound that is simply magical. I’ve enjoyed Hart’s music for a few years, and this album doesn’t disappoint at all, it is a blast to listen to.

Number 11: Phil Campbell – Old Lions Still Roar (Sample: Rocking Chair)

Coming in at number 11 we have the solo album debut of former Motörhead guitarist Phil Campbell. Even with the experience as guitarist in one of the greatest metal bands of all time, you never know how well your solo stuff might turn out. But Campbell (along with his many guest acts) really knocked it out of the park. Some are more stripped back affairs like “Rocking Chair”, but then you also got tracks like “Faith in Fire”. But one thing one notices throughout it all is that Campbell is quite contemplative in his tunes, which makes for a rock album that pleases both poetically and in terms of being fun to listen to.

Number 10: Nick Cave & The Bad Seeds – Ghosteen (Sample: Bright Horses)

Now we’re getting into the meat and p’taters of this list, the top ten. And kicking off this section is “Ghosteen”, the new release from Australian artist Nick Cave, and his band, The Bad Seeds. It’s a direct follow-up to their previous album, “Skeleton Tree” (which also made it to my best of the year list when it came out). In that album, there were moments where Cave was dealing with the recent death of his son, and Ghosteen is him fully embracing that dark and contemplative process, making for a beautiful and haunting album that, while not something I’d put on at any time, still had a lasting effect on me thanks to its beautiful production, and Cave’s soulful and pained vocals.

Number 9: Tyler Bryant & The Shakedown – Truth and Lies (Sample: Shock & Awe)

At number 9 we have “Truth and Lies”, the new album from blues-inspired hard rock act Tyler Bryant & The Shakedown. If you like heavy blues-rock, then this should be right up your alley. I certainly like that sound, and I really like this album, it’s cool.

Number 8: Lana Del Rey – Norman Fucking Rockwell! (Sample: Norman fucking Rockwell)

Every year there’s usually at least one album that sneaks onto my list that I didn’t expect in the fucking slightest. And this time, it’s the latest release from American pop singer Lana Del Rey. It’s a soulful and cleverly written album which features Lana discussing some interesting stuff, all while a beautiful strings and piano-based production backs her up. And it’s all great, making for an enjoyable trip that I wouldn’t mind listening to again.

Number 7: Neil Young with Crazy Horse – Colorado (Sample: Olden Days)

More like Neil Old, am I right? Joking aside, how the fuck is Neil Young still releasing good music. Sure, his voice isn’t quite what it once was. But the fact that the songwriting still hits me and his voice still conveying every emotion perfectly is testament to his skill. Combine that with his first teamup with Crazy Horse since 2012, and we got a really well produced album that finds Young still knows how to reach into my heart and make me think.

Number 6: Bruce Springsteen – Western Stars (Sample: Western Stars)

From one old legend to another, at number 6 we have the latest release from The Boss himself, Bruce god damn Springsteen. And he hasn’t lost his touch yet, “Western Stars” is a beautiful country/soft rock album that shows Springsteen at his strongest once again. I don’t know what else to say here, Bruce Springsteen making good music shouldn’t really be much of a surprise to anyone.

Number 5: Airbourne – Boneshaker (Sample: Burnout the Nitro)

From nice and soulful, to high octane rock n roll. This was seriously one of, if not my most anticipated album of the year. I am a huge fan of this band and their AC/DC-esque sound. A new Airbourne release is always fun to listen to, because they just make some badass rock n roll. When I first listened to it, I wasn’t the biggest fan of this one. I thought it was fine, not making much of an impact. But further listens have made me appreciate it more. It’s not groundbreaking, but it’s certainly… a boneshaker.

Number 4: The Highwomen – The Highwomen (Sample: Redesigning Women)

At number 4 we have a self-titled album from all-lady country band The Highwomen. Sound-wise, it’s a classic country sound, showing that “if it ain’t broke, don’t fix it”. Where it stands out however is in the lyrical department, making some interesting commentary on society and women’s role in it, which I find quite fascinating and engaging, especially when paired with the beautiful country composition.

Number 3: Leonard Cohen – Thanks for the Dance (Sample: Thanks for the Dance)

We’re getting into the nitty-gritty now, y’all. In the bronze position, we find the new release from the late, great Leonard Cohen, which he of course recorded before his passing in 2016. Produced by Cohen’s son, Adam, this is a beautiful, emotionally charged, and soulful experience that sees Cohen at his finest. It’s a nice posthumous send-off for one of the greatest songwriters ever.

