Movie Review: Don’t Worry Darling (2022)

Alright, after a short break (that ended up longer than intended, oops) following the Month of Spooks, I am back, ready to write about non-spooky stuff again. So let’s go!

Ladies, gents, and non-binaries… “Don’t Worry Darling”.

Living in a seemingly utopian 1950s suburbia, Alice (Florence Pugh) seems to lead a wonderful life with her husband (Harry Styles). But this bliss is soon tested when Alice discovers that this seemingly perfect suburbia may hold some dark secrets. On paper, I love pretty much everything about the narrative, there are so many cool ideas for an effective psychological thriller here. In terms of execution though, I find it a bit lacking. Not outright bad, and never boring, but I never got that “Oh yeah, I’m really into this movie” click. Something about the way the story unfurls, the way that the narrative expands just doesn’t entirely come together for me. It’s undercooked and a bit messy that way, but I also can’t say that I disliked it. It’s… eh.

The characters in this are a mixed bag. One or two I find pretty compelling, like there’s something interesting about them. The rest of them on the other hand show shades of being intriguing, but their arcs don’t really go far enough to be truly compelling. I’ll say, our lead character Alice is pretty compelling, it’s interesting to see how she reacts to the various events and revelations of the story, she’s a fairly dynamic and interesting character. And Florence Pugh is absolutely fantastic in the role, as she always is. Harry Styles plays her husband, and he’s… fine. He’s not terrible, but he’s not great either… just fine. Then we also have people like Chris Pine, Olivia Wilde, KiKi Layne, Gemma Chan, Nick Kroll, Kate Berlant, and more rounding out the cast, and they all deliver really solid performances. It’s generally speaking a really good cast.

The score for the movie was composed by John Powell, and I thought it was great. It’s this strange mix of more typical thriller droning and some basic orchestrations with colorful and really eerie vocalizations, with some interesting piano and percussion. It’s one of the more unique scores I’ve heard in a while, and I kinda loved it. There’s also a lot of licensed songs from the 50s that are used throughout, and they work pretty well in setting a mood in their respective scenes. So yeah, this movie has some great music.

“Don’t Worry Darling” was directed by Olivia Wilde, and I think she did a pretty solid job with it. She has a good grip of how to try to build tension in a scene, she shows how to have a good flow to her scenes. Her talent behind the camera does help elevate some of the less than stellar writing a bit. And when you combine her directing with Matthew Libatique’s frankly stunning cinematography, you get a movie that, on a technical level, is quite stunning.

This movie’s gotten some mixed reception. On Rotten Tomatoes it has a 38% positive rating. On Metacritic it has a score of 48/100. And on imdb.com it has a score of 6.2/10.

While it isn’t as emotionally engaging as it could’ve been, I’d still say that “Don’t Worry Darling” is fine. It has a meh story, okay characters, great performances, great music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “Don’t Worry Darling” is a 6.57/10. So I’d say it’s still worth renting.

My review of “Don’t Worry Darling” is now completed.

I didn’t worry… so now what do I do or do not do?

Movie Review: Underwater (2020)

Amongst other things, we’ve dealt with the horrors of vampires, possession, and small town Oregon, so now it’s time to switch it up a bit, going for the ultimate horror… liquid.

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

In a research base located in the Mariana Trench, a group of scientists must fight for their survival when a mysterious earthquake suddenly erupts, destroying part of the facility. So now the team have to find a way to get out and maybe also find out what the hell is going on. In some ways, this story is “Alien”, in some ways it is “The Abyss”, and in a lot of ways it is just okay. I like some of the reveals that happen, and I wouldn’t say I was ever bored with what was going on, but I wasn’t super invested either. It was just sort of a passable sci-fi/horror story that quickly went by. And I guess that might be a bit of an issue. Not just that there’s little of a dramatic hook, but also the borderline breakneck pace. On occasion that can work, and I get that they want to have some perpetual intensity going thanks to that, but I think they could’ve benefitted from slowing down, building some dread, let us get to know the place and people a bit more. It’s still mildly entertaining, but it sadly never fully hooked me.

