Series Review: Seis Manos – Season 1 (2019)

Is it time to talk about animation? I believe it’s time to talk about some animation. Hell, I’d say it definitely is time to do that. That’s the perk of running your own blog. No editor who can say “No, you can’t talk about animation now”.

Dames y hombres… “Seis Manos” season 1.

1970s Mexico. When a vicious gangster (Danny Trejo) starts unleashing hell upon the world, a group of varying people get brought together to try to stop him. This motley crew includes some martial artists (Aislinn Derbez and Johnny Cruz), a local cop (Angélica Vale), and an American DEA agent (Mike Colter). “Seis Manos” is fascinating in the sense that it’s a pretty eclectic mix of ideas, inspirations, and styles. On the surface it seems be a mix of crime-drama and martial arts action, but then you also start mixing in stuff like grindhouse, comedy, fantasy, body horror, eastern philosophy, and even elements of Blaxploitation. And then you of course also take the Mexican setting into account, which means a lot of that culture gets mixed into proceedings. So you’d think the storytelling of this show would be an absolute clusterfuck… but no, the crazy songs of bitches pulled it off. While it does lose a little bit of focus towards the end, I do still feel that there’s some really solid storytelling going on here. Yes, it’s eclectic, but that also adds a lot of personality to it, while still being a generally entertaining narrative to follow. It does have a fair bit of emotionally resonant drama, but it also generally serves as a fun and unusual tale that is just plain fun to follow.

The characters in this are of course based on tropes and archetypes we’ve seen before, but we do also see them played around with to a decent extent, making for some enjoyable development. Like the three martial artists Isabela, Jesus, and Silencio. One a tough but loving woman, one a big, lovable goof, and one a dark and quiet man. All three start out with that one detail and get some enjoyable development throughout. Then there’s Garcia, the local police officer who gets tangled up in this insanity. A tough but fair cop trying to prove herself while still staying true to herself. And she’s very interesting too. Then there’s Brister, a fridge of a man working for the DEA, working to take down bad guys. He’s a smart-aleck with a lot of colorful lines and a very “I don’t have time for this shit” kind of attitude, which gets tested at every turn for not only great comedy, but some genuinely interesting character development. And the villain, El Balde, is one vicious motherfucker, making for one hell of an intimidating presence. And the voice cast, containing people like Aislinn Derbez, Jonny Cruz, Mike Colter, Danny Trejo, Angélica Vale, Vic Chao, and more, all do very well in their respective roles.

The score for the show was composed by Carl Thiel, and I think he did a really good job with it. Much like with the narrative it complements, the score takes inspiration from many sources. Of course it has some familiar use of strings, keys, and brass for action stuff. But there’s also some traditional Mexican stuff throughout, a little bit of 70s noir-inspired funk, and probably some other specific styles I currently forget. Either way, it’s an interesting mix of sounds that pays off in making for giving the show an interesting soundscape.

“Seis Manos” was created for Netflix by Brad Graeber and Álvaro Rodríguez, with Willis Bulliner handling the directing. It’s also animated by Powerhouse Animation, a studio that I’ve talked about a few times before on this blog (*Shameless* and *Plug*). So as to be expected, I was excited to see how this show would end up looking. And it looks really good. Character designs are charming and fight scenes are kinetic and exciting. While it isn’t Powerhouse’s overall strongest piece of animation, it’s still really well handled, giving us some terrifically directed animation/action to enjoy. Plus, we don’t get much in terms of martial arts animation here in the west, so this show delivering on that was an absolute treat for me.

This show/season has been pretty well received. On Rotten Tomatoes it has a 100% positive rating. And on imdb.com it has a score of 7.2/10.

While the final act of the story is a little bit lacking in focus, season 1 of “Seis Manos” is still a highly entertaining and refreshingly unique bit of animation. It has a good story, good characters, great performances, great music, and great directing/animation/action. Time for my final score. *Ahem*. My final score for “Seis Manos” season 1 is an 8.87/10. So while flawed, it’s still definitely worth watching!