Number 2: King Gizzard & The Lizard Wizard – Infest the Rat’s Nest (Sample: Planet B)

Well, this is certainly a leap in genres. In second place is the newest release from Australian rock band King Gizzard & The Lizard Wizard (possibly the greatest band name ever). And it’s an old school thrash metal album, hearkening back to mid-80s Metallica or Slayer, while still putting in some minor flourishes of their own to make it stand out. And good god damn, I am in love with this album. I only heard it for the first time very recently, and yet it has made quite an impact for me. Partly because of the interesting storytelling concepts throughout the songs, but mainly because I am a big fan of old school thrash metal, and this is one of the finest takes on that genre.

NUMBER 1: Gangstagrass – Pocket Full of Fire (Sample: You Can Never Go Home Again)

In previous years, I’ve had a rule against including live concert albums. But I decided to loosen that rule this year because 1, this my blog (so I can do whatever I want). And 2, I really really really wanted to mention this. What we have here is American hip-hop/bluegrass band (yes, that mix does work) Gangstagrass at various live venues, playing their songs, and making it all sound fantastic. Seriously, these are some of the best and most head-bobbing recordings I’ve heard of these songs. So yeah, my number 1 is technically cheating my own rules, but I also don’t care, because great music transcends everything.

So those were my favorite albums of 2019. But now I’d love to hear from your guys, what are some of your favorites? Let me know in the comments.
Have a good one.

Movie Review: BlacKkKlansman (2018)

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

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

Ladies and gentlemen… “BlacKkKlansman”!

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

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

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

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

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

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

My review of “BlacKkKlansman” is now completed.

This kind of stuff is why I love movies.

My Favorite Scenes: Doom Patrol – People Like Us

Holy shit, ain’t this a corpse. When was the last time we did a My Favorite Scenes post? February 2017? Okay, not quite as far back as I thought, but still… that’s nearly three years. Well, for any newer readers, this series is all about me explaining why I like certain scenes in movies and tv. A blogger friend of mine had a similar series and I nicked the idea from him. As you can probably imagine, this involves some spoilers for any particular movie or series that the scene is featured in. So be warned. Anyway, let’s talk about “Doom Patrol”!

Based on the DC comic book team of the same name, “Doom Patrol” is about a group of misfits who have all been brought together by Doctor Niles Caulder (Timothy Dalton), since they really have nowhere else to go. And in the show, Niles goes missing, which leads to various adventures where the team tries to find clues to his whereabouts, while also dealing with their own personal demons. I actually reviewed the first season of the show in 2019 (*cough* shameless plug *cough*), and mentioned in that show that I absolutely adored its mix of relatively unknown superheroes, compelling character drama, and hilariously crude humor. And today we’re talking about a scene that kind of encapsulates some of that. So it goes without saying, spoilers for “Doom Patrol”, and in particular its 8th episode, “Danny Patrol”.

So in episode 8, “Danny Patrol”, two of the team’s members, Larry Trainor/Negative Man (Matt Bomer/Matthew Zuk) and Cliff Steele/Robotman (Brendan Fraser/Riley Shanahan) get transported to Danny, a sentient, teleporting, gender-queer street (yes, you read that right), when it needs help from Doctor Caulder (who is still missing at this point). While here, Larry and Cliff make acquaintances with Maura Lee Karupt (Alan Mingo Jr.), a sort of front person for Danny, the sentient, teleporting, gender-queer street (god, I love saying that). And during a scene in the episode, Larry gets invited up to sing some karaoke, in which he does and begins covering “People Like Us” by Kelly Clarkson. And during this musical number, you see Larry open up, show some actual joy. His entire life, he’s been a bit of an outsider, starting as a closeted gay man in the 1960s U.S. Army, and then later being a bit of a radioactive freak with a strange alien being living inside of him, which of course kinda prevented him from bonding with people. But finally it seems like he has found some people who just accept him for who he is. Freaks, outcasts… “People like us, we gotta stick together”. And then when the ending of the scene revealed itself, it was a bit of a gut punch to me. In lesser hands, this could’ve just been a goofy scene of a mummy-man singing a song from an American Idol winner while visiting a sentient, teleporting, gender-queer street. But thanks to the wonderful writing and world-building of “Doom Patrol”, it became one of the most uniquely compelling scenes I’ve experienced in any recent tv show, even making me tear up when I first saw it.

