Series Review: Guilt – Season 1 (2019)

Have you ever lied? If you said no, then that’s most certainly a lie, because we’ve all done it at some point. And since you lied to me, doesn’t that make you feel a little guilty? Anyhow, let’s talk about a Scottish tv show.

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

While driving home from a party, brothers Max (Mark Bonnar) and Jake (Jamie Sives) accidentally run over an old man, killing him. The two then do their best to cover their tracks and move on with their lives. However, as with most stories, things don’t work out quite so easily. Right off the bat, “Guilt” had me hooked. It had a great setup for a crime-thriller narrative that they then told in an often darkly comedic way. It made for one hell of an engaging watch… for part of it. The first two episodes I thought were genuinely great, starting with its relatively simple premise and building cleverly upon it. But then the remaining two episodes screwed itself a bit by convoluting matters. I get that thriller narratives tends to have a few twists and turns to them, that’s par for the course. But I feel like “Guilt” has a few too many, messing with the tightness and flow of the story. I was still entertained throughout the last two episodes, and there are a few really good moments (including the ending). I just felt that it got a little messier than it needed to. Overall, it’s pretty good.

The characters in this show are colorful, flawed, and overall quite interesting. Mark Bonnar plays Max, the older of the two brothers. A successful lawyer with a snazzy house, snazzy clothes, and an overall snazzy life, it’s interesting seeing what a stressful situation like this does to him. It reveals quite a bit and provides some great character development, with Bonnar being absolutely phenomenal in the role. Next we have Jamie Sives as Jake, the younger of the brother. Normally a quiet record store owner, seeing how he tries to deal with the guilt (HA!) of the whole “Oops, accidental murder” situation is fascinating. And Sives is great in the role. I also want to quickly mention that these two actors work wonderfully together, with the clashing of the characters’ personalities making for some excellent character drama. Anyhow, we also get supporting work from people like Ruth Bradley, Moyo Akandé, Emun Elliott, Sian Brooke, and more, all doing very well in their respective roles.

The score for the show was composed by Arthur Sharpe, and I think he did a pretty good job with it. He has an interesting way of blending traditional thriller cues with some light rock elements, which gives the show a very fun soundscape. There’s also a handful of licensed tracks used throughout, and they work quite well in their respective scenes.

“Guilt” was created and written by Neil Forsyth, with directing duties handled by one Robert McKillop. And I think they did a really good job on that front. The direction of this show has this really vibrant energy about it that keeps it from ever getting dull, making it feel like it moves along at a clip, which helps keep scenes engaging. Helping further this is Nanu Segal’s terrific cinematography, and some fantastically snappy editing by Nikki McChristie and Colin Monie. It’s just a really well crafted show.

This show/season has been pretty well received. On Rotten Tomatoes it has a 100% positive rating. On Metacritic it exists, but seems to have no real consensus. And on imdb.com it has a score of 7.3/10.

Despite getting a little tangled in its own twisting web towards the end, season 1 of “Guilt” is still a highly enjoyable batch of episodes. It has a good story, great characters, fantastic performances, really good music, and great directing/editing/cinematography. Time for my final score. *Ahem*. My final score for season of “Guilt” is an 8.35/10. So while flawed, it’s still worth watching.

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

I love Mark Bonnar, he’s such a good actor.

Series Review: Des (2020)

Been a while since we covered a tv show, so I’m a bit excited right now. Also, don’t murder people.

Ladies and gentlemen… “Des”.

The year is 1983. Police have arrested Dennis “Des” Nilsen (David Tennant) on suspicion of homicide after human remains are found near his home. And throughout the show we follow the cops a they try to identify the various victims, as well as trying to get information out of Nilsen regarding everything he did. This is an interesting little crime drama. Now, it does fall back on a lot of tropes from these type of true crime murder mystery type stories, which is possibly the show’s biggest fault. It’s not outright bad, but the sometimes formulaic nature does take away some from it. But with this said, I did still find the story here decently interesting. It has this sort of eeriness that I feel we don’t necessarily get in similar things. I don’t know how to explain it, but the whole vibe around it just makes it a bit more interesting. And I do still think the investigation around Nilsen and his victims is a pretty interesting one, especially as we learn more about him as a person. There is also some stuff set around the bureaucracy of the investigation, which does add a decent bit of drama. On the whole I do think the story here is solid enough, just a little familiar in its structure.

