Movie Review: Star Wars – The Rise of Skywalker (2019)

It’s that time of year again… “Star Wars”. The final one… for now. So let’s talk about it.

Ladies and gents… “Star Wars – The Rise of Skywalker”.

The remaining members of the Resistance try to pull off a series of daring plans to try to hopefully finally stop the sinister First Order. It’s the concluding chapter to this new trilogy, that also calls back some (read: a lot) to the older movies. And the story as a whole is a bit of a mixed bag. It’s generally a fun, fast-paced space swashbuckler that does give a satisfying enough ending to the entire Skywalker saga, but looking at the overall thing, it feels ever so slightly paper-thin. And while I don’t need my “Star Wars” to be deep mindfucks in their storytelling, I feel like there could’ve been a bit more put into it, since it’s supposed to, you know, cap off the entire fucking series (AGAIN). But as it stands, while the story disappoints a bit, it’s still entertaining, and I thought the overall ending was pretty good.

The characters in this have earned a shitload of good will over the previous two movies, I’ve fallen in love with them, so that went a long way to me following them here. And while one or two might get some decent-ish enough character conflict, there isn’t too much else to say about that stuff. Daisy Ridley and Adam Driver make for a compelling hero/villain dynamic at the center. John Boyega and Oscar Isaac are as enjoyable in their sidekick roles again. All other supporting actors do well enough in their supporting roles too.

As with every mainline entry in this franchise, the score was composed by the one and only John Williams. And there’s no way one can complain about it. From the classic motifs, to some of the ones from the previous two movies, to some new (if indistinguishable) stuff… come on, it’s another “Star Wars” score from the one and only John Williams, you all know it’s good.

“The Rise of Skywalker” was directed by J.J. Abrams, who did a damn good job. The guy knows how to bring energy to a scene, he knows how to a fun and exciting action scene. There’s tons of good action in this that either made my jaw drop or just had grinning like an overexcited child. Yes, I am easy to please when it comes to that kind of stuff… especially when it’s handled as well as it is here. The effects are of course fucking spectacular, and not just the CG, there’s a ton of awesome practical creature effects and such. It’s just a joy to look at.

This movie just came out, so there’s not much data out there (and as y’all know, I am too lazy to edit after the fact). So here’s where we’re at now. On Rotten Tomatoes it has a 58% positive rating. On Metacritic it has a score of 53/100. And on imdb.com it has no score at all… that’s how early I am.

“Star Wars – The Rise of Skywalker” may be slightly disappointing, but I still had a good time with it. It has an okay plot, good characters, great performances, great music, and really good directing/effects. Time for my final score. *Ahem*. My final score for “Star Wars – The Rise of Skywalker” is an 8,45/10. So while very flawed, it’s still worth buying.

My review of “Star Wars – The Rise of Skywalker” is now completed.

Goodbye for now, Star Wars.

12 Films of Christmas 2019 (Part 5)

It’s time for part 5 of this goofy series of mine. More contrivances, here we go. And today we’re actually talking about a movie from my own country for once, I know, my mind is as blown as yours.

Today’s movie is called “A Summer Tale”, directed by Ulf Malmros, and released in 2000. Set in 1958, it follows two kids (Anastasios Soulis and Rebecca Scheja) as they get sent to live with a cantankerous funeral director (Kjell Bergqvist) for the summer. So now… now… now… I hear what you’re thinking. “Markus, you dumb bastard, how the hell are you gonna get a movie with SUMMER in the title to fit within the christmas category?”. Well, my impatient friend, let me sit your ass down and tell you.

