Movie Review: The Hunters (1996)

The Summer of the Swedes continues, this time moving a bit further north in the country.

Ladies and gents… “The Hunters” (Original title: Jägarna).

Erik Bäckström (Rolf Lassgård) is a policeman who recently moved from Stockholm to his old home in Norrbotten following his father’s funeral. While there he starts investigating a case of large scale reindeer poaching. And as he investigates it, he soon starts discovering some dark secrets in and around his home. Yes, this sounds like a typical police film with a mildly unique setting. And at times it does feel like that. But then it also throws in its secondary main plot, which is Erik trying to reconcile with his estranged brother (Lennart Jähkel). And that relationship and the drama surrounding it is pretty fucking compelling, often managing to really get in my heart and my head and actually elicit some emotions. And while the main cop plot isn’t the most original or even nuanced (it does feel kinda shallow), it does work pretty well. And while that’s all good, there are a few bits throughout that don’t work too well for me, all falling within the second half of the movie. They don’t break the entire package, but they do bring it down somewhat. Overall though, the story here is quite good.

The characters in this are for the most part surprisingly layered and interesting. Rolf Lassgård might at first seem like “tough cop with a past”, but we do see throughout that he does have a sensitive side to him that helps endear us to him, with Lassgård giving a great performance. Lennart Jähkel as Lassgård’s tragic backwoods brother is fucking excellent. And the rest of the cast, containing people like Jarmo Mäkinen, Tomas Norström, Göran Forsmark, Thomas Hedengran, Editha Domingo, and more, all generally do very well in their respective roles.

The score for the movie was composed by Björn Lindh, and it was generally pretty good. It’s often pretty emotional and tends to add to the quality of the movie. Though there are admittedly a few tracks that maybe are a little bit too melodramatic for their own good. But generally the score here is good.

“The Hunters” was written by Kjell Sundvall and Björn Carlström, with Sundvall handling directing. And good god damn, the direction here is great. I am so used to movies here having a very “press record” kind of look. But you can tell that they really gave a fuck about making a well crafted drama here. The cuts are well done, the shot lengths are great, and the atmosphere Sundvall’s direction is just palpable. This is further complemented by the cinematography by Kjell Lagerroos, which is fucking stunning.

While this film doesn’t have too much data on my usual sites, I can still say that it was generally well received. And on imdb.com it has a score of 7,1/10.

While flawed, “The Hunters” still rises above many of its peers in the police drama genre, thanks to the crew actually giving a fuck about being compelling. It has a good story, good characters, great performances, pretty good music, and great directing/editing/cinematography. Time for my final score. *Ahem*. My final score for “The Hunters” is an 8,76/10. So I’d say it’s worth buying.

My review of “The Hunters” is now completed.

The Swedish word “jäkel” can be translated as “asshole” or other such rude words. Which is funny when there’s such a character in this, played by a man named “Jähkel”.

Series Review: Run – Season 1 (2020)

Love… is a burning thing, and it makes a fiery ring. Wait, Johnny Cash has nothing to do with this. Um… Love is complicated? Sure, let’s go with that. Nice save, Markus… idiot.

Ladies and gents… “Run” season 1.

Years ago, Ruby (Merritt Wever) and Billy (Domhnall Gleeson) were romantically involved, but then sort of lost touch. But not before they made a pact: If one of them text the word “RUN” to the other, and that other person texts back, they would hop on a train and run away together. And now in present day… that’s what happens. So we follow these two ex-lovers as they try to reconnect while also dealing with the personal fallout of past and present actions. “Run” is at its surface a rom-com, but does throughout also show that it has elements of a fast-paced thriller. And I thought it was a fun journey. There were several times where I didn’t see what was coming, and I enjoyed a lot of those moments. Though, the story here isn’t perfect. It often buckles under the pressure of it’s fast-pace, which can make parts of it feel a bit rushed. And without spoiling specifically what happens, I felt that the season finale was underwhelming. I get that they might want a season 2, and that they might want some bigger payoffs further down the line (if they get renewed)… but the finale here still felt like such a whimper compared to what the show felt like it was building to. Again, it’s a fine journey, and I hope that a second season could rectify that underwhelming season finale… but overall the story here is alright.