Scenes like this is why I adored season 1 of “Doom Patrol”, and is why I am really looking forward to whatever madness they’ll be concocting for season 2.

Have a good one, and show some love to people around you, even when you’re not standing near a sentient, teleporting, gender-queer street.

Movie Review: Crawl (2019)

Ever since I was a child, I have been fascinated by crocodilians, potentially due to watching a fair bit of “Crocodile Hunter” as a kid. And possibly also because they’re badass. Either way, it baffles me that we barely get any movies featuring them, at least with decent budgets. So I’m excited to finally get to talk about such a movie.

Ladies and gents… “Crawl”.

When Haley (Kaya Scodelario) goes searching for her dad (Barry Pepper) during a devastating hurricane, she finds herself trapped in their old family home’s crawlspace, not only having to survive the vicious weather, but also a bunch of alligators swimming around. It’s a B-movie premise… but I really liked seeing it unfold. There’s enough self-aware brains within the writing to make it work. It nicely shifts between being a suspenseful monster movie and a decent enough family drama, the balance is just right. I’m not sitting here saying that it’s the greatest storytelling ever put to celluloid. But what I am saying is that it knows what it is, and works with it to create a fun and engaging popcorn thriller that managed to scare, make me feel tense, and invest me in the struggle of the people at the center.

The characters in this, while not the deepest, are written with enough nuance to make the viewer care for them, at least on a surface “I don’t want to see these guys die” level. Kaya Scodelario plays Haley, a young woman with some emotional baggage that affects her relationship to her dad. She’s clever, resourceful, and determined, and makes for an interesting protagonist that I enjoyed following. And Scodelario is great in the role. Next we have Barry Pepper as Dave, Haley’s dad with whom there’s some past issues with. I don’t have much to say, as he’s not as well defined in personality as Haley, but I still found him decently enjoyable/interesting. And Pepper is great in the role. And seriously, when was the last time we saw Barry Pepper in a movie? Dude was in everything for a while, and then he just suddenly wasn’t. Oh well, it was nice to see him show up here.

The score for “Crawl” was composed by Max Aruj & Steffen Thum, and I think they did a pretty good job with it. Some basic emotional strings, some neat horror stings, and a few other things. The score here doesn’t do anything new, but intead does all the familiar things well, creating a solid soundscape for the movie.

“Crawl” was written by brothers Michael and Shawn Rasmussen, with Alexandre Aja handling directing duties. And the craft on display here (for its relatively low budget) is pretty damn good. They really manage to create an oppressive atmosphere that helps the movie stand out in both the disaster and monster sub-genres. Even the huge storm is given a real presence that makes it feel far from cheap. Now, let’s talk about the real stars here… the gators. As expected, they’re CGI, because real gators would be too dangerous. But even for CG animals, they work quite well here… for the most part. Their animations are great, really lifelike, which makes them quite intense. Where I have to leave a slight criticism though is the texturing. Yes, they got the general gator appearance right, but it feels like they could’ve used another render or two. But I can also forgive it because of how low the budget was, and because of the presence the overall animations on the gators gave off. Quick warning too: As you probably expect, there’s some gore in this, but it’s also quite vicious. Not just blood for blood’s sake, but some genuine brutality happens. Just putting that out there in case anyone’s a bit squeamish.

This movie has been pretty well received. On Rotten Tomatoes it has an 83% positive rating and a “Fresh” certification. On Metacritic it has a score of 60/100. And on imdb.com it has a score of 6,2/10.

I know it sounds like I shit on it multiple times throughout, but I want to make it very fucking clear that I highly enjoyed “Crawl”. It’s a damn fine monster movie (yes, alligators aren’t monsters, but what else would you call this style of movie?). It has a really good plot, good characters, great performances, good music, and great directing, effects, and atmosphere. Time for my final score. *Ahem*. My final score for “Crawl” is a 9,57/10. So it does get the “SEAL OF APPROVAL!”.

My review of “Crawl” is now completed.

See you later, alligator…

Movie Review: Last Breath (2019)

Hello and welcome to 2020, friends! To kick it off I decided to review something I haven’t looked at in a while: A documentary. The last time I did was in 2015. I don’t know why it took me this long to get around to it again, but I think we should stop dwelling on that and instead just get into this.