My review of “Seis Manos” season 1 is now completed.

I hope we get a season 2. Or should I say… SEISON!?

Series Review: History of Swear Words – Season 1 (2021)

This is a bit exciting. First 2021 release to be covered on the blog. Are you excited? Because I’m excited. So let’s get into it!

Ladies and gentlemen… “History of Swear Words”!

Fuck you. Don’t worry, I don’t actually mean that. But it’s an interesting phrase. Especially the first word, “fuck”. Why is it like that? Why do we use it as an expletive? Well, this show seeks to answer that. Every episode sees Nicolas Cage introducing us to a well known swear word. And then various linguist experts and entertainers come in as well to give us facts and opinions on swear words and their etymology. You’d think this premise might be a bit of a one trick pony, something that’ll get old after the first five minutes. But you (and I) would be wrong. They not only manage to keep the funny side of the premise going throughout all six episodes, but it also manages to be incredibly informative about the expletives and even language as a whole. They balance comedy and history really well to create a fun whole that is both really entertaining and surprisingly informative. And it’s also interesting when we get the entertainers coming in and giving their thoughts on each of the six curse words, as it sparks a lot of thoughts and discussions within my own head. Am I saying that this is the most nuanced and perfect documentary series ever? No. But the fact that they manage to keep it feeling fresh and entertaining throughout all six episodes deserves to be commended. By the end I felt both amused and educated. Plus, living legend Nicolas Cage makes for a really good host/presenter, so that’s a great bonus.

One thing I like about the craft behind “History of Swear Words” is just how snappy and energetic it is, despite using a lot of familiar documentary tricks. The editing is fast paced and manages to keep things from feeling stale. It also helps that they use a lot of cute little animations when explaining some of the backstories of the words. Basically the directing, editing, and all that manages to ground the show without sacrificing any of the silliness around the premise, making for a highly enjoyable whole.

At the time of writing (I am an early bird) the show has no real ratings on any of my usual sites. So I’m just gonna attach the links and you can see for yourself how the ratings may evolve over time, because I’m too fucking lazy to edit this shit later down the line. Here’s Rotten Tomatoes. And here’s imdb.

While not a revolutionary piece of media, Netflix’s “History of Swear Words” is still a highly enjoyable little piece of edutainment, featuring interesting facts, plenty of laughs, and living legend Nicolas Cage. Time for my final score. *God damn ahem*. My final score for “History of Swear Words” is an 8.73/10. So I’d definitely recommend checking it out.

My review of “History of Swear Words” is now completed.

FFFFFFFFFFFFFFFUUUUUUUUUUDGe is delicious.

12 Films of Christmas 2020 (Final Part)

It’s time, ladies and gentlemen. The final part in my 12 Films of Christmas series. And honestly, it’s most likely not only for this year. While fun has been had with this series, I do feel that it’s getting a little stale. Plus, it is a little draining cranking out themed content at this rate. So consider this series retired… at least for the time being, I might get the urge to bring it back in a few years. But seeing as it’s the alleged final 12 Films of Christmas post, I thought it only appropriate to bring out the grandfather of all holiday films.

So today we’re talking about “It’s a Wonderful Life”, the acclaimed 1946 holiday drama. It follows George (James Stewart) and the many ups and downs of his life. Yeah, it’s basically this man’s life story from child to depressed businessman. It’s a fascinating little holiday tale with sads and happies and other emotions. Now, I’ll be the first to admit that I didn’t find the story perfect. I do feel that it does drag a little at times, mainly in the first two acts. It’s not film-breaking, but it does bring it down a little for me. While I generally think George is a fascinating fella, and the story an intriguing and pretty nuanced one, I do feel that the film’s weird pacing hurts it to some degree.
But I can’t deny just how fucking good that final act is. That’s when the story truly kicks into high gear. That’s where the film really starting hitting me in the ol’ heart. The final act is perfect.
So yeah, I don’t love this as much as the rest of you… but I still think it’s really solid and I’m definitely glad I watched it.