The characters in this are pretty interesting. Especially our main two, who are both really compelling. First up we have Daniel Mays as Detective chief inspector Peter Jay, the man leading the investigation into Nilsen’s murders. He’s a man of principle, someone determined to see this all through, even when the higher ups try to get in his way. He’s a compelling lead, and Daniel Mays gives a really good performance. And then we have David Tennant as Dennis Nilsen, AKA Des. He’s a really frightening character. But not in a Hannibal Lecter or Annie Wilkes kinda way where they’re made to be frightening. Nilsen is frightening in how blunt and forward he is. Right from the start he’s like “Yeah, I killed them” and has no problem telling how it happened, like how you might tell your friends about your trip to Spain. He’s frightening because he is so… human. And Tennant is fantastic in the role, giving one of the best performances of his career. We also get supporting work from people like Jason Watkins, Barry Ward, Jay Simpson, Bronagh Waugh, and more, all giving good performances.

The score for the show was composed by Sarah Warne, and I think she did a pretty good job. It’s very low key, going for a somewhat eerie, almost droning sound to add to the atmosphere of the show. It really helps create an engaging soundscape within the show.

Based on the book “Killing for Company” by Brian Masters, “Des” was created by Luke Neal and Lewis Arnold, with Arnold directing, and Neal serving as lead writer. And I think the craft here is really strong. One thing I really appreciate about the directing and such here is how remarkably restrained they are. So many other people would probably give us the gory, graphic details of the entire situation, but the crew here didn’t. They hold back quite a bit, just giving us the explanations of everything that happened. And while too much exposition can be a bit bothersome, I feel that they found the right balance here. I must also commend Mark Wolf on his cinematography, because it’s really frickin’ good and fits the story being told really well.

This show has been quite well received. On Rotten Tomatoes it has an 89% positive rating. On Metacritic it has a score of 75/100. And on imdb.com it has a score of 7.7/10.

While its formulaic nature does bring it down a little bit, “Des” is still a pretty compelling crime drama. It has a good story, pretty good characters, great performances, really good music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “Des” is an 8.45/10. So while flawed, it’s definitely still definitely worth watching.

My review of “Des” is now completed.

Symphony of Des-truction…

Movie Review: False Trail (2011)

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

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

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

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

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

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

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

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

My review of “False Trail” is now completed.

Crazy bastards did it.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Meh.

Movie Review: Knives Out (2019)

I love mysteries. Not in real life though, that shit can be infuriating/scary. But in movies/tv/books/games, the mystery genre is one of my favorites. Who killed the man? Who stole the thing? Who pissed in the cereal? Even the worst ones can still have me entertained due to me having a soft spot for the genre. So anyway, let’s talk about a mystery movie (it’s not a mystery movie jackass, it’s right in the fucking title what movie it is). SILENCE, ME.

Ladies and gentlemen… “Knives Out”.

When famed murder mystery writer Harlan Thrombey (Christopher Plummer) dies, a private investigator (Daniel Craig) starts looking into the possibility that one of Thrombey’s eccentric relatives might’ve killed him. WHODUNIT!? The goofy spelling/grammar of that word aside, that is the genre we’re dealing with here. It’s a modern whodunit that pays tribute to the classic ones, such as “Murder She Wrote” or “Columbo”, while also putting its own fresh-feeling spin to proceedings. It gives you everything you want in a classic whodunit story, while also subverting it in some really clever ways that I honestly didn’t see coming. There’s also a surprising amount of social commentary throughout. And while I’ve watched things recently with attempts at that which were a bit too hamfisted, I felt like it worked quite well within “Knives Out”, wonderfully integrating into the already solid murder mystery.

The characters here are flawed, colorful, interesting, and buckets of fun. Daniel Craig plays Benoit Blanc, a private investigator that’s been hired to investigate Thrombey’s death. He is skilled, but he’s also a bit quirky. And holy fuck, Daniel Craig… he really hammed it up here, and it made him such a fun presence to watch. Next we have Ana De Armas as a nurse who is heavily involved in the story. And she’s great in the role. And then the rest of the cast is filled out by people like Chris Evans, Jamie Lee Curtis, the aforementioned Christopher Plummer, Don Johnson, Tony Collette, Michael Shannon, Katherine Langford, Jaeden Martell, Lakeith Stanfield, Riki Lindholme, and more… and good god damn, what a solid cast this is.