Ladies and gentlemen… “Last Breath”.

“Last Breath” is about a group of men who work with diving in the North Sea, doing maintenance on underwater structures. However, during this one dive, something goes wrong and one of them gets stuck down there with a very limited oxygen supply, forcing his colleagues to find a way to try and save him. The movie is partly interviews with the people who worked on this operation, mixed with recreations of what went on, as well as actual footage from the incident. Now, while this approach is simple and something we’ve seen before in other documentaries, I feel like it still works in this movie’s favor. It’s a simple story of a terrifying situation, so there’s no real need to complicate how it’s told. It’s simple, but effective. They get you invested in the people involved with some quick behind-the-scenes goofing from one of the crew members filming on the ship, and then the main incident happens. Now we have a scary setup that manages to retain good tension throughout the rest of the runtime. Yeah, it’s well told and I was utterly invested from start to end.

The music for the movie was composed by Paul Leonard-Morgan, and before we get to discussing this movie’s music, I just wanna go on a quick sidenote. It is so weird seeing his name again. Don’t think I’ve seen his name attached to a movie since 2012’s “Dredd”. Anyway, back to “Last Breath”. His music is very good. It has a solid mix of emotionally resonant strings, with some electronic flourishes at one or two points. Some might call it emotionally manipulative, I call it good.

“Last Breath” was directed by Richard da Costa and Alex Parkinson, and I think they did a good job with it. The way they mix old, real footage with recreations is pretty great, and while they stylistically look different due to differences in technology, they still make the transitions feel natural. And even taking the new footage on its own, it is really well handled. Especially in terms of cinematography, I thought that was fucking stunning. Kudos to Alistair McCormick for those good looking shots. But yeah, the way it all comes together is really well handled.

This movie has been well received. On Rotten Tomatoes it has a 92% positive rating. And on imdb.com it has a score of 7,7/10.

“Last Breath” may be simple in its approach, but it’s still a damn fine documentary that put me on the edge of my seat. It has an interesting story featuring some interesting people, its music is very good, and the way it is shot, edited, and directed is pretty damn great. Time for my final score. *Ahem*. My final score for “Last Breath” is a 9,67/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Last Breath” is now completed.

Kicking off 2020 on a high note.

12 Films of Christmas 2019 (Part 11)

We’re already at the penultimate part of this series. Wowzer. Time flies when you contrive silly reasons for why things are something they’re not. So let’s get into into the main chunk of the post.

So as you can probably tell from the image above, we’re actually talking about an animated feature. It’s “Berserk: Golden Age Arc 1 – The Egg of the King”. Mouthful title aside, the movie is an adaptation of a specific part of Kentaro Miura’s legendary manga series “Berserk”. It tells the story of Guts, a lone wolf swordsman who lives only for the mercenary lifestyle. That is until he meets Griffith, the leader of a mercenary group called the Band of the Hawk. And early on, Griffith convinces Guts to join the Band, which leads in to character development, friendship, and plot. So what does a hyper violent medieval fantasy anime movie have to do with christmas? Well, let me tell you.

When we meet Guts, he’s a lone wolf, traveling all by himself. He doesn’t have friends, aside from maybe his over-sized sword. But as previously mentioned, that starts to slowly change after he meets and joins Griffith. While he’s reluctant to be part of the band at first, he learns to live with these people… like a family. And as we’ve mentioned in previous posts in this series, family is a pretty important aspect of christmas. So that is my reasoning for “Berserk: Golden Age Arc 1 – The Egg of the King” is a christmas movie… that familial bond that Guts forms with Griffith and the Band.

And even without the holiday stuff, this is still a decent movie that starts off an interesting arc. Though I can also recommend the 1997 animated tv series if you want something a bit better.

Have a good one.

Series Review: His Dark Materials – Season 1 (2019)

Adapting books is difficult. There’s a risk of alienating old fans if you fuck it up, and there’s a chance of alienating new ones if you just adapt word for word, with no regard for the viewing experience. We’ve covered some good ones, and some bad ones on the blog before… so let’s see where this falls into the spectrum

Ladies and gentlemen… “His Dark Materials” season 1.