The characters in this are fun, colorful, flawed, and overall pretty interesting. Merritt Wever plays Ruby, a wife and mother and the person we meet first in this show. She’s a charming woman with some emotional baggage that creeps up at times for a bit of drama. And her arc here is mostly interesting. And Wever is great in the role. Next we have Domhnall Gleeson as Billy, Ruby’s ex-lover, and our male lead. And I won’t say what he’s like, since there’s a few details better revealed through the plot. But he also has an interesting arc that they do some fun stuff with. And Gleeson is great in the role. We also get supporting work from people like Rich Sommer, Archie Panjabi, and more, all doing well in their respective roles.

The music for the show was composed by Dickon Hinchliffe (haven’t seen his name in a while, wow). And I think he did a good job with it. His music is fun and frantic, very much befitting of the nature of this show. There’s also a few licensed songs used throughout, and they work pretty well too.

“Run” was created for HBO by Vicky Jones, with writing and directing by a whole bunch of people. And the craft here is generally good. The direction is energetic and engaging, really bringing us into the scene in interesting ways. And the cinematography, which was split between Matthew Clark and Kristin Fieldhouse, is really good, giving us a lot of fun and visually arresting shots.

This show/season has gotten some mixed reception. On Rotten Tomatoes it has an 84% positive rating and a “Fresh” certification. On Metacritic it has a score of 74/100. And on imdb.com it has a score of 6,4/10.

Season 1 of “Run” may be a flawed experienced, brought down by a sometimes overly frenetic pace and an underwhelming finale, but overall it’s still an enjoyable season of television that subverts rom-com cliches in some really fun ways. It has an okay plot, good characters, great performances, pretty good music, and good directing and cinematography. Time for my final score. *Ahem*. My final score for season 1 of “Run” is a 7,10/10. So while flawed, I’d still say it can be worth watching.

My review of season of “Run” is now completed.

This might be the horniest show I’ve seen in a while.

Movie Review: Shelley (2016)

Ladies, gentlemen, and space aliens, it’s finally here. The first review in my yearly blogging thing called THE MONTH OF SPOOKS! *Dramatic music, thunder & lightning, very very frightening*. So let’s get into it.

Ladies and gents… “Shelley”.

A young Romanian woman named Elena (Cosmina Stratan) has come to Denmark to help a Danish couple (Ellen Dorrit Petersen, Peter Christoffersen) out as a maid. Not too long into her service she agrees to become a surrogate mother for them. And it doesn’t take long for her to discover that there might be something strange going on with this pregnancy. So now we have our little horror-drama. And it’s certainly an interesting story. Now, it’s not perfect, there are flaws. It has a little bit of an ambiguous nature, never giving an explanation for what happened. Being ambiguous isn’t necessarily a problem, but I feel like they could’ve fed us a few more bread crumbs so that we could interpret more from it, because this is maybe a little too vague with some stuff. With that said, the stuff we do get though is interesting and is made more engaging thanks to a really cool, off-brand atmosphere. The plot has a lot of flaws, but it’s still pretty interesting.

The characters in this are flawed and decently interesting. Cosmina Stratan plays Elena, the young woman who agrees to carry the baby. She’s charming and energetic, a nice young woman who wants to help people. And seeing her go through the development she goes through here is quite fascinating, making her a decently layered character. And Stratan is really good in the role. Ellen Dorrit Petersen plays Louise, the woman whose child Elena helps to carry. She generally seems like a good person, very friendly, and does everything to make sure Elena (and the baby) is comfortable. And she is decently interesting, with Petersen giving a solid performance. And in the supporting cast we see people like Peter Christoffersen and Björn Andrésen, both doing very well in their respective roles.

The score for the movie was composed by Martin Dirkov, who I think did a good job with it. It’s not a very melodic score, going more for eerie droning sounds, because that apparently makes stuff spookier. I know that sounds like a criticism, but it isn’t. Like I said, it’s overall a good score, and it works pretty well whenever it’s used within the movie.

“Shelley” was written by Ali Abbasi and Maren Louise Käehne, with Abbasi handling direction. And this is overall a very well crafted movie. Abbasi’s direction really helps conjure a creepy, off-kilter atmosphere which almost gives the movie a sort of dreamlike quality, which at times makes it a little more unsettling. Also makes for some nice shots on occasion.

This movie has gotten some mixed reception. On Rotten Tomatoes it has a 100% positive rating. On Metacritic it has a score of 62/100. And on imdb.com it has a score of 5,2/10.