When the kids first meet this funeral director, their relationship to him is stale at best, and tense at worst. He’s not abusive and horrible towards them, but he’s not exactly someone I’d wanna send my theoretical kids to. But as one might expect from this setup, these two parties of course start to warm towards each other, all the while the funeral director tries to get a local teacher he has a crush on to go out with him. So while yes, the movie is set during the summer, it’s still all about family and finding love. You know what part of the year is often associated with family and love? Christmas. Everyone always talks about how that holiday should be spent spreading love and being with your family. And since this movie is all about that shit, you’d imagine it could fit within that.
While “A Summer Tale” isn’t one of the greatest movies ever made, I found myself surprisingly entertained by it. It’s a heartwarming little dramedy that made me really care about the characters, all of whom are very well acted by the actors involved (yes, the kids too). It’s a good flick.

Have a good one.

Movie Review: Them That Follow (2019)

I hate snakes. They’re the worst. I see a snake on tv or in a movie, I crawl into a ball on the couch. The worst. So let’s talk about a movie featuring them (I’m dumb).

Ladies and gents… “Them That Follow”.

Set within the deep woods of Appalachia, we follow Mara (Alice Englert), a young woman who is the daughter of the local snake-handling preacher (Walton Goggins). She carries a secret with her that, if released into the world, could potentially cause some trouble within her community. So now we have our backwoods story. And while I do have some little niggles with it, I generally thought it was pretty interesting. It’s like a window into this strange, archaic community, presenting them with a surprisingly nuanced view, rather than the typical “These cult-ish people are crazy monsters” angle that often get used within stories featuring similar characters/communities. Yes, we still get shown the angle that these people are ye olde backwoods christians… but it’s never as simple as them just being a cult, there is rarely pure judgment, but rather just observation, which I thought was interesting, especially as the movie went along and more revelations were unleashed. Now, despite this unusually intriguing execution, it’s unfortunately not perfect. It does feel flimsy at times, probably due to the short runtime (circa 95 minutes). Had they had more time, we probably could’ve had it even more fleshed out. But as it stands, it’s still an alright plot that kept me interested throughout.

The characters, while not the deepest in the world, are still pretty engaging. Alice Englert plays Mara, the young woman at the center of the story. She’s probably the deepest one in the story, as she’s highly conflicted about a lot of stuff going on in her life at the time, which makes her a really interesting character to follow. And Englert is really good in the role. Then we have Walton Goggins as her father, preacher Lemuel Childs. He’s a man of god… and nope ropes. He doesn’t get much development as a character, but he’s still quite engaging because Goggins is such an electrifying presence. Then we have Olivia Colman as Hope, a matriarch of sorts within this community. There is some conflict with her later on in the movie, which I won’t spoil in case you wanna watch the movie, but I’ll say that while it’s an okay idea, the overall execution of that is just fine. And while Colman’s southern drawl is somewhat hit-and-miss, her overall performance is great. We also get supporting work from people like Thomas Mann, Kaitlyn Dever, Lewis Pullman, and Jim Gaffigan, all giving good performances.

The score for the movie was composed by Garth Stevenson, and I felt that it was kind of a mixed bag. Sometimes it’s this nice, almost dreamlike thing that fits the southern, spiritual setting, really adding some nice atmosphere to the movie. Buuuut then there are some overbearing horror drones throughout too, and I felt like that took me out of it during those moments. I can tell that Stevenson has a lot of talent, but there are times when they aren’t applied correctly.

“Them That Follow” is the writing/directing debut of duo Britt Poulton and Dan Madison Savage, and I think they did an okay job with it. They have a way of keeping scenes engaging thanks to a unique sense of energy that may have a slow flow, but still makes sure scenes never get boring. And when they need to get a bit suspenseful, they god damn nail it… except when the aforementioned horror score bits come on, then shit clashes a bit.

This movie hasn’t been very well received. On Rotten Tomatoes it has a 60% positive rating. On Metacritic it has a score of 57/100. And on imdb.com it has a score of 5,2/10.