The score for the movie was composed by Nathan Johnson, and it was a lot of fun. It’s very old school in its approach, often sounding like something you’d hear in an older crime movie/show, due to its often overdramatic strings. There’s also a few licensed songs used throughout, and they work well enough. So yeah, this movie has good music.

“Knives Out” was written and directed by Rian Johnson, who I think did one hell of a job on those fronts. He gives the movie such a distinct energy that keeps it feels electric, keeping any shot or scene from ever feeling boring. That doesn’t mean any part feels rushed though, Johnson lets scenes simmer when needed… but never for too long, giving it just the perfect pacing.

This movie has so far been very well received. On Rotten Tomatoes it has a 96% positive rating and a “Fresh” certification. On Metacritic it has a score of 82/100. And on imdb.com it has a score of 8,1/10.

I loved “Knives Out”, it’s a really fun and unique whodunit. It has a great plot, great characters, great performances, good music, and great writing/directing. Time for my final score. *Ahem*. My final score for “Knives out” is a 9,90/10. So that’s right, it does get the “SEAL OF APPROVAL!”.

My review of “Knives Out” is completed.

Knives Out, Spoons In.

Series Review: Twin Peaks – Season 1 (1990)

Time to finally start clearing this thing from the watchlist.

Ladies and gentlemen… “Twin Peaks” season 1!

When a young woman is found murdered in the quiet mountain town of Twin Peaks, an FBI agent (Kyle MacLachlan) is called in to try to find out what happened. And as we follow Agent Cooper’s investigation, we find out about the cheating, double-crossing, and other idiosyncrasies going on in the town.  So now we have our little crime series. Now, at first it seems like a relatively average crime story, if a bit quirky. But it doesn’t take long for “Twin Peaks” to show that it doesn’t play by the book too much, blending a whole bunch of genres at once. Now, in a lot of cases (pun intended), switching between different genres like this show does can end up quite poorly. But thanks to the unique atmosphere and writing style of the show, the blend of crime, melodrama, comedy, and mild psychedelia works quite well to give us one of the most uniquely enjoyable plots in a season of television.

The characters in this are quirky, fun, colorful, nuanced, and overall quite interesting. Kyle MacLachlan plays Dale Cooper, the FBI agent brought in to help investigate the murder of Laura Palmer (Sheryl Lee). He’s a highly skilled agent, being able to figure things out about people by simple body language. He’s also quite a charming dude, being one of the most instantly likable characters I’ve had the pleasure of seeing. And MacLachlan is great in the role. I would describe more characters, but with their unique nature, I’d rather not, as they’re all best left experienced. But the supporting cast does include people like Michael Ontkean, Mädchen Amick, Dana Ashbrook, Richard Beymer, Lara Flynn Boyle, Ray Wise, Sherilyn Fenn, Peggy Lipton, Joan Chen, Michael Horse, and more, all doing very well in their respective roles.

The score for the series was composed by Angelo Badalamenti, and I think he did a really good job with it. It’s moody, suspenseful, emotional, a little meldoramatic, and even at times kinda fucking groovy. Most tracks get reused quite often, which could get old after a while, but the way these tracks are implemented throughout the show makes the recycling work quite well.

“Twin Peaks” was created by Mark Frost and David Lynch, with writing and directing by them and a bunch of other cool people. And they manage to create such a unique vibe for the show through these elements. Eerie, warm, fascinating, and even mildly surreal, there’s something about the style that makes it stand out, turning it into quite the intoxicating experience.

This show/season has been well received. On Rotten Tomatoes it has a 96% positive rating and a “Fresh” certification. On Metacritic it has a score of 96/100.  And on imdb.com it has a score of 8.8/10 and is ranked #54 on the “Top 250 TV” list.

Season 1 of “Twin Peaks” is pretty fucking good. It has a really good plot, great characters, great performances, really good music, and great writing/directing. Time for my final score. *AHEM*. My final score for “Twin Peaks” season is a 9,82/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Twin Peaks” season 1 is now completed.