While “Shelley” isn’t perfect, it’s still a decently creepy little horror-drama. It has an okay plot, okay characters, really good performances, good music, and really good writing/direction. Time for my final score. *Ahem*. My final score for “Shelley” is a 7,11/10. So while flawed, I’d say it’s still worth a rental.

My review of “Shelley” is now completed.

Do you think that title is a cute nod to Mary Shelley? Or is that just wishful thinking on my part?

Movie Review: Batman: Hush (2019)

Once again I shall take a look at an animated feature based on characters from DC Comics. If you’ve followed my blog for some amount of time, you know that I tend to do this every now and then. So let’s have a look at their latest output.

Catwomen and Batmen… “Batman: Hush”.

Batman (Jason O’Mara) has to face one of his toughest challenges yet when a mysterious new villain starts causing mayhem from the shadows. All the while forming a relationship with Catwoman (Jennifer Morrison). Now, I haven’t read the comic that this story was adapted from, so I can’t say how it stacks up compared to that. So looking at it from an outsider perspective, it’s kind of a mess. It’s weirdly undercooked. There are a bunch of moments that could work really well in a Batman story, but the complete package here feels weirdly like it’s stitched together with scotch tape and the occasional nail. And there’s a revelation in the story that doesn’t work too well for me. I’m not saying what it is, in case you want to see this movie, but let’s just say that it didn’t entirely work for me on multiple levels. There is some good material throughout the plot, but overall it’s not too well held together.

The characters in this are enjoyable and interesting. Jason O’Mara returns as Batman/Bruce Wayne, as gruff as ever, but given a bit more nuance as his various relationships develop across the movie. And O’Mara is really good. Jennifer Morrison plays Catwoman, the thief/femme fatale and former enemy of Batman that now is a bit of a love interest. She’s tough, she’s capable, she has a good bit of sass, and she is an interesting foil to Batman’s self-seriousness here. And Morrison is… okay in the role. Sean Maher returns as Nightwing, and he’s as fun as ever in the role. We also get supporting work from people like Peyton List, Peyton List (apparently there are two of them, what the fuck?), Adam Gifford, Geoffrey Arend, Stuart Allan, Jason Spisak, Chris Cox, Maury Sterling, Bruce Thomas, Hynden Walch, and more, all doing pretty well in their respective roles.

The score was composed by DC Animation regular Frederik Wiedmann, who as per usual fucking killed it with his music. It’s big and epic, but also knows when to get a bit more quiet and emotional. The occasional inclusion of a cello certainly also helps it out, as it adds another layer to Wiedmann’s compositions. This guy somehow always one-ups himself.

Based on the acclaimed comic by Jeph Loeb and Jim Lee, this movie was directed by Justin Copeland, and he did a good job with it. Sure, the narrative stitching wasn’t great, but the way he leads on animation and action is fucking spectacular. The detailing is stellar and the fluency of it all is some of the best we’ve seen from any of these movies. And man, those fights are brutal. Not just because there’s blood used, but also because of the way the animation and sounds design really conveys how hard the characters hit their opponents in this.

This movie has been decently well received. On Rotten Tomatoes it has an 89% positive rating. And on imdb.com it has a score of 7,0/10.

While it may be a bit of a mixed bag, “Batman: Hush” is still an enjoyable action film. It has a meh plot, okay characters, really good performances, great music, and great direction/animation. Time for my final score. *Ahem*. My final score for “Batman: Hush” is a 6,86/10. So while very flawed, it’s still worth a rental.

My review of “Batman: Hush” is now completed.

I was a little disappointed that they never let Batman sing any Deep Purple in this movie.

Movie Review: The Last Castle (2001)

I don’t have much to say here. Not because the movie flabbergasted me or broke my soul in two. I just don’t have anything clever to say. So I guess we should just get into the review.

Ladies and gents… “The Last Castle”.

Eugene Irwin (Robert Redford) is an army general who has been court-martialed and sent to a military prison. But it doesn’t take long for him to notice how corrupt the entire place is. So he decides to rally the other inmates to rise up against the prison and its crooked warden (James Gandolfini). I like stories of revolutions. And setting one of those within a corrupt prison is an idea that I find pretty fucking clever. However, they only do the bare minimum with that idea, going for surface level ideas instead of giving us the kind of nuanced story one could expect from this kind of idea. That said, it’s not bad. Surface level isn’t exactly what I’d call a bad thing here. The story does entertain throughout the two hour runtime. I just wish it had a little bit more nuance to it.