While far from one of the greatest movies ever, I still thought “Them That Follow” was a really good drama. It has a pretty good plot, okay characters, great performances, okay music, and good directing. As previously mentioned, it is brought down a bit by a sometimes shallow plot and poor musical score. Time for my final score. *Ahem*. My final score for “Them That Follow” is a 7,95/10. So while flawed, it’s absolutely worth renting.

My review of “Them That Follow” is now completed.

Damn snakes.

Series Review: Yellowstone – Season 2 (2019)

Earlier this year, I reviewed the first season of this show. And now the second one has come to an end over here. So I guess that means I should talk about it. So here we go.

Ladies and gents… “Yellowstone” season 2.

We once again follow rancher John Dutton (Kevin Costner) as he tries to protect his land from opposing forces, new and old. All the while his three kids (Luke Grimes, Kelly Reilly, Wes Bentley) deal with a lot of personal issues of their own, while there’s also stuff going on with the people working for John. So now we have a more “Yellowstone”… in all the ways that entails. On one hand you do get a lot of that epic crime-drama that the show mostly sells itself on, and that shit is insanely compelling, always riding a line of grey morality perfectly, giving us some truly great tv at times. Buuuuuut then it also wallows a bit in family melodrama. At times that stuff doesn’t bother me, as there are points when it’s decently well handled. But then there are times when it sort of just drags the show down, and makes it kinda boring at times. I don’t need the crime-drama stuff all the time, but the family drama here isn’t always that great. So overall the story is pretty good. Flawed, but solid.

The characters here are flawed, layered, and quite interesting. Kevin Costner returns as John Dutton, the aging patriarch of this family. He has to come to terms with his own age a bit this season, at the same time as all this crazy shit happens around him, and it’s pretty interesting. And Costner is once again really good in the role. Luke Grimes returns as John’s son Kayce, a father who has to deal with some issues with his wife and son, while also having to manage his new role at his father’s ranch. And while I had slightly mixed feelings about him last season, he kinda grew to become my favorite this time around. And Grimes is really good in the role. Kelly Reilly returns as Beth, John’s take-no-nonsense daughter who often acts as a bit of a wild card, even if she is a bit more restrained this time around due to development from last season. And once again, she’s an interesting character, with Reilly giving a great performance. Wes Bentley plays Jamie, John’s lawyer son, and holy shit, he gets some actual development this season. They made Jamie interesting! And Bentley is great in the role, even if he still constantly scowls like someone shat in his backyard. Cole Hauser returns as Rip, the ranch hand/resident tough guy, and he’s once again great in the role. The stuff with returning antagonists Danny Huston and Gil Birminham is still solid. And new antagonist Neal McDonough, he’s pretty good. We of course also get supporting performances from people like Kelsey Asbille, Brecken Merrill, Jefferson White, Forrie J. Smith, Hugh Dillon, Ryan Bingham, and more, all doing very well in their respective roles.

As with season 1, the score for season 2 of “Yellowstone” was composed by Brian Tyler. And it was once again good. Tense, emotional, and fitting of the semi-western tone that the show goes for. It’s solid stuff that fits the various scenes it’s used in.  There’s of course also a lot of licensed music used throughout (especially from the band Whiskey Myers). And that music works well enough for the respective scenes they get used in.

The show was created by Taylor Sheridan and John Linson, with Sheridan staying on as writer for all the episodes, but let a bunch of other cool people handle directing. And the craft on display here is generally good. A lot of nice looking shots of the sweeping vistas, some decent looking shots for smaller moments. The directing often elevates the material here, which is what makes some of those melodramatic scenes I mentioned earlier a bit more tolerable. And the direction also helps make some scenes quite suspenseful when needed. ’tis a solidly crafted show.

This show/season has been decently well received. On Rotten Tomatoes it has an 88% positive rating. On Metacritic it exists, but has no overall score. And on imdb.com it has a score of 8,4/10.