The characters in this are… eh? Again, they feel vastly underdeveloped. They try to throw in quick things every now and then to add some characterization, but it’s never enough to truly make me care… but I also didn’t outright dislike them, they sort of exist in this weird bubble of being watchable and occasionally likable, but never compelling, it’s weird. What I can say however is that I generally like the cast in this, most of the performances in this are really good. Kristen Stewart, Vincent Cassel, Mamoudou Athie, Jessica Henwick, John Gallagher Jr (always nice to see him), Gunner Wright, they’re all good. There is also the heavy presence of a certain horrible person that shall not be named. But taking his horrible shit aside for two seconds, he just doesn’t work in this movie. They try to make him the comic relief, and none of his jokes land, along with the performance being not great. So that’s a big, annoying stain on the otherwise really good cast.

The score for the movie was composed by Marco Beltrami and Brandon Roberts, and finally there’s something I can just outright praise. This score is great, mixing traditional orchestration with electronics and synths to create a mesmerizing and fun soundscape that fully captures the strange, almost alien sensation of being stuck so deep beneath the ocean’s surface. It’s just great stuff that actually manages to elevate certain moments of the movie. So that’s nice.

“Underwater” was directed by William Eubank, and I think he did a really good job here. His direction is slick, stylish, and scool… okay, that didn’t work, but you get the point. His direction just helps the otherwise underdeveloped script come to life more, as he really does bring the deep sea station and ocean floor sections to life. Combine his direction with Bojan Bazelli’s frankly gorgeous cinematography, and you get a really cool looking movie. Furthermore, the effects in this are stellar and there’s some great sets as well. On the whole it’s just really well crafted.

This movie has not been super well received. On Rotten Tomatoes it has a 48% positive rating. On Metacritic it has a score of 48/100. And on imdb.com it has a score of 5.8/10.

While it is very underdeveloped in the script department, I can’t say that I disliked “Underwater”. It’s an okay survival thriller. It has an okay-ish story, meh characters, really good performances, great music, and really good directing/cinematography. Time for my final score. *Blub blub*. My final score for “Underwater” is a 6.21/10. So while very flawed, I’d say that it can still be worth renting.

My review of “Underwater” is now completed.

I love water, but there’s no fucking way you’ll see me in an underwater base. I value my sanity and not-being-at-constant-risk-of-drowning status too much.

Movie Review: Deliver Us from Evil (2014)

My friends, I once again deliver a Month of Spooks review for y’all. So let’s quit this dawdling and get into it.

Ladies, gents, non-binaries… “Deliver Us from Evil”.

As a series of strange, violent crimes start plaguing New York City, police officer Ralph Sarchie (Eric Bana) finds himself having to team up with a very unique priest (Edgar Ramírez) in order to try and solve these disturbing goings-on. “Deliver Us from Evil” is a tale of two conflicting elements. At first glance it’s an atmospheric cop thriller, showing a man trying to do his job, all while dealing with an inner turmoil. And that bit I genuinely really like, there’s a lot of interesting and surprisingly compelling drama going on for it with Sarchie, the case, his family, and a few more things. But it also presents this fun, pulpy detective thriller that I enjoyed following, even if the movie drags towards the middle. But then we have the second part of the movie, which is the more overt supernatural horror shenanigans. Some of it is kinda fun, such as some of the stuff in the last act. But a lot of the horror stuff in the first two just doesn’t work for me. There’s a great sense of atmosphere with the movie, but when the scares hit, they kind of deflate it and take me out of the movie. So the horror of the HORROR movie is a bit of an issue. So the story here is very much a mixed bag.

The characters in this are pretty solid, all being given compelling arcs and personalities. Eric Bana plays Ralph Sarchie, a tough-as-nails and sarcastic, yet good-natured policeman with a bit of baggage in the trunk. It’s interesting to see how the events of the story affect him and how his past further informs the development he goes through. And Eric Bana does a damn good job in the role. Next is Edgar Ramírez as Mendoza, a slightly peculiar jesuit priest that Sarchie meets. He’s an interesting fella with an interesting story, and I like the rapport he has with Sarchie. And Ramírez is great in the role. The rest of the cast is pretty great too, containing people like Olivia Munn, Lulu Wilson, Joel McHale, Dorian Missick, Sean Harris, and many other talented actors.