The characters in this are… fine. Often they boil down to stereotypes we’ve seen before. Asshole, big dude, young/underestimated guy, etcetera. Robert Redford plays General Eugene Irwin, the highly regarded army man at the center of the story. He’s a good man, never bent, always doing what’s best for him and his men. He may not be the deepest character ever, but Redford’s performance really makes it feel a bit deeper than the writing would have you believe. James Gandolfini plays Winter, the colonel who’s in charge of the prison. He seems a half decent fellow at first glance, but it doesn’t take long for his crookedness to be clear. He’s a decent matchup for Irwin, and Gandolfini is really good in the role. We also get supporting work from people like Mark Ruffalo, Clifton Collins Jr, Delroy Lindo, Steve Burton, Brian Goodman, Michael Irby, Robin Wright, and more, all doing well in their respective roles.

The music was composed by Jerry Goldsmith, and it was good. Plenty of military-style trumpets, some emotional strings, and some heavy and dramatic percussion. It is a little bit generic at times, but overall it’s well composed and works quite well for the movie. There’s also one or two licensed tracks used in the movie, and that works pretty well too.

The movie was directed by Rod Lurie, who I think did a pretty good job here. There’s a surprising amount of fun camerawork throughout, and he does have a decent sense of dramatic flair. Whenever the writing is a little bland and uninspired, his direction sort of helps out in making it a bit more interesting.

This movie has gotten some mixed reception. On Rotten Tomatoes it has a 52% positive rating. On Metacritic it has a score of 43/100. Roger Ebert gave it 3/4 stars. And on imdb.com it has a score of 6,9/10.

While not a perfect movie, “The Last Castle” is still a pretty entertaining prison drama. It has an okay plot, meh characters, really good performances, really good music, and really good directing. Time for my final score. *Ahem*. My final score for “The Last Castle” is a 7,23/10. So while flawed, I’d say it’s still worth renting.

My review of “The Last Castle” is now completed.

Do you think Ruffalo played a former pilot because helicopter blades go “Ruffa ruffa ruffa ruffa”?

Movie Review: Godzilla: King of the Monsters (2019)

WE GOT A HOLLYWOOD BUDGET MONSTER MASH FEATURING CLASSIC KAIJU, HOW COULD ONE NOT BE EXCITED ABOUT IT. *Calms down*. So let’s talk about this movie.

Ladies and gents… “Godzilla: King of the Monsters”.

When multiple ancient beasts awake from their slumber, the crypto-zoological agency Monarch have to find a way to stop them. Be it on their own or with the help of the titanic lizard known as Godzilla. Let’s cut to the fucking chase, this plot isn’t deep or nuanced. In the moments where it tries developing the human element of the story, it’s kinda dull. But whenever it’s about these ancient creatures having it out for each other, it’s a fucking blast. So plot-wise it’s a bit of a mixed bag. I mean, no one comes to a monster movie for plot, but when there’s a lot of time spent trying to develop it, it can get a bit distracting. So overall… mixed bag.

The characters in this… yeah, I didn’t care. Again, they tried giving them some development, but in the end it’s kind of shallow and cliched. And the cast does a fine enough job with their performances. There isn’t anyone here that I’d say is bad, just some who are better than others. My favorite was probably Charles Dance, who always had a bit of a self-aware glint in his eye, which made him kinda fun to watch whenever he showed up. The rest of the cast, including people like Kyle Chandler, Ken Watanabe, Vera Farmiga, Millie Bobby Brown, Thomas Middleditch, Ziyi Zhang, Bradley Whitford, Sally Hawkins, and various other actors was good. They all played it very straight, but no one was bad.

The score for the movie was composed by Bear McCreary, and I loved it. A lot of big, bold brass, a lot of panicky strings, some chorals… it all fit incredibly well with the kaiju calamity going on throughout the movie. And while I won’t spoil which, some of the tracks are absolute treats for… various reasons. Damn good stuff.

The movie was directed and co-written by Michael Dougherty, who I think did a great job with it. He has a great sense of energy and pacing, which keeps the moving driving along, never really getting boring and too slow at any point. And like with Gareth Edwards before him, he knows how to convey the scale of all the shit that goes on. And credit to the visual effects team for really bringing these creatures to life. The detail, the movement, it all looks fantastic. And man, the cinematography by Lawrence Sher is breathtaking. Some truly awe-inspiring shots exist in this movie. And when it isn’t breathtaking, it still looks quite good. All the technical aspects really come together wonderfully. Especially during the monster action, which I had a ton of fun with.