Season 2 of “Yellowstone” reaches some great heights, but wallows enough in some melodramatic lows to still bring it down overall. It has a pretty good plot, really good characters, great performances, good music, and really good writing/directing. Time for my final score. *Ahem*. My final score for season 2 of “Yellowstone” is an 8,52/10. So while not perfect, it’s still certainly worth a watch.

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

Cooooooostneeeeeer.

Series Review: Fortitude – Season 2 (2017)

And so we’re here, the final post for the Month of Spooks. And it’s a follow-up to a post I did last year, where I talked about the first season of this show. So here we go.

Ladies and gentlemen… “Fortitude” season 2.

Set some time after the events of season 1, we return to the remote Scandinavian town of Fortitude. And once again, strange things start happening after a body is discovered. So now we have our Arctic antics. And I like the plot here, probably more than the first season. It’s a slow burn mystery-thriller that dips its toe into some macabre themes and scenarios, while still taking the time to make me care about most of the characters, really adding layers to it all that maybe weren’t as strong the first time around. Though while it is an overall stronger story for me with a bit more intrigue and experimentation, it does still have some flaws. While I do love a slow burn, there are some moments here where the pacing outright drags, which of course makes it a little more of a pain to watch. And the ending is a bit… flaccid. Yes, I know there’s a third season, but I feel like the ending here is a bit too sequel-baity, for lack of a better word. But despite these flaws, I still found the story here to be pretty damn solid.

The characters in this are flawed, layered, and overall quite engaging. Most of the cast from season 1, including Richard Dormer, Sienna Guillory, Luke Treadaway, Björn Hlynur Haraldsson, , Mia Jexen, Sofie Gråbøl, Alexandra Moen, and more, with their characters getting extra depth, will all those actors firing on all cylinders. Now, for newcomer we have Dennis Quaid (pictured at the top), who plays Michael Lennox, a fisherman who gets involved in the strange shit going on in and around Fortitude. The character is given decent depth, as we learn some interesting stuff about his home life, at the same time as he evolves from the events in the story. And Quaid is pretty good in the role. ’tis a solid cast.

Ben Frost, who did the score for season, returned to do the music this time around too, and I think he really outdid himself. His score here is fucking spectacular, managing to perfectly capture every emotion possible, while still being an overall fitting score for the frozen shithole that is Fortitude. Yes, there are moments where the score lowers itself to some generic horror stings. But when it’s not doing that, it is absolutely fantastic. And the occasional licensed tracks used throughout work pretty well too.

The show was created by Simon Donald, who along with a bunch of other people, wrote the episodes this season, with some other cool people directing. And the craft behind this season is fucking emaculate. The direction manages to create an interesting sense of unease throughout that really makes it a bit more unsettling. And my god, the cinematography this season is absolutely amazing. And I don’t just mean the shots of the frozen vistas around Fortitude, but even a lot of shots indoors look great too. And the effects here are great too, featuring some really impressive practical gore effects, which kinda got under my skin.

This show/season has been pretty well received. On Rotten Tomatoes it has a 91% positive rating. On Metacritic it exists without a score. And on imdb.com it has a score of 7,4/10.

Season 2 of “Fortitude” takes what was good about the first season and takes it up to 11, though it is brought down by some pacing issues and a less than satisfying ending. It has a really good plot, good characters, fantastic performances, fantastic music, and fantastic directing/cinematography/effects. Time for my final score. *Ahem*. My final score for season 2 of “Fortitude” is an 8,96/10. So while flawed, it’s definitely still worth a watch.

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

So this is it, huh? Well, it’s been a blast doing Month of Spooks.

Movie Review: Constantine: City of Demons (2018)

Two animations in a row? I know, fucking insanity up in this joint. But hey, it’s my blog and my Month of Spooks, so I can do whatever I want. Besides, why wouldn’t I wanna talk about DC’s arguably most well known horror character?

Ladies and gents… “Constantine: City of Demons”.