The score for the movie was composed by Christopher Young, and it was alright. Fairly unremarkable eerie horror score. Nothing too noteworthy in either direction, just fairly standard stuff. Now, with that out of the way, I can mention that the movie also uses some licensed music, namely a few tracks by The Doors. I find this interesting, because the band has always had indirect (or direct, who knows) ties to spirituality, which adds something thematically intriguing to proceedings. It doesn’t necessarily make the movie scarier or more suspenseful, but it makes it a bit more interesting. So yeah, the music in this is mixed.

“Deliver Us from Evil” was based on a book that was co-written by… Ralph Sarchie? Yeah, he was a real person, and he wrote a book about investigating actual exorcism in actual New York. I will however take those musings with a pocketful of salt, so feel free to call me Scully. Anyhow, Sarchie’s book served as loose inspiration for this movie that was directed and co-written by Scott Derrickson. And I think he did a good job directing this, the man is excellent at building a creepy atmosphere and utilizing space for his set pieces, and he brings that to this movie in spectacular fashion. While the scares in this felt tepid or annoying, everything inbetween (and even during some more overtly horror-y scenes) is wonderfully directed. This is further amplified by Scott Kevan’s dark and grimy cinematography that adds so much to the chilling vibes they build up. There’s also a fair bit of really cool gore and makeup and VFX work. It looks really rad and works well to add weight to the world.

This movie has not been super well received. On Rotten Tomatoes it has a 29% positive rating. On Metacritic it has a score of 40/100. And on imdb.com it has a score of 6.2/10.

So while its let down by sub-par horror and some pacing issues, I still enjoyed “Deliver Us from Evil”. It has a pretty good story, really good characters, great performances, interesting music, and damn good direction and cinematography. Time for my final score. *BOO*. My final score for “Deliver Us from Evil” is a 7.23/10. So while it is quite flawed, it’s still worth renting.

My review of “Deliver Us from Evil” is now completed.

What’s your favorite Doors song? Mine is probably “Break on Through”.

Movie Review: Kiss of Death (1995)

The 90s were a fascinating time for crime movies/thrillers. Something about any movies in those genres made ’em infinitely watchable, even if they were fairly subpar as movies. So let’s see how this one fares.

Ladies, gents, and non-binaries… “Kiss of Death”.

Jimmy Kilmartin (David Caruso) is a convict trying to better himself after taking the fall for a crime he was kinda part of. And after a few years in prison he agrees to go undercover for the police in order to take down the psychopath gangster (Nicolas Cage) who led the job. The narrative in this is kinda hard to talk about. Not because it’s particularly complex (it’s not), not because it’s nuanced (it really ain’t), but because it’s so bog standard that it’s hard to muster any major explanation or analysis. It’s a fairly standard crime-drama narrative that doesn’t do anything exceptionally bad or great. Its biggest flaw is that the narrative never has any real momentum after the inciting incident, it’s scene to scene, no engaging escalation or natural flow. But aside from that weird snafu, there’s nothing here that sticks out much in either direction. The story is neither good nor bad, it just… is.

The characters in this are… that’s it, they just are. They’re not egregiously hollow, but they’re also not really engaging. They’re… fine. What I can full on praise here though is the cast. David Caruso may not change facial expression much, but he can deliver his lines quite well, and while not exactly super engaging as a leading man, I think he works pretty well here. Samuel L. Jackson’s here too, playing a very angry cop that Caruso works with, and he’s really good (which no one’s surprised by). Then there’s the living legend Nicolas Cage as “Little” Junior Brown, the main antagonist of the movie. A crazed, violent, unpredictable gangster. The character himself is fairly whatever, but is elevated by the performance of Cage, who gives 140%. He goes big, and he isn’t afraid if it looks a little silly, and it makes the character super entertaining to watch, becoming the highlight of the movie. Supporting cast is pretty good too, containing people like Stanley Tucci, Michael Rapaport, Ving Rhames, Helen Hunt, Kathryn Erbe, Philip Baker Hall, and more, all delivering solid work.