The movie just came out, so this data will change a bit over time. But as of writing, the movie has gotten quite the mixed reception. On Rotten Tomatoes it has a 38% positive rating. On Metacritic it has a score of 47/100. And on imdb.com it has a score of 7,7/10.

Look, this isn’t one of the greatest movies ever made. But I still had a lot of fun with “Godzilla: King of the Monsters”. It has a mixed bag plot, meh characters, really good performances, fantastic music, and fantastic writing/directing/cinematography/visual effects/action. Time for my final score. *Ahem*. My final score for “Godzilla: King of the Monsters” is an 8,74/10. So while flawed, it’s still worth buying.

My review of “Godzilla: King of the Monsters” is completed.

Ooooooh no. They say he’s got to go, GO GO GODZILLA!

12 Films of Christmas 2018 (Final Part)

It’s time, ladies and gentlemen. The final part in this year’s 12 Days of Christmas series. It’s been fun, but it’s time for it to come to an end. So let’s go out on a note.

I was considering going with “Jingle All the Way” for this last one, as it was on tv earlier. But then I decided against it because I’d prefer to not get annoyed by a movie on christmas fucking eve. So instead I went with a different thing that was on tv, something that airs every year, same Bat-time, same Bat-channe- damn it, wrong old thing. This is “From All of Us, to All of You”. In this interesting piece of Disney animation, Mickey Mouse and Jiminy Cricket host a sort of christmas show in which they give us some “christmas cards” from various characters. These “cards” are short films, some actually christmas related, and some just clips from movies like “Cinderella” and “The Jungle Book”. And for some unknown reason, it has aired on Swedish television every year since 1960. So yeah, living here in Sweden all my life, I’m kind of familiar with this. I feel nostalgic about seeing it, but at the same time it almost gets a bit same-y, since nothing new is added. Okay, I lied, at the end they show clips from new/upcoming Disney movies, but other than that, it’s the same thing as always, with only minor edits throughout the years. That said, there’s something a bit nice and warm about it, and it brings a nice sense of joy every time I see it. “From All of Us, To All of You” is a charming little compilation with a fascinating legacy.

On the last of christmas’ days, Markus wishes your ass, happy holidays, and a merry fucking christmas.

12 Films of Christmas 2018 (Part 6)

Holy shit, we’re already halfway through this silly thing. Time sure flies.

So, today’s thing is technically a tv episode. But if you know anything about the show, you know the episodes all have a feature length runtime. Also, it’s a holiday special, so I can use it. That’s right ladies and gents, today we are talking about “Sherlock” and its holiday special, “The Abominable Bride”. So in this episode, the characters of Sherlock (Benedict Cumberbatch) and Watson (Martin Freeman) get sent back in time to the late 19th century… which is the century the characters originated in… even though this iteration of the characters is from the 2000s… but now they’re in the 1800s… which is where they started… this shit will loop on forever, so I better move on before my fucking brain melts. Anyway, it’s the “Sherlock” version of the characters solving a mystery in the 19th century… but it also tries to interweave aspects of the modern day. For the most part I enjoyed “The Abominable Bride”, the parts in which we see Cramplescrunch and Bilbo Baggins doing the 19th century crime solving, that is fun. But when it tries to involve the modern day stuff and try to have a sort of meta narrative, it doesn’t quite work, and just comes off as a bit smug. I love “Sherlock”… the first two seasons at least, haven’t really seen anything past that. But despite my love for the show, I have to look objectively at this and say that it’s just fine. Which makes me sad, because “Sherlock” at its best is some of the best tv ever made. But if you want a decent enough romp featuring some great actors in period garb, you could do far worse than “The Abominable Bride”.

On the sixth day of christmas, Markus he took on, a man saying “elementary, my dear Watson”. 

12 Films of Christmas 2018 (Part 1)

Hello and season’s greetings to all of you! It’s the 13th of December, which means it’s finally time for my 12 Days of Christmas series. And this is the fourth year that I’m doing this. The first two times were about christmas songs, and in last year’s series we covered films (long and short). And for this year we’re (as you saw in the title) doing it once again. One christmas-y film every day with the final post being released on the 24th. So let’s get into it, the first part in the 12 Films of Christmas!