On the twelfth day of christmas, this series it did die
But to this blog Markus he’ll never say goodbye

Merry fucking christmas, friends. Now if you’ll excuse me, I’m gonna take a few days off.

12 Films of Christmas 2020 (Part 11)

Only one more of these left after today. THANK GOD. Don’t get me wrong, I love writing for you guys. But writing for 12 days straight is a bit draining. So when this is over I’m gonna take a few days off. But until then, let’s talk about the penultimate movie for this series.

So for today we’re talking about a brand new movie (oh my god). That movie is “Happiest Season”, a christmas dramedy about Harper (Mackenzie Davis), a young woman who is bringing her girlfriend (Kristen Stewart) along for christmas with the family… except they don’t know that Harper isn’t gay, so the pair have to keep it a bit of a secret until Harper feels ready to come out of the proverbial closest. Cue the sneaking around, misunderstandings, emotional baggage, and personal demons. While I wouldn’t say that “Happiest Season” is the best movie I’ve seen this year, I still think it’s really solid. It handles its subject matter with a fair bit of tact, giving us a pretty nuanced take on this premise. While the movie primarily acts as a comedy, it isn’t afraid to get a bit more serious, really letting us sit with the characters and their emotions for a bit. And while I do think it gets the balance of comedy and drama down quite well, it doesn’t always hold up perfectly in that regard. When you have serious contemplations about the nature of your relationship one minute and awkward slapstick the next, it can get slightly jarring. It’s not enough to ruin the movie, but it did take me out for a sec.
Also, I just have to go off on one thing for a second. Dan Levy. Dan god damn Levy. This guy is gutbustingly funny. Any time (bar one more serious part) he was on screen he made me absolutely lose it. The rest of the cast is great too, there’s not a weak link in that department… but Levy is definitely the MVP here.
So in conclusion, “Happiest Season” may not be perfect, but it’s still a really solid holiday dramedy that both made me laugh, and made me care about these characters. I’d happily watch it again next year.

On the eleventh day of christmas, I watched something gay
And hey guess what, it was truly quite good, yay

12 Films of Christmas 2020 (Part 10)

Hello there, friends, I hope you’re doing great. Not many more of these to go. So soon enough you’ll get a break from my holiday rambling. Just gotta be a little bit more patient. Also, this post is dedicated to my good friend over at iamjacsmusings. He’s not dead or anything, he just helped me pick this one.

So today we’re talking about “Anna and the Apocalypse”, a British indie musical-horror-comedy released in 2018. It’s about Anna (Ella Hunt), a young woman who finds herself trying to survive the zombie apocalypse along with a group of other people, while also trying to find the group’s loved ones. And how will they accomplish this? By bashing the zombies of course! And also SINGING! So it’s a holiday zombie movie that also features people singing and prancing around. It’s one of the most unique mixtures of elements I’ve ever seen in a movie. Yes, we’ve seen holiday musicals. Yes, we’ve seen British zombie comedies. But we’ve never seen all those four combined before… I think, I could be very wrong. Either way, “Anna and the Apocalypse” was my first exposure to it. And it’s a fun time. It’s a breezy jaunt filled with endearing characters, fun jokes, and some really boppin’ tunes.
Now, it does struggle a little bit in the tonal department. I get that a zombie apocalypse is gonna have some serious shit going on (even “Shaun of the Dead” had that), but the shifts in tone don’t feel quite as seamless. It’s not enough to ruin the movie, but it does bring it down a little bit. But with this said, it’s still a fun time.
“Anna and the Apocalypse” is a fun little zom-com-holiday-musical, and definitely worth checking out this holiday season if you haven’t already. And with that, I’ll just leave you with one of the catchy tunes in its soundtrack.