Agent Cooper, a man after my own heart.

Movie Review: Halloween (1978)

Ladies and gentlemen, we’re here. The final review in my Month of Spooks series. I’ve had fun with it, but as you know, all good things must come to an end (for this year at least, wink wink). So let’s go out with a bang by talking about the movie with the perfect title for this occasion.

Ladies and gentlemen… this is “Halloween”!

Fifteen years after he killed his sister and got sent to a mental hospital, Michael Myers manages to escape, returning to the town of Haddonfield to kill once again. So now we have our slasher plot. And I think it’s actually pretty great. While this is kind of the grandfather of slashers, setting up several of the cliches of the genre, but it also does it with a lot of subtlety, relying more on slow tension-building rather than just jumpscaring the audience every five minutes. It is a slasher… but one with nuance and subtlety as it’s primary ingredients, and that’s why the plot holds up so well here.

The characters in this are likable and interesting. First up we have Jamie Lee Curtis as Laurie Strode, a high school student who just wants to have a chill and enjoyable halloween night. But as we all know, that takes a bit of a left turn when a certain someone comes to town. She’s a nice, fairly normal, and relatively crafty young woman who I liked following, hoping she would make it. And Curtis is really good in the role. Next we have Donald Pleasence (R.I.P) as Sam Loomis, the doctor who tried helping Michael for years, but ended up giving up in more recent years when he saw that Myers was beyond helping. He knows that Myers has to be taken down, but there’s also remorse behind his eyes, as if he’s sad that he failed at helping Michael, making him a compelling character. And Pleasence is great in the role. We also get supporting performances from people like Nancy Kyes, P.J. Soles, Charles Cyphers, Nick Castle, and more, all doing well in their respective roles.

The score for the movie was composed by John Carpenter, and it’s really good. Heavily based in synth, it creates an atmosphere that just oozes suspense and uneasiness. There are a couple of the more typical horror stings that aren’t great when repeated a couple times, but for the most part the score here still holds up very well. And man, that theme is still exquisite.

As you all know, this movie was written (with the help of Debra Hill) and directed by John Carpenter, and he did a great job. Remember how I mentioned that the story relies more on subtlety than on just blatant horror bullshit? Well, that translates to Carpenter’s direction as well. It’s slow, subtle, and generally helps create an eerie vibe that absolutely creeped me out. Adding to that is the cinematography by Dean Cundey, which not only looks great, but also helps sell the almost uncanny vibe of Michael Myers’ stalking.

This movie has been very well received. On Rotten Tomatoes it has a 95% positive rating and a “Fresh” certification. On Metacritic it has a score of 81/100. Roger Ebert gave it 4/4 stars. And on imdb.com it has a score of 7,8/10.

So yeah, “Halloween” is still great, 40 years after its release. It has a really good plot, good characters, great performances, really good music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “Halloween” is a 9,78/10. Which means it gets the “SEAL OF APPROVAL!”.

My review of “Halloween” is now completed.

The night HE came to my blog.

Series Review: Fortitude – Season 1 (2015)

I am aware that I’m kind of stretching it a bit here in terms of the Month of Spooks, but there are aspects of this show that kind of work for it. Also, I kind of cheated with “Mindhunter” last year, so I think I’m allowed this one this year.

Ladies and gentlemen, I welcome you to… “Fortitude”.

On the edge of the arctic circle lies the town of Fortitude, a frozen place with a small population. A town that has been safe for as long as it’s existed. But the peace of Fortitude is disturbed when a violent crime occurs. So now we have our cold as hell thriller. And it’s good. It has an eerie feel to it that makes it stand out from other crime-thrillers out there, and the mysteries it sets up throughout the season are quite intriguing. I was sometimes taken out of the show a bit though. While it is fairly grounded most of the time, there are occasions when it suddenly requires a lot of suspension of disbelief. Now, aside from some of those moments, this is an engaging, chilling (HA!), and overall intriguing story.