Set in an alternate universe England, the story follows Lyra (Dafne Keen), a girl looking to find a way to get out of her boring scholastic existence and into some adventure. Well she soon finds her wish coming true when she gets dragged into a big, magical adventure through this mysterious, alternate world. I really enjoyed following the story here. It’s a fresh take on the familiar “child hero” fantasy formula. And unlike so many other such adaptations it manages to balance a generally family friendly approach with a lot of darker moments that dare to challenge younger viewers a bit. It reminds me of the “Harry Potter” movies a bit in that sense. There’s also enough interesting twists in the story to keep me on my toes. The pacing does feel like it slightly drags at times due to how dense with content each episode is, but generally it never full on breaks the show for me. It’s still a really engaging and entertaining story.

The characters in this are layered, flawed, and overall just interesting. Dafne Keen plays Lyra, our protagonist. She’s clever, crafty, adventurous, and just a really entertaining protagonist that I loved following throughout. And Keen is great in the role. We also get supporting work from people like Ruth Wilson, Kit Connor, Amir Wilson, Lin-Manuel Miranda, Ariyon Bakare, James Cosmo, and James McAvoy, among many others. And they all do very well in their respective roles.

The score for the show/season was composed by Lorne Balfe, and it is absolutely fantastic. From the beyond catchy main theme, to many of the quieter pieces, to some of the bigger tracks, it is all fantastic. What I also like is that as we switch between a few different settings within the show, Balfe actually plays around a bit with his instrumentation, not only relying on the typical orchestral stuff. So yeah, this show has some great music.

Based on the beloved novels by Philip Pullman, “His Dark Materials” is a co-production between BBC and HBO, written by Jack Thorne, and directed by a bunch of cool people. And the craft here is seriously fantastic. The direction manages to capture the sweeping nature of the epic fantasy story it sets up, while still staying intimate with the characters, bringing us further into the world in a wonderful way. And this show is also proof why HBO should be allowed to help out with the financing of a show, because in terms of sets, effects, props, puppetry, and all such production values, this is one of the most well crafted and expensive-looking shows I have ever witnessed. It is stunning what they’ve made here.

This season/show has generally been well received. On Rotten Tomatoes it has an 80% positive rating and a “Fresh” certification. On Metacritic it has a score of 67/100. And on imdb.com it has a score of 8,2/10.

It’s of course not flawless, but I still kinda loved season of “His Dark Materials”. It has a great plot, great characters, great performances, great music, and great directing, cinematography, and effects. Time for my final score. *Ahem*. My final score for season 1 of “His Dark Materials” is a 9,55/10. So it gets the “SEAL OF APPROVAL!”.

My review of “His Dark Materials” season 1 is now completed.

I’ve had a weird void in my life since the “Harry Potter movies ended. And this show has kinda filled it for the past two months.

12 Films of Christmas 2019 (Part 10)

Can you imagine that after this post, there’s only two more? It’s a little surreal. You get into the groove of doing a daily series like this, and then it’s about to end. But before that happens, we still have some shit to talk about. So let’s do it.

So what’s on the menu today? Well, I’m about to get to it, relax, you impatient person. Based on a 1997 novel by Neil Gaiman, “Stardust” is a 2007 fantasy adventure directed and co-written by Matthew Vaughn. It tells the tale of Tristan Thorn (Charlie Cox), a young man infatuated with a woman living in the same town as him. One day he agrees to fetch a fallen star for her, in exchange for her hand in marriage. And this leads Tristan on a big, magical journey involving a conniving prince (Mark Strong), an evil witch (Michelle Pfeiffer), a pirate (Robert De Niro) and a woman who may or may not be a literal fucking star (Claire Danes). So what’s my holiday connection for this one then?

Well, compared to some of my previous ones, this is a bit more simple. No, there’s no scene involving christmas. And no, it’s not even the family squabbling between the three princes. No, it’s less contrived than that. Christmas is a holiday that’s supposed to bring joy to people, be it through presents, food, or good company. And “Stardust” is a very joyous movie, it’s a simple and fun swashbuckling adventure with a fantasy twist. And both of the times I’ve seen this movie, it has brought me great joy. It has put a gigantic dumb smile on my face. And since christmas should bring joy, then “Stardust” is clearly something one could easily slot into the holiday hangouts. Plus, that song from Take That playing during the end credits is fantastic.

Have a good one.

12 Films of Christmas 2019 (Part 9)

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

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

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

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

Have a good one.