12 Films of Christmas 2020 (Part 7)

Only five days until this little series is over. Which also means only five days until christmas… it’s celebrated on the 24th here in Sweden, don’t argue with me. Anyhow, shall we get on with today’s holiday film?

So today we’re talking about “Arthur Christmas”, a 2011 animated holiday film from Aardman animation. Except you’d be forgiven for not realizing it was Aardman, because this doesn’t use their traditional claymation style. Anyhow, “Arthur Christmas” is about Arthur (James McAvoy), the clumsy son of the current Santa Claus (Jim Broadbent). However, when Santa misses one present, Arthur teams up with his grandfather (Bill Nighy) to deliver it, despite being told that it’s a futile quest. What we get is a charming little fantasy adventure with themes of legacy and overcoming your fears and all those other familiar things we’ve seen in family holiday films. But the execution here is really good, giving us a fast-paced and generally well-written story that I had fun with. It’s also very funny, especially whenever grandsanta (the grandfather) is on screen. He is a goofy, hammy, and a little crazy old man that serves as a comic relief, and does so really well. And with Bill Nighy hamming it up with his vocal performance, you get some absolute fucking gold from grandsanta. The rest of the cast is great too, with people like James McAvoy, Imelda Staunton, Jim Broadbent, Hugh Laurie, and many other awesome people filling out the cast list.
I guess I should also briefly touch on what I said at the start. This is an Aardman film, except it doesn’t look like it. “Arthur Christmas” is completely CGI, with hints of the typical Aardman visual style. And while I am slightly sad about that, I’m not complaining. The movie still looks good, it’s a very well animated movie, filled with plenty of nice colors and movements.
But yeah, “Arthur Christmas” is a charming and funny little holiday adventure. I’d recommend sticking it on if you got 90 minutes to kill and want something lighthearted.

On the seventh day of christmas, Markus spent no money
Lucky for him, he could still watch Bill Nighy be funny

Series Review: Buffy the Vampire Slayer – Season 5 (2000 – 2001)

Don’t worry, there will be more christmas content coming your way. Just thought I’d give you a palate cleanser. And what better than a continuation of my “Buffy” rewatch? So let’s go! Oh, and brief spoiler for the end of season 4 in the plot section.

Ladies and gents… “Buffy the Vampire Slayer” season 5.

With Adam dead and gone, it seems that Buffy (Sarah Michelle Gellar) and her friends can finally go back to some kind of (ab)normal. This however does of course get a bit interrupted when a strange and powerful woman (Clare Kramer) starts causing chaos in the town. So Buffy has to find a way to stop her, all while dealing with the usual monsters of Sunnydale, and also trying to keep her mother (Kristine Sutherland) and sister (Michelle Trachtenberg) safe. People who’ve followed along with the show up until now probably ask “Wait, sister? Dafuh?”. And yes, Buffy has a sister now. While that seems strange and forced at first, over the course of the season we find out why she’s suddenly there, and I think that narrative thread is pretty interesting. And the stuff with Glory (the aforementioned strange and powerful woman) is pretty good too. It’s some of the one-off monster of the week stuff inbetween that isn’t great. The season does overall feel more focused than season 4, it’s a generally better package. But that doesn’t stop it from having some duds throughout, which does bring it down a bit. But I do still like this season’s story quite a bit. It has some great highs, and it has some really harsh moments that hit hard. Yes, the lows are definitely low, but the story this season generally has enough highs to be well into the positive side of things.

The characters in this remain the absolute highlight. The returning cast of Sarah Michelle Gellar, Alyson Hannigan, Anthony Head, Nicholas Brendon, James Marsters, Kristine Sutherland, Emma Caulfield, and Amber Benson are all great, and they all (for the most part) do great stuff with them. So let’s talk about some newer people. First up we have Michelle Trachtenberg as Dawn, Buffy’s little sister who totes mcgotes has been in the show all this time and wasn’t added this season for the sake of a new plot. Okay, I joke. But seriously, the way they implement the character is pretty interesting. And Trachtenberg does an okay job with her performance. Next we have Clare Kramer as Glory, the new big bad. She’s a chatty, charistmatic, and fun villain, a breath of fresh air after the dullness of the previous season’s antagonism. And Kramer is great in the role.