The characters in this are layered, flawed, interesting, and mostly all feel pretty realistic. I will however not go in-depth about them because the cast here is so big that we’d be here all god damn day, and none of us want that. But I can say that the cast is pretty impressive. Including people like Richard Dormer, Nicholas Pinnock, Alexandra Moen, Luke Treadaway, Stanley Tucci, Michael Gambon, Sofia Gråbøl, Elizabeth Dormer-Phillips, Darren Boyd, Mia Jexen, Christopher Eccleston, and many more, all doing very well in their respective roles.

The score for the season was composed by Ben Frost, and I think he did a really good job with it. His music has a way of capturing the feel of this frozen and remote location. It’s eerie, it’s suspense-building, it’s emotional, it just works incredibly well for the show. There are also a few licensed tracks used throughout, and they work pretty well in their respective scenes too.

“Fortitude” was created by Simon Donald, and written/directed by a whole bunch of people, and I think what they created here is really interesting. For one, it’s a pretty unique location for a show. A remote town in one of the coldest parts of the world, perfect setting for this kind of show. And thanks to the directing and some frankly gorgeous cinematography, they really capture the feel of the location perfectly. They also build a lot of suspense with it, and even capture some imagery that is kind of horror-esque in how graphic and disturbing it is.

This show/season has been pretty well received. On Rotten Tomatoes it has an 86% positive rating and a “Fresh” certification. On Metacritic it has a score of 75/100. And on imdb.com it has a score of 7,4/10.

While not perfect, “Fortitude” still serves up a nice, cold mystery. It has a really good plot, really good characters, great performances, really good music, and great directing/cinematography. Though as previously mentioned, the score if brought down a bit by the show expecting you to really bend your suspension of disbelief. Time for my final score. *Ahem*. My final score for “Fortitude” season 1 is an 8,91/10. So while flawed, I’d say that it’s definitely still worth watching.

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

It still kind of works as horror.

Movie Review: Prevenge (2017)

Pregnancy. Amazing, fascinating, terrifying, weird. Many words can describe this natural part of human life. But I never thought one of them would be “murderous”.

Ladies and gentlemen… “Prevenge”.

Ruth (Alice Lowe) is a widow. She’s also seven months pregnant and about to go on a killing spree. And that’s the premise for this movie. So how’s the plot here? I actually thought it was good. Weird, but good. When I say weird I don’t mean that it does anything overly ambitious and strange with the narrative, as it does follow a pretty regular structure. But what I mean by weird is that some strange shit happens throughout, and I found all of that quite interesting. The plot also has a darkly comedic tone that gives it a unique and off-kilter vibe that for the most part works. There are times where the tone somewhat clashes with moments in the narrative, but it was never enough to ruin the plot for me, it just brings it down a notch. So overall this plot is pretty good.

I’m only gonna talk about one character here since we only really follow one, and she’s the only one we really get to know. Here we have Alice Lowe as Ruth, the pregnant widow going on a killing spree. She’s a damaged and quite unstable individual that is quite interesting to follow, as she’s quite a unique and intriguing. And Rowe does a great job in the role. And all the supporting players in this are all godo in their respective roles.

The score was composed by Toydrum, and it was good. It’s an eerie electronic score with plenty of droning notes to give an ethereal and uneasy vibe that I really liked. Took scenes that would’ve been kind of bland and turned them into something unique and intriguing. It’s amazing how much music can affect something.

“Prevenge” was written and directed by its star, Alice Lowe. So she’s wrote, directed, and starred in a movie while also being pregnant? That is pretty fucking impressive. And I have to say that she did a damn good job with her directing duties here. She gives the movie a very weird, almost dreamlike feel with her directing, complementing the off-kilter story quite well. I don’t think I’ve ever watched a movie that feels like this one does, so that’s pretty cool.

This movie has gotten some mixed reception. On Rotten Tomatoes it has a 94% positive rating and a “Fresh” certification. On Metacritic it has a score of 71/100. And on imdb.com it has a score of 5,9/10.

“Prevenge” is a weird and off-kilter character study that won’t be everyone’s cup of tea, but I enjoyed it. It has a good plot, a really good character, really good performances, really good music, and great directing. Though as I previously mentioned, there are moments throughout where the tone clashes with narrative. Not a deal breaker, just brings it down a notch. Time for my final score. *Ahem*. My final score for “Prevenge” is an 8,88/10. So while not perfect, I still think it’s worth buying.

My review of “Prevenge” is now completed.

Well, that was… weird.