The score for the movie was composed by Trevor Jones, and it was alright. I really like the main theme, which is a track that blends traditional orchestration with guitar in  way that isn’t super original, but sounds really nice nonetheless. The rest of the movie has a fairly bland orchestral score that works just fine for the movie. There’s also a few licensed songs used throughout, and they work fine too.

Loosely based on a movie of the same name from 1947, “Kiss of Death” was directed by one Barbet Schroeder, and I think he did an alright (that seems to be the word of the day, huh?) job with it. There’s nothing really wrong with the direction, but there’s also never really anything too great either, no unique flair. Just perfectly passable direction.

This movie’s gotten some mixed to positive reception. On Rotten Tomatoes it has a 68% positive rating. On Metacritic it has a score of 72/100. And on imdb.com it has a score of 5.9/10.

So yeah, “Kiss of Death” is just fine, a perfectly passable thriller to put on in the background on a rainy afternoon. The story is fine, the characters are fine, the performances are really good, the music’s pretty good, and direction is fine. Time for my final score. *Ahem*. My final score for “Kiss of Death” is a 6.11/10. So I’d say it could be worth a rental.

My review of “Kiss of Death” is now completed.

Come for the Nicolas Cage, stay for the… Nicolas Cage.

Movie Review: Spiderhead (2022)

Spiderhead, Spiderhead, is a head on a Spider’s neck. Though it is, also a, brand new film, on Netflix. Look ooouuuut… it is a Spiderheeeeeaaaad.

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

The near future, convicts are given the opportunity to reduce their sentences by taking part in some medical experiments involving emotion-altering drugs. One such convict is Jeff (Miles Teller), who soon starts to question these experiments, and their charismatic creator (Chris Hemsworth). I love this premise, it’s open to so much interesting shit. It sets itself up to be a really intriguing suspense thriller and potential mindbender. And while I didn’t hate the execution of the narrative in the movie, I did feel that it was a little undercooked. What we get works just fine, even though it never reaches the heights of its potential. I wasn’t bored, I didn’t dislike any of it, but it plays things a bit too safe to fully engage.

The characters in this are alright. Again, the script is a little undercooked and plays things safe, so they never reach the depths that they potentially could. But I also didn’t find them utterly uninteresting, just underdeveloped. But what really saves them from being walking flatlines are the actors, all of whom do a solid job here. Miles Teller is really good in the lead role. Jurnee Smollett is great as Teller’s friend inside this odd facility. And then there’s Chris Hemsworth, who is by far the best part of the movie. He is clearly having a ball playing this shady, yet highly charismatic and outwardly friendly dude. He plays it really well, and he clearly has that glint in his eye that says “I am having so much fun right now!”, which makes his performance even more enjoyable for me. The supporting cast is solid too, containing people like Nathan Jones, Tess Haubrich, Mark Paguio, Angie Milliken, Charles Parnell, and more, all delivering solid performances.

The score for the movie was composed by Joseph Trapanese, and it was fine. It’s this low-key, synth-based score that works fine within its respective scenes. It doesn’t really stick out that much, but it also doesn’t ruin any scene. It’s fine. There’s also a good amount of licensed songs used throughout, and I think they work really well for their respective scenes, they feel well integrated into the storytelling.

Based on a short story by George Saunders, “Spiderhead” was written by Rhett Reese and Paul Wernick, with Joseph Kosinski handling directing duties. And I will say, Kosinski does a damn good job directing this. His direction is slick, but never feels too perfect or glossy. One thing I really like about his directing is his usage of space. He gives the actors plenty of space to work in, while still making it feel confined and intimate, really benefitting the thriller vibes the story goes for. Really, Kosinski’s style really helps elevate this and make it a bit more watchable. And on a sidenote, the dude’s certainly having one hell of a summer ain’t he? He’s got this out on Netflix right now, but he’s also got the new “Top Gun” out in cinemas, which people seem to really like. So you know… good for him for finding work!

This movie just came out, so exact numbers can and will change somewhat. But at the time of writing it’s gotten quite a mixed reception. On Rotten Tomatoes it has a 52% positive rating. On Metacritic it has a score of 55/100. And on imdb.com it has a score of 5.7/10.