The score for this season was composed by Thomas Wanker (I do not envy that name), with a little additional help by Christophe Beck. And the music here is really good. It’s not as top tier as Beck’s older scores, and often falls back on slightly more generic stings and such. But it’s still enjoyable enough and works decently well for this season.

Season 5 of “Buffy” was written and directed by a whole bunch of different people, and they generally did a good job with it. Scenes flow pretty well, and shot composition is generally quite pleasing. There’s even some decently impressive use of restraint in a few certain moments in the season. You can tell that they’ve perfected their craft here. Even in the weaker episodes, the directin, effects, and such are still really good.

The show/season has been well received. On Rotten Tomatoes the season has an 82% positive rating. On Metacritic the season has an audience score of 5.6/10. And on imdb.com the show has a score of 8.2/10.

While still not able to recapture the magic of seasons 2 or 3, season 5 of “Buffy the Vampire Slayer” is still a really good season of tv, and a major step up from the 5th iteration. It has a good story, great characters, really good performances, really good music, and great directing. Time for my final score. *Ahem*. My final score for “Buffy the Vampire Slayer” season 5 is an 8.32/10. So while flawed, it’s still worth watching.

My review of “Buffy the Vampire Slayer” season 5 is now completed.

Two more seasons to go.

Movie Review: Mank (2020)

A brand new movie from one of my favorite directors, available from the comfort of my own home? Sweeeeet.

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

Ladies and gentlemen… “Mank”.

Hollywood, 1940. We follow Herman Mankiewicz (Gary Oldman), a drunken, opinionated writer as he goes through the tumultuous process of crafting the screenplay for a little movie called “Citizen Kane”. But it’s not just him sitting at some typewriter, rubbing his temples all movie. Because this movie jumps back and forth in time a little bit, showing us Mankiewicz’ struggles in the “present” (circa 1940), but also his antics and encounters with various Hollywood figures in the early 30s. I have mixed feelings about the narrative here. On one hand, it is a pretty interesting look into 1930s Hollywood and the politics within it. But on the other, I never felt emotionally invested in what was going on. I was interested by what was going on, and was certainly never bored… but never did I feel truly hooked. It just feels a bit hollow at times. Again, I wouldn’t call it bad, I did enjoy the narrative on some level, but never did I actually feel any emotional connection to what was happening in front of my eyes.

The characters in this vary in terms of interest. Luckily our main character is at least one interesting figure. He’s Herman J. Mankiewicz, an alcoholic, highly intelligent writer who both gets along and butts heads with many figures within the Hollywood system. He is most certainly an interesting figure that livens up proceedings a bit. And Gary Oldman does a great job in the role. In supporting roles we also see people like Amanda Seyfried, Tom Pelphrey, Lily Collins, Charles Dance, Tuppence Middleton, Joseph Cross, Tom Burke, Jamie McShane, and more, all doing well in their respective roles.

The score for the movie was composed by Trent Reznor & Atticus Ross, and I think they did a good job of it. Their score has a way of really capturing the era the film’s set in, cleverly utilizing some jazzy percussion and a decent bit of unique woodwind usage. It’s hard to properly explain, but I do think their music fits the period perfectly, and it works quite well within the movie.

“Mank” was directed by David Fincher, and written by his late father Jack. And I think Fincher did a good job here. You can tell that he and his production crew really did their damndest to make this movie feel old school and, and I would say that they did that quite well… at the expense of one thing. At no point does this feel like a Fincher film. As a fan of the guy, I’ve learned to pick up on a lot of his tricks and stylistic choices… but they are nowhere to be seen here. It’s hard to explain, but what Finchy brings to his films in terms of style isn’t really here. And that’d be fine, if Fincher’s style wasn’t one of his most defining features. There’s no denying that it’s very well directed, even if it lacks what I love about this director. But to end this section on a high note: Erik Messerschmidt’s cinematography is superb, making perfect use of light, shadows, and the monochrome. It’s a visual treat.