When his daughter is thrown into a supernaturally induced coma, Chas Chandler (Damien O’Hare) enlists the help of his old mate, John Constantine (Matt Ryan), to hopefully fix this whole situation. And as they look further into the situation, they not only get into new troubles, but old wounds get opened back up too. I thought the story here was good. Leans a bit too heavily on exposition during the first act, but as soon as we get into act two, things aren’t quite so info-dumpy. And I have to admit that I didn’t fully see where this story was going, it managed to throw me for a loop multiple times, telling a narrative that understands the “Hellblazer” mythos and themes, while still making it accessible to anyone unfamiliar with the material. That latter point might be somewhat related to the info-dumping in the first act, which makes it kind of a double-edged sword, but that’s just how shit ends up some times. But yeah… the story’s good, if a bit flawed.

The characters in this are flawed, colorful, and overall quite interesting. Constantine in this is more like in the comics rather than how he’s portrayed in the Keanu Reeves movie. He’s British, snarky, and a bit aloof. And while he’s not quite as morally flexible as he is in the comics, they do nod towards that idea a fair bit throughout this movie, which makes him a bit more interesting. And Matt Ryan (in his fourth appearance) is great in the role. Damien O’Hare as John’s trusted friend Chas Chandler does a great job as the committed and brave, yet slightly impulsive type. And in the supporting cat we got people like Laura Baily, Robin Atkin Downes, Jim Meskimen, Rachel Kimsey, Rick Wasserman, and more, all doing well in their respective roles.

The score for the movie was composed by Kevin Riepl, and it was alright. It is overall a well composed score that worked fine for the movie, but I felt that it might’ve been a little bit on the bland-ish side. It does have some cool chorals that make it stand out a little bit, but for the most part it’s your typical orchestral stuff with occasional synthesizers for effect. Again, not bad, pretty good, but a little bland.

Of course based on the legendary DC/Vertigo Character, “Constantine: City of Demons” was directed by Doug Murphy, who I think did a good job with it. He doesn’t force a lot of needless action or an unnecessarily rapid pace, instead opting for a decent bit of downtime, letting characters breathe and letting the audience take in what’s going on a bit. And even when there is action, it isn’t typical action-action with fists flying all about the place or flashy spells pew-pewing all day long, which I think is a fun change of pace. And the animation carrying it all, I think is good (based on the standards of these lower budget DC animated flicks). There are some minor things that distracted in it, like some of the blood splatter effects, but for the most part the animation looks nice and wonderfully brings out some of the nastier stuff in the DC universe.

This movie has been decently well received. On imdb.com (which is the only site with a clear number), it has a score of 7,4/10.

While it isn’t perfect, “Constantine: City of Demons” is still a very enjoyable take on the titular Hellblazer. It has a good plot, good characters, great performances, okay music, and really good directing/animation. Though it is unfortunately brought down a bit by a little too much exposition dumping, and some minor animations niggles. Time for my final score. *Bollocks*. My final score for “Constantine: City of Demons” is an 8,77/10. So while flawed, I’d say it’s still worth buying.

My review of “Constantine: City of Demons” is now completed.

“Abraka-fooking-dabra” – John Constantine.

Movie Review: Dawn of the Dead (1978)

During last year’s Month of Spooks, I reviewed “Night of the Living Dead”. Now in 2019, we’re moving on to its legendary pseudo-sequel. To be honest, I didn’t even plan this sequelization, it just happened. SERENDIPITY, HO!

Brainies and gentleflesh… “Dawn of the Dead”.

The world has gone to shit. Zombies are rapidly taking over everywhere. And in all this chaos we follow a small group of survivors as they seek shelter inside of a shopping mall. It’s a solid enough premise for a zombo flick, and the overall execution of it is damn good too. It works because it’s not only about some people trying to survive, but also because there’s a healthy dose of social satire strewn throughout the movie, giving the movie a bit of an edge over most zombie movies out there. Now, while I praise it for going in a unique direction with its story (for the time), I do have some issues with it, mainly in regards to pacing. It takes a bit for the main part of the plot to get going, and there are then moments throughout where the pacing drags ever so slightly. But for the most part, the plot here moves at a good pace and is overall a well written, fun, and surprisingly nuanced take on the zombie sub-genre.