While it admittedly doesn’t live up to its potential, I still found “Spiderhead” to be a decently enjoyable little thriller. It has an okay story, okay characters, great performances, good music, and really good direction. Time for my final score. *Ahem*. My final score for “Spiderhead” is a 6.32/10. So while flawed, it’s still worth watching.

My review of “Spiderhead” is now completed.

Can’t wait for the sequel, Scorpionbutt.

Movie Review: The Amazing Spider-Man 2 (2014)

Hello there, hope you’re having a good weekend. Only a few days until “Spider-Man: No Way Home” is released, which means it’s time for me to cover the second (and final) movie in the previous reboot. So let’s go!

Ladies, gents, and non-binaries… “The Amazing Spider-Man 2”.

Peter Parker’s (Andrew Garfield) life is a bit of a hectic one, trying to balance being Spider-Man with being a regular New York teenager. But this is going to get way tougher when a series of new villains emerge and start causing chaos. “The Amazing Spider-Man 2” is a curious case of occasional good ideas getting absolutely crushed by the overabundance of superfluous plot threads. First is the Peter/Gwen Stacy (Emma Stone) romance, fine. Then there’s the introduction of Electro (Jamie Foxx), fine. But then there’s also the backstory involving Peter’s parents. And a plot involving Harry Osborn (Dane Dehaan). And then there’s a few more threads throughout. There’s so much shit going on that it really messes with the pacing. First act is fine, and even has some great shit going on. But as the film goes on, it just becomes an overstuffed, underdeveloped, sluggish mess that is hard to engage with. There are moments of quality in the storytelling, but the overall narrative is just… ugh.

The characters in this are a mixed bag. Our two leads, Peter Parker and Gwen Stacy, they’re both charming, fun, engaging, and just overall a great pair, with Andrew Garfield and Emma Stone both delivering top notch performances. Next we have Max Dillon/Electro, who is at first set up as our main villain. His characterization is bizarre, and I don’t completely get why they wrote him the way they did. And Jamie Foxx… it’s a mixed bag of a performance. On occasion I do enjoy it, but it often just didn’t click with me. Dane Dehaan as Harry Osborn? Decent performance, undercooked writing. Paul Giamatti as Aleksei Sytsevich? Unnecessary, but very amusing. I’ll at least say that the rest of the supporting cast is solid, featuring people like Sally Field, Colme Feore, Marton Csokas, Felicity Jones, Campbell Scott, Embeth Davidtz, and more.

The score for the movie was composed by Hans Zimmer, Pharrell Williams, Junkie XL, Johnny Marr, Steve Mazzaro, and Andrew Kawczynski… FUCK, that’s a lot of composers. But they acted as sort of a supergroup to make the music for this, and I think it mostly paid off. It’s an interesting mix of styles and genres, making for a unique and slightly eclectic score that I thoroughly enjoyed hearing throughout the movie. There’s also a handful of licensed songs used throughout, and they are a bit of a mixed bag. Some work pretty well, some less so.

As with the first one, “Amazing Spider-Man 2” was directed by Marc Webb (HA!), and I think he did a solid job. Despite the script being a complete mess, Webb’s direction is sound, flowing beautifully and bringing some nice energy to proceedings. It especially shines in action scenes, which are all generally quite enjoyable. And that’s something I can say, on the technical side of things, this movie is solid.

This movie has gotten some very mixed reception. On Rotten Tomatoes it has a 52% positive rating. On Metacritic it has a score of 53/100. And on imdb.com it has a score of 6.5/10.

Despite a lackluster and overly messy script, “The Amazing Spider-Man 2” still has enough bright spots in it to keep it from total failure. It has some good story moments, it has a few good characters, the performances are (mostly) great, the music is really good, and the direction is really solid. Time for my final score. *Ahem*. My final score for “The Amazing Spider-Man 2” is a 6.23/10. So while flawed, it’s still worth a rental.

My review of “The Amazing Spider-Man 2” is now completed.

*thwip*

Movie Review: The Exorcism of Emily Rose (2005)

Are my eyes deceiving me, or is this another Month of Spooks post? Well it is! And what’s the deal today then? Exorcism? Interesting, let’s go!