This movie just came out, but already it’s been quite well received. On Rotten Tomatoes it has an 88% positive rating and a “Fresh” certification. On Metacritic it has a score of 79/100. And on imdb.com it (AT THE TIME OF WRITING) has a score of 7.6/10.

While there’s a lot to admire about it, I didn’t find “Mank” that emotionally investing. It has an okay story, pretty good characters, great performances, really good music, great (if slightly off) directing, and excellent cinematography. Time for my final score. *Ahem*. My final score for “Mank” is a 7.77/10. So while flawed, I’d still recommend watching it.

My review of “Mank” is now completed.

I actually haven’t seen “Citizen Kane” yet… maybe I should fix that some day.

Series Review: Fargo – Season 4 (2020)

How I’ve waited for this season to drop. I am a huge fan of this show, loving every season so far. So I was of course anxiously waiting for this one to start airing. It was even supposed to air this spring, but then it got delayed. But it finally started this Autumn, and now it has wrapped up. So let’s talk about it!

Ladies and gentlemen… “Fargo” season 4!

Kansas City, 1950. We follow two crime syndicates, one an African-American group led by Loy Cannon (Chris Rock), and the other an Italian gangster family led by Josto Fadda (Jason Schwartzman). And as we follow their struggle against each other, a bunch of other interesting figures get involved in both their own dealings, and the antics of the syndicates. From a nurse (Jessie Buckley) with some shady secrets, to a policeman with PTSD and OCD (Jack Huston), to a devoutly Mormon U.S. marshal (Timothy Olyphant), all kinds of colorful figures occupy this season of “Fargo”. The story in this is a lot more straightforward than some of the previous ones, being less strange than some of the previous outings. But with this said, that doesn’t mean it doesn’t have a lot going on. Because this season has more threads going on than one might at first assume. And while I am more often than not interested and entertained by everything going on, I do feel like the storytelling here is the weakest of all the seasons. That said, this season has a bunch of great parts, and when this season is on top, it’s fantastic. But then there’s a fair amount of times, especially towards the middle of the season, where it loses a bit of steam for me. It does lose some of its momentum in those parts, but never enough to be considered outright bad. The overall package here is till solid.

Where the storytelling falters at points, the characters remain the best part of this show. All are colorful and nuanced and really fascinating. And the cast is fantastic too, featuring top tier work from people like Chris Rock, Jessie Buckley, Jason Schwartzman, Ben Whishaw, Timothy Olyphant, Jack Huston, Salvatore Esposito, E’myri Crutchfield, Andrew Bird, Jeremie Harris, and many more.

As with previous seasons, the score was composed by Jeff Russo, and as per usual he did a fantastic job. It’s a little eclectic in its instrumentation, creating a lot of different sounds for different scenes, and I love it, it works so well within the colorful canvas of this show. And the handful of licensed tracks used throughout work quite well too.

All episodes of “Fargo” season 4 were co-written by series creator Noah Hawley, with direction by a whole batch of cool people. And the craft here is just as stellar as before. There’s a lot of energy within the directing, crackling in a way that feels wholly unique to this show. All of it wrapped up wonderfully in some really beautiful cinematography.

This show/season has been pretty well received. On Rotten Tomatoes it has an 81% positive rating and a “Fresh” certification. On Metacritic it has a score of 68/100. And on imdb.com it has a score of 8.9/10 and is ranked #36 on the “Top 250 TV” list.

While it’s my least favorite iteration of the show so far, season 4 of “Fargo” is still a damn fine season of tv. It has a good story, great characters, fantastic performances, great music, and fantastic directing/cinematography. Time for my final score. *Ahem*. My final score for “Fargo” season 4 is an 8.78/10. So while it is pretty flawed, it is still definitely worth watching.