If you asked me what the characters’ names were, I wouldn’t be able to tell you. I can see the characters and recognize them, but I have no real clue about who they are beyond “Oh yeah, you’re a guy in this”. Despite this, I found them quite interesting as subjects of this satirical zombo story. The way they interact and handle various situations is quite interesting. And the performances are all quite solid.

The score for the movie was composed by Dario Argento, along with Italian rock group Goblin. And it’s an interesting score. At times big, at times a bit more somber, it is an unusually unpredictable score that overall just really fit the movie well. It often adds to the enjoyment of the various scenes.

Just like with its predecessor, “Dawn of the Dead” was written and directed by George A. Romero, who I think did a solid job with it. You can tell that he’s gained a bit more confidence as a director between movies, as he very cleverly creates a unique mood with his direction, a mood that is often uneasy, but still enjoyable.

This movie has been well received. On Rotten Tomatoes it has a 93% positive rating and a “Fresh” certification. On Metacritic it has a score of 71/100. And on imdb.com it has a score of 7,9/10.

While I don’t necessarily adore it as much as some people, I still think “Dawn of the Dead” is a damn fine movie. It has a really good plot, okay-ish characters, really good performances, good music, and really good writing/directing. Though as mentioned earlier, it is brought down a bit by some mild pacing issues. Time for my final score. *Braaaaains*. My final score for “Dawn of the Dead” is an 8,78/10. So while not perfect, it’s still definitely worth buying.

My review of “Dawn of the Dead” is now completed.

Yup

Movie Review: From Dusk Till Dawn (1996)

And the Month of Spooks continues. This time with a strange hybrid. So here we fucking go.

Ladies and gents… “From Dusk Till Dawn”.

A pair of criminals (George Clooney & Quentin Tarantino, yes really) are on the run for some horrible crimes they committed. To stay away from the law, they take refuge in a titty bar somewhere in Mexico. They are however in for a horrible surprise, when they find out that the people at the bar aren’t exactly what they appear to b- vampires, they’re vampires. So now we have our profane crime-thriller/vampire movie. And the story here is fine. Straightforward, but clashing in tones. One moment it’s this Tarantinian crime story, then it’s a family drama, then it’s horror, then it’s a dark comedy. While there are a lot of solid moments here, they don’t necessarily flow that well into each other, creating these tonal clashes. Like I said, there’s a lot of fun moments, and it does entertain in that sense, but the lack of good transitions does distract at times.

The characters in this are decently interesting, if a bit poorly defined at times. George Clooney plays Seth Gecko, one of the two brothers on the run from the law. He’s assertive, strict, bit of a dick, but does at times show a more human side (even if his exterior still screams asshole). He’s clearly the leader of the two, and he’s an interesting character to follow, even if he’s not very likable (which might put some people off). And Clooney is great in the role. Next we have Harvey Keitel as Jacob Fuller, a family man that’s been kidnapped by the Geckos. He’s a former preacher just trying to enjoy a nice trip with his kids, but that of course goes a bit awry. He’s a decently interesting guy, and Keitel is great in the role. Next we have Quentin Tarantino (yes, really) as Richie Gecko, Clooney’s younger brother. He’s a creepy psychopath. That’s all I’ll say, as I don’t wanna get into too much detail. And I honestly think Tarantino is good in this role, it’s probably the best performance I’ve seen from him. We also get supporting work from people like Juliette Lewis, Ernest Liu, Tom Savini, Danny Trejo, Salma Hayek, Fred Williamson, and more, all doing well in their respective roles.