Ladies, gents, and non-binaries… “The Exorcism of Emily Rose”.

When a priest (Tom Wilkinson) is accused of causing the death of a young woman (Jennifer Carpenter), lawyer Erin Bruner (Laura Linney) takes his case, soon finding herself diving into deeper, and more complex waters than she ever could have expected. If you read the title of this movie, you expect a straight up horror flick, right? Well, that’s not quite what we have here. “The Exorcism of Emily Rose” is actually for the most part a courtroom drama, with some flashbacks interspersed throughout that are mor horror-focused. And I personally liked the courtroom stuff quite a bit, as they provided a thematically and dramatically interesting debate on science vs. religion. But then we have the flashbacks to what happened with the character of Emily, and I kind of tuned out of those, because they leaned too much into typical horror tropes, without generating any actual scares. There’s decent atmosphere in those bits, but there’s no actual tension or terror, and I was uninterested in the storytelling in those bits. So yeah, the story here is a bit of a mixed bag.

The characters in this are all pretty interesting, and I like the way they’re used throughout the movie. Even when the storytelling loses me in those flashbacks, the characters are still decently engaging. And a lot of that comes from the spectacular cast, containing people like Laura Linney, Tom Wilkinson, Jennifer Carpenter (who steals the show), Colm Feore, Campbell Scott, Henry Czerny, and many more.

The score for the movie was composed by Christopher Young, and I think he did an alright job with it. Some of the track resonate decently, creating some good emotion. But some just feel a bit overbearing as they just try to create this droning horror-y sound. So the score can feel like a mixed bag at times, even though I can’t blame Young himself.

“The Exorcism of Emily Rose” was directed and co-written by Scott Derrickson, and I think he did a really good job with. Derrickson is a director who’s work I’ve enjoyed before, and this was his cinematic debut, so it was exciting to see where it started for him. And he definitely has a style and skill that was well beyond his years. Even though I didn’t find the horror bits scary in this, Derrickson’s direction still kept it slightly interesting.

This movie has not been super well received. On Rotten Tomatoes it has a 44% positive rating. On Metacritic it has a score of 46/100. And on imdb.com it has a score of 6.7/10.

While it is a bit of a mixed bag, “The Exorcism of Emily Rose” can still be recommend for its courtroom drama and electrifying cast. The story is alright, the characters are okay, the performances are fantastic, the music is okay, and the direction is really good. Time for my final score. *Ahem*. My final score for “The Exorcism of Emily Rose” is a 6.97/10. So while it’s very flawed, it’s still certainly worth a rental.

My review of “The Exorcism of Emily Rose” is now completed.

Your honor, I will exorcise my rights to plead the fifth.

Series Review: Resident Evil: Infinite Darkness – Season 1 (2021)

It’s no secret that I’m a fan of the CG-animated “Resident Evil” movies, with “Resident Evil: Damnation” being my favorite of the bunch. So when it was announced that we were getting a new animated series for the franchise, I got excited. And now it’s here, on Netflix, and I watched the entire thing. So let’s talk about it.

Ladies, gents, and non-binaries… “Resident Evil: Infinite Darkness”.

A few years after the outbreak in Raccoon City, we once again meet up Leon Kennedy (Nick Apostolides) and Claire Redfield (Stephanie Panisello) as they’ve moved on to new positions in the world. And we follow them as they look into strange goings on involving bioweapons and horrific drawings, leading them down a dangerous path of horrors and conspiracies. So yeah, the setup treads familiar ground if you’re a fan of this franchise, which is fine, as long as it’s handled in an interesting and enjoyable way. Sadly, that’s not quite what’s going on here. I’m not saying that it’s outright poor, I didn’t dislike the story here. But it’s done in such a dry way, lacking the personality and unique charisma that makes “Resident Evil” into what it is. There is no real suspense, there’s not much (if any) excitement in how it could pan out, there’s not really any sense of fun, and at no point does it feel like it needed to be a “Resident Evil” story. On the whole, it’s a passable thriller narrative for a rainy Sunday, but sadly I never got truly invested in it.