My review of “Fargo” season 4 is now completed

Is Olyphant gonna get typecast as a marshal for the rest of his career?

Series Review: Yellowstone – Season 3 (2020)

This show is fascinating to me. It’s never been one of my favorites, but I always feel compelled to come back to it when a new season airs. It’s like Al Pacino says in “Godfather Part 3”: Just when I thought I was out, they pull me back in. So let’s see if this third season is any good.

Ladies and gents… “Yellowstone” season 3.

It’s summer in the valley, and everyone of the Dutton clan is slowly settling back into their lives after the tumultuous events of season 2. But just when the characters think they might be able to take a breather, a seemingly friendly, yet cunning businessman (Josh Holloway) starts making moves to get hold of the Yellowstone ranch for his own businesses. And as per the norm with this show, things start escalating from there, both for the Duttons themselves, and for the people around them. When this season started, something fascinating happened. I felt fully invested in what was going on. In previous seasons that was a little hard at times, either due to weird pacing or overbearing melodrama. But for the first few episodes there was no real sign of that. It felt like new life had been breathed into the show. But then towards the middle the show fell back into that aforementioned pit for a bit. But towards the end it really swung up to greatness again. But I do think the story on the whole this season is really strong. While the things I didn’t enjoy in previous seasons occur, there’s certainly less of them this time around. And when this season isn’t wallowing in some of that melodrama, then it is fucking fantastic. The dark moments are truly dark, the stakes feel truly high, and when a moment wants to leave a visceral impact, then it really does. Again, it’s still not a perfect line, but it’s damn close to getting there.

The characters in this are flawed, colorful, fascinating, and quite entertaining. The returning main cast of Kevin Costner, Kelly Reilly, Wes Bentley, Luke Grimes, and Kelsey Asbille all give great performances, and we get to see their characters develop in some really great ways. Returning supporting cast of people like Jefferson White, Brecken Merrill, Cole Hauser, Forrie J. Smith, Gil Birmingham, Denim Richards, Ian Bohen, and Mo Brings Plenty are all great too. Let’s talk about newcomer Josh Holloway, who plays Roarke, a well spoken, outwardly friendly businessman who creates some tension for the Dutton empire. At first he seems like a breath of fresh air, compared to the sliminess of Danny Huston’s Jenkins or the intensity of Neal McDonough’s Beck. But then he barely has any real presence within the narrative. Roarke’s shareholders and attorneys and such take up more space than him, and it almost makes him feel like he has little place within the story. Holloway does a good job with his performance, but the characters just kinda fizzles out in interest over time. So main antagonist aside, the characters here are great.

The score for this season was composed by Brian Tyler and Breton Vivian, and I think they did a really good job with it. The score retains that pseudo-western vibe that we’ve come to expect, and uses it to create a compelling soundscape that works really well for the show. There’s also a bunch of licensed songs used throughout, and they work pretty well too.

As with the previous two seasons, all episode of “Yellowstone” season 3 were written by Taylor Sheridan, with some other cool people directing. And the craft on display here is of course top notch, they’ve really come into their own in this department. The direction is confident and bold, really capturing the sweeping scale of the setting, all without sacrificing the intimacy to the characters. And this helps keep every scene feel somewhat interesting, even if the writing may dip a little bit. And the cinematography by Jim Denault and William Wages is terrific. It’s just well crafted, yo.

This show/season has been pretty well received. On Rotten Tomatoes it has an 83% positive rating. And on imdb.com it has a score of 8.5/10.

While not perfect, season 3 of “Yellowstone” is still a massive step in the right direction for the show, giving us the best season so far. It has a really good story, great characters, great performances, really good music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “Yellowstone” season 3 is an 8.88/10. So it’s definitely worth watching.

My review of “Yellowstone” season 3 is now completed.

Yeehaw.