The score for the movie was composed by Graeme Revell, and it’s good. It’s not too prominent, but when it can be heard, it’s pretty good, creating some decent ambiance. The movie also has a fair bit of licensed tracks used throughout, a lot of them within the blues-rock genre, which not only fits the movie surprisingly well, but also is right up my alley. So yeah, this movie has good music.

“From Dusk Till Dawn” was written by Quentin Tarantino, and directed by Robert Rodriguez (not the last collaboration between the two). And Jesus heart-staking Christ, it’s obvious form a mile away. Tarantino’s dirty dialogue, Rodriguez’ energetic and oft campy direction, it’s all here in spades, and it gives the movie a nice sense of energy that keeps it from getting boring. It also does add a bit to the action scenes that exist in the movie, which are fun to watch, partly due to the stuff I just mentioned, and partly due to the really solid visual effects that are on display here.

This movie has gotten some mixed reception. On Rotten Tomatoes it has a 64% positive rating. On Metacritic it has a score of 48/100. And on imdb.com it has a score of 7,2/10.

So while “From Dusk Till Dawn” has a fair bit of flaws, I still enjoyed watching it. It has an okay story, okay characters, great performances, really good music, and really good writing/directing/effects. Time for my final score. *Ahem*. My final score for “From Dusk Till Dawn” is a 7,56/10. So while flawed, I’d say that it’s worth renting.

My review of “From Dusk Till Dawn” is now completed.

Daaaark Night. It’s a Daaaark Night. What? It’s a good song. Even the movie knows it.

Series Review: The Strain – Season 1 (2014)

Hey, finally a tv show in the Month of Spooks.

Ladies and gentlemen… “The Strain” season 1.

After a plane filled with dead people lands in New York, a mysterious viral outbreak begins, turning people into savage, vampiric creatures. And it’s up to Doctor Ephraim Goodweather (Corey Stoll) to find out what the hell is going on. So now we have our horror story. And it’s a good one. Sure, it does lean into some classic vampire tropes, but it also plays around with others to create something that feels fresh and unique in television. Admittedly the first few episodes are a bit on the slow side. They’re not bad, they carry a fair bit of intrigue, but they feel a bit like a drag at times. But when you get past them, and the plot truly gets going, it is an utterly compelling and quite entertaining vampire thriller.

The characters in this are flawed, layered, and quite interesting. Corey Stoll plays Ephraim Goodweather, a CDC scientist who has to investigate this mysterious viral outbreak. Eph (as he’s called by so many) has a lot of personal flaws and demons in his past, and seeing him have to deal with those in tandem with this intense outbreak makes him an interesting character. And Stoll is great in the roll. Yes, pun intended. Next we have David Bradly as Abraham Setrakian, a mysterious old man who seems to know a lot about what’s going on with this whole situation. We learn a lot about him as the show goes along, and I don’t wanna ruin it (’cause it’s good and should be experienced rather than told). And Bradley is great in the role. We also get supporting work from people like Mia Maestro, Kevin Durand, Miguel Gomez, Richard Sammel, Sean Astin, Jonathan Hyde, Ben Hyland, Ruta Gedmintas, Robin Atkin Downes, and more, all doing well in their respective roles.

The score for the show/season was composed by Ramin Djawadi (oh sweet), and it’s pretty good (what do you mean “pretty”?). It’s not among Djawadi’s best work, but he still did a really solid job, giving us some decently tense pieces when needed, and some more emotional tracks in others. It’s pretty good.

Based on a series of novels by Guillermo Del Toro and Chuck Hogan, the show was created by Guillermo Del Toro and Chuck Hogan, with writing and directing by them and some other cool people. And the craft in this show is pretty spectacular. The direction creates a fair bit of tension, while still making us feel intimate with the characters. And fuck me sideways, the use of colored lighting in this show is fucking magnificent. Reds, greens, blues, yellows, it is stunning to look at. And the visual effects are pretty great too. Since it is a Del Toro production, there’s a lot of disgusting-looking practical creature effects, with some CG mixed in at times. And god damn, it is so cool to see that here, since it makes everything going on feel more real. It also kind of adds to the horror, as it doesn’t make the scary creatures look all shiny and fake. It’s some creepy stuff.