The characters in this are… fine? Much like the case of the story, they lack a lot of personality. Leon is neither the naive optimist of “Resident Evil 2” or the snarky legend of “Resident Evil 4”, he’s just kind of a quiet tough guy who never shows much sign of any charisma.  Nick Apostolides does a good job with the performance, but it just feels slightly underwhelming when the material he has to work with is so… plain. Claire comes close at times of showing off some of the determined charm that I loved in “Resident Evil 2”, but never quiiiiite gets to go the distance on it. At least I can say that Stephanie Panisello does a good job with her performance. The other charaters… again, very plain, doesn’t get much, if any interesting development. They’re just kinda there. At least I can say that the supporting cast, featuring people like Ray Chase, Jona Xiao, Billy Kametz, Brad Venable, and more, all do very well in the roles.

The score for this series was composed by Yugo Kanno, and I think he did a good job with it. It doesn’t necessarily do much to stand out, but it has enough nice little action, horror, and drama flourishes throughout to at least give the show an enjoyable enough soundscape.

Based on the “Resident Evil” game franchise published by Capcom, “Resident Evil: Infinite Darkness” was created by Hiroyuki Kobayashi, with Eiichiro Hasumi handling direction. And now comes the part where I can finally pile praise upon the show. This show has some spectacular animation. Going for this sort of semi-realistic style can be a gamble, but I think they pulled it off. Character movement is fluid and natural, making me believe each action that happens. And the sheer amount of detail they managed to put in the show is absolutely insane. Individual hairs on characters’ heads, creasing in fabrics, subtle details in metal, there’s just a ridiculous amount of detail in everything throughout this show, which is just mindboggling to me. How can you pull this level of detail off? But yeah, this show is really well animated.

Keep in mind that the show just came out, so these ratings will change over time (not on this blog though, I’m too lazy to edit shit as time goes on). On Rotten Tomatoes it has a 56% positive rating. On Metacritic it currently has no rating. And on imdb.com it has a score of 7.3/10.

So yeah, despite my excitement for it, “Resident Evil: Infinite Darkness” isn’t quite as enjoyable as I had hoped, with its biggest weakness being a lack of personality and identity. It has an okay plot, mediocre characters, good performances, good music, and terrific animation and direction. Time for my final score. *Ahem*. My final score for “Resident Evil: Infinite Darkness” is a 6.20/10. So while very flawed, it can at least be worth a watch.

My review of “Resident Evil: Infinite Darkness” is now completed.

Well, damn…

Movie Review: The Mummy (1932)

More old school monster content coming your way! Woo!

Ladies and gentlemummies… “The Mummy”.

After some archaeologists manage to dig him out, ancient mummy Imhotep (Boris Karloff) goes searching for the reincarnation of his long lost love. As someone who watched the 1999 Brendan Fraser “Mummy” movie first when I was younger, that setup is familiar. Though this is of course a lot less action-focused, relying more on being an atmospheric procedural of sorts. And I think the story here is fine, it’s okay. At times it feels like a less fun and flamboyant “Dracula”, due to a similar story structure. And you guys know me, I don’t mind a bit of slow pacing, if it feels like it’s adding to a narrative, developing the plot and characters in interesting ways. But that’s not the case here, the pacing here is just slow-slow, with events simply transpiring without feeling that engaging. I’m sure someone out there loves the story here, and that’s great. But for me it’s just okay.

The characters in this are fine, they’re there to make story happen. The most interesting one is most definitely Imhotep, played by Boris Karloff. A well-spoken, conniving gentleman who just wants his love back. There’s something quite interesting going on there in that regard. And Karloff is of course great in that role. The rest of the cast, including Zita Johann, David Manners, Arthur Byron, and Edward Van Sloan (making his third Month of Spooks appearance this year) are all good… it’s just that their characters are a little underdeveloped.

Unlike the previous two Universal monster flicks I’ve talked about, this one actually has a bit of an actual musical score (fucking exciting, I know). It was composed by James Dietrich and shows up at a few key points. And I think it’s pretty good, helping sell the mysticism surrounding the Egyptian mythology used within the movie. So yeah, it’s good.