So first up we’re covering a movie I’ve heard about for years and years, with people claiming it to be a Swedish christmas classic. So let’s have a look at “In Bed With Santa” (Original title: Tomten är far till alla barnen). Released in late 1999, this dramedy follows Sara (Katarina Ewerlöf) and Janne (Peter Haber) as they’re about to celebrate christmas. But things aren’t made too easy since Sara invites multiple of her old exes and their significant others over to celebrate with them. And a lot of interesting things happen as alcohol gets consumed, and old secrets floating to the surface start creating some tension between them all. Let’s just be blunt, you won’t exactly feel all jolly after watching this. It’s interesting to see all of these unique personalities clashing with each other, I find it to make for some interesting character studies. And the actors work at the top of their game, none of the actors is a weak link here. The story has its ups and downs, but it’s still quite an intriguing package of assholes and familial tensions. It won’t make you laugh and feel good like “Home Alone”, but it’s still one I wouldn’t dissuade you from.

On the first day of Christmas, Markus gives to thee, a movie about a shitty family.

Movie Review: Game Night (2018)

What’s your favorite game? Not counting video games here, just things that you can easily play with friends on a game night. Charades, Yahtzee, Uno… doesn’t matter. Let me know your favorites.

Ladies and gentlemen… “Game Night”.

Max (Jason Bateman) and Annie (Rachel McAdams) have a weekly tradition of inviting their friends to a game night. One such weekend the group gets invited to a game night by Max’s brother (Kyle Chandler). They find out that he’s planned a bit of a murder mystery themed game night. But soon what should just be a fun evening with friends turns into something a bit crazier than originally expected. So now we have our twisty-turny comedy. And the plot here is pretty good. I appreciate that it tries to do something a bit different than a lot of modern comedies. It takes a really clever idea and has a lot of fun with it. Now, while I’m all for a twisty-turny web, this one twists around a bit much, turning it into a bit of a mess at times. Twist upon twist is fine, but the way it’s done in “Game Night” doesn’t always work, turning it from a clever mystery into a bit of a messtery (see what I did there?). It’s not so bad that it made me angry, but it does take me out of it a little at times. But it’s still a fairly refreshing entry in the world of Hollywood comedies. Good stuff.

The characters in this are all a ton of fun to follow, and they share some solid chemistry. First up we have Jason Bateman as Max, who is a very Jason Bateman-esque type. I can’t put it any other way, if you’ve seen Jason Bateman in a comedy, you know what to expect from him. But it still works, and Bateman does a good job. Next we have Rachel McAdams as Annie, Max’s wife and fellow game night entusiast. She’s not always the brightest bulb in the shed, but she’s always full of glee and is just a ton of fun to follow. And McAdams is fantastic in the role, absolutely the scene stealer. We also get supporting work from people like Kyle Chandler, Billy Magnussen, Sharon Horgan, Jesse Plemons, Lamorne Morris, Kylie Bunbury, and more, all doing very well in their respective roles.

The score for the movie was composed by Cliff Martinez, and it was really good. And I’m not just saying that because I’m a fan of some of Martinez’s older work, but I think it’s genuinely a great score that works really well in adding a surprising amount of suspense and intrigue to the movie. There’s also a few licensed tracks used throughout, and they work pretty well in their respective scenes.

“Game Night” was written by Mark Perez, and directed by John Francis Daley & Jonathan Goldstein, and this trio really outdid themselves here. In terms of the overall craft of the movie, I didn’t expect much. So imagine my surprise when I notice all the clever and engaging camerawork used throughout the movie, especially during one sequence that I will not spoil, but let’s just say that my eyebrows were raised and my jaw was on the floor. And since this is a comedy, you might wanna know if I laughed. So did I? Like a fucking idiot. I didn’t expect this movie to crack me up as much as it did. Some jokes were chuckles, some were loud gut-busters. Yeah, I had a blast with the humor here.

This movie has been pretty well received. On Rotten Tomatoes it has an 84% positive rating and a “Fresh” certification. On Metacritic it has a score of 66/100. And on imdb.com it has a score of 7,0/10.

“Game Night” is one of the biggest surprises of the year. It has a pretty good plot, good characters, great performances, really good music, great directing, and hilarious comedy. Though as previously mentioned, my score gets brought down a bit by the plot being a bit convoluted. Time for my final score. *Ahem*. My final score for “Game Night” is an 8,88/10. So while flawed, it’s still definitely worth buying.

My review of “Game Night” is now completed.

I think Uno might be my favorite, purely because of how fun it is to fuck people over.