This show/season has been decently well received. On Rotten Tomatoes it has an 86% positive rating and a “Fresh” certification. On Metacritic it has a score of 72/100. And on imdb.com it has a score of 7,3/10.

Season 1 of “The Strain” may drag a bit at the start, but it ultimately ends up being an effective and highly entertaining vampire thriller. It has a good plot, good characters, great performances, good music, and great writing/directing/effects/cinematography. Time for my final score. *Ahem*. My final score for season 1 of “The Strain” is an 8,67/10. So while flawed, I still think it’s definitely worth watching.

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

David Bradley’s a bit of a badass. Honestly never expected that.

Movie Review: It (2017)

And the Month of Spooks continues! And today we’ll be talking about a Stephen King adaptation. How fun.

Ladies and gentlemen… “It”.

Maine, 1989. A group of outcast kids have to come together during their summer holiday when an evil clown (Bill Skarsgård) starts haunting them and wreaking havoc. So I have mixed feelings about this. On one hand, when this story focuses on the drama of the Losers Club (the kids we follow) and their personal issues, that shit is compelling, it is insanely well written and it had me engaged. There’s a lot of nuance to that stuff, and it really adds to it all. But when it focuses on the horror shit… meh. I’ll get into that in more detail later, but for now… this plot is a mostly positive mixed bag.

The characters in this are flawed, layered, colorful, and overall really interesting. The kids feel real, I love their camaraderie, and they have great chemistry. Jaeden Martell, Jeremy Ray Taylor, Sophia Lillis, Finn Wolfhard, Jack Dylan Grazer, Chosen Jacobs, and Wyatt Oleff, they play the Losers Club, and they were all fantastic. And then we have Bill Skasgård as Pennywise. I really liked his performance, but I’m not sure if that’s for the reason the filmmakers wanted. They wanted him to be terrifying, and at times he does have a creepy gaze. But for the most part he’s just an absolute fucking ham, and I loved watching it, because I live for hammy shit. But seriously, that was a great, if a bit goofy, performance.

The score for the movie was composed by Benjamin Wallfisch, and god damn, it was great. It has many layers to it, and it helps build a strong emotional core that really manipulated me at points. Usually with horror movies, my expectations for the music are often kinda low, so I’m glad the Wallfisch proved my ass wrong by giving us some really stunning tunes. And some decently creepy ones. Good job.

Based on the beloved novel of the same name by Stephen King, “It” was directed by Andy Muschietti, and I think he did a great job. His control of the camera and flow a scene can’t be understated, it was truly some damn good stuff. Even built some decent creepiness to it at times. And the various effects in the movie, both practical and digital, were damn good. Buuuut then we get to the “scary shit”. Yeah, I wasn’t scared by it. And that’s not me being a douche about it, I would’ve loved (for lack of a better word) to have been scared by that stuff. But it never got to me. Like I said, there’s some decently creepy moments throughout, but when it tried to full on scare me, it never really worked. Partly due to the hamtastic Bill Skarsgård, and partly due to some of the audio cues added to certain scares. So the craft here is great… I just wasn’t scared.

This movie has been well received. On Rotten Tomatoes it has an 86% positive rating and a “Fresh” certification. On Metacritic it has a score of 69/100. And on imdb.com it has a score of 7,4/10.

While it fails at spooking me, I still think “It” is a damn good movie. It has a really good plot, really good characters, great performances, great music, and really good directing/cinematography/effects. Time for my final score. *Boo*. My final score for “It” is an 8,78/10. So while flawed, I’d say it’s still worth buying.

My review of “It” is now completed.

I am so mixed on this movie.