“The Mummy” is the first Universal monster not based on a specific novel, and it was directed by Karl Freund, who I think did a good job here. He knew how to build good atmosphere and he was good about what to show and what not to. He just did solid work here. And when paired with Charles Stumar’s really good cinematography, you get some really solid craft on display here.

This movie has been well received. On Rotten Tomatoes it has an 88% positive rating and a “Fresh” certification. And on imdb.com it has a score of 7.1/10.

While definitely my least favorite of the Universal monster movies I’ve seen so far, “The Mummy” is still a decently enjoyable little flick. It has an okay plot, meh characters, good performances, good music, and really good directing/cinematography. Time for my final score. *Ahem*. My final score for “The Mummy” is a 6.22/10. So while I don’t exactly love it, I still think it’s worth a rental.

My review of “The Mummy” is now completed.

That’s three Edward Van Sloan appearances in a week. Do you think I can get a free sandwich if I get one more?

Series Review: The Comey Rule (2020)

Politics, a clusterfuck of ideologies clashing. I will never find myself truly understanding it, but I’ll do my best. So anyhow, let’s talk about a political drama.

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

Ladies and gents… “The Comey Rule”.

The story follows FBI director James Comey (Jeff Daniels) as he and his team investigate allegations of Russia attempting to meddle with U.S. politics leading up to and following the 2016 presidential election. So yeah, we’re dealing with sensitive shit here. And I honestly think the storytelling here isn’t great. And before you accuse me of some political bias, no, stop. The story here feels like it skims over a lot of details, like it only plays the “greatest hits” of those strange times. And even those moments feels rushed, so as to get onto the next one. There are admittedly moments I do like in the series, most relating to Comey’s reaction to certain events, and I was also never bored. But the storytelling feels incomplete and undercooked, making for an unmemorable and hollow experience, despite the potential for a great narrative.

The characters in this are whatever… yeah, that’s it. I don’t think they’re the most uninteresting necessarily, but like the story they feel slightly underdeveloped. Jeff Daniels plays Jeff Comey, a hard-working, kind, well spoken man who also happens to be the director of the FBI. He’s our main focal point throughout the very short series, and we do get to know him decently well, and he’s a pretty interesting character. And Daniels is great in the role. Brendan Gleeson shows up in this too playing Donald Trump (oh dear), and it’s uncomfortable how fucking good his performance is. We also get really solid acting from other people like Holly Hunter, Scott McNairy, Michael Kelly, Steven Pasquale, Shawn Doyle, Amy Seimetz, Oona Chaplin, Jonathan Banks, Brian d’Arcy James, Jennifer Ehle, and many more. So yeah, mediocre characters, great performances.

The score for the show was composed by Henry Jackman, and it was pretty good. It’s overall well composed and could fit in almost any drama… and that’s the issue here. It doesn’t stand out, it doesn’t say “THIS is the Comey Rule score!”. It just says “Drama!”. I love Henry Jackman, but just like any other person, you can’t always hit a homerun.

Based on “A Higher Loyalty” by James Comey, “The Comey Rule” was created, written, and directed by Billy Ray, and I have mixed feelings here. I am a fan of Billy Ray’s previous works, he’s made two movies I’d happily put in “best of the year” lists. I do however feel like this isn’t as strong as those. A lot of scenes are nicely helmed and have this beautiful cinematic quality. But then there are also times where Billy Ray wants to hammer home a point so hard that his imagery is a bit too abrasive. And let’s not talk about the inconsistent color grading. Sometimes it looks somewhat believable, if mildly exaggerated to create a beautiful cinematic image… but then there are times where it looks insanely artificial and bafflingly bad. I want to give them the benefit of the doubt that some of it came from rushed production… but it’s hard to tell.

This show has gotten mixed reception. On Rotten Tomatoes it has a 64% positive rating. On Metacritic it has a score of 58/100. And on imdb.com it has a score of 6.8/10.

“The Comey Rule” is a disappointing biopic that at times does entertain. It has a meh story, meh characters, great performances, pretty good music, and mixed directing/cinematography. Time for my final score. *Ahem*. My final score for “The Comey Rule” is a 5.9/10. So while very flawed, I can still kinda recommend watching it.

My review of “The Comey Rule” is now completed.

*sigh*. So much missed potential.