Series Review: Buffy the Vampire Slayer – Season 2 (1997 – 1998)

As some of you may know, earlier this year my mother and I started our rewatch of this show. And I promised to document said journey. Episode-by-episode thoughts will be posted to my twitter as soon as an episode is watched. And as each season gets finished, I will (as seen here) write a review of them all. Enough dawdling, review time!

Ladies and gentlemen… “Buffy the Vampire Slayer” season 2!

Summer holiday is over, which means Buffy (Sarah Michelle Gellar) makes her return to Sunnydale after spending some time with her dad in L.A. Which means it’s back to business as usual: Trying to get good grades in school while also working to save the people of Sunnydale from various supernatural threats, including the newly arrived vampires Spike (James Marsters) and Drusilla (Juliet Landau). Season 2 takes the basic setup of the first season, and improves upon it tenfold thanks to increased budget and confidence in the writing. The main arc(s) in this season mesmerizes, creating an emotionally resonant experience that leaves a unique emotionally visceral impact by the end of it all. The highs of this season are even higher than the first one. Yes, there are still a dud or two, such as the much maligned “Go Fish” or the messy “Bad Eggs”. But then you get some truly awesome experiences in exchange, such as the wonderful “Halloween” or the spectacular and gut-wrenching “Passion”. So while there are a few less than stellar episodes, the overall package is a huge leap in quality from the first season, making for a fucking terrific batch of stories.

The characters in the show are still very colorful, fun, and entertaining, but also get a shitload of development, deepening our bond to them even further. Sarah Michelle Gellar of course returns as the titular vampire slayer. She gets to go through a loooot of stuff this season, and whoa, by the end she has developed so much as a character, which is truly compelling. And Gellar is great in the role, really getting to flex her acting muscles even more than in the first season. David Boreanaz returns as Angel, the vampire with a soul… that means he’s not a bitey bastard anymore, for you uninitiated folks out there. And like Buffy, he goes through a lot of stuff this season that is really interesting to see, both in how it affects him as a character, and how it affects his relationship with Buffy. And Boreanaz is great in the role. Alyson Hannigan, Nicholas Brendon, and Charisma Carpenter return as Buffy’s friends, and they’re all great, both on the character and acting front. Anthony Head is still wonderful as Buffy’s Watcher/mentor Giles. Now let’s talk about some newcomers… namely Spike and Drusilla, the newly arrived vampires. Spike is an anarchic punk, an absolute dick who likes to cause chaos and fear where he goes… and that kind of makes him the best character, because he’s just a blast to watch, especially since James Marsters clearly has a blast with the role. Next is Drusilla, Spike’s girlfriend, and resident crazy person. I don’t wanna say much more, since I find her personality and arc to be more fascinating to experience rather than told. But I’ll say that she’s interesting and Juliet Landau does a good job in the role. And with people like Robia LaMorte, Kristine Sutherland, Armin Shimerman, Seth Green, Danny Strong, and many more filling out the supporting cast, you get a lot of solid performances.

Season 1 composer Walter Murphy did not return for this second go-around, with compsing duties being handed over to Christophe Beck. And just like with the storytelling and character arcs, the music of season 2 is a vast improvement on the first season. Way fewer synthesizers to emulate orchestras are used, with real instruments getting to take center stage. And while there are some big, bombastic pieces for action set pieces, the overall vibe of the score this season is somber, giving off an understated feeling of sadness that still manages to have some hope behind it. Of course this is best shown in the track “Close Your Eyes”, but it does show in a few other pieces too. Beck really brought his A-game here. There’s a few licensed tracks used throughout too, and they’re fine.

As with season 1, Joss Whedon and a bunch of other cool people handled writing and directing for the season, and generally it is all really well handled (yes, even in bad episodes). It’s well shot, fight choreography ranges from alright to really good, the craft is just generally improved from the first time around (wow, saying that is really getting old). You can tell that the creatives behind the show really cared, trying to bring it to 110% each time (with varying results). Even the effects are improved… even though that doesn’t say much, because we’re talking about late 90s tv budget CGI for certain effects. The practical stuff looks fantastic, but hooooo boy, some of them there fancy computer effects aren’t so fancy anymore. It doesn’t ruin the experience for me, but it’s worth pointing out. Generally the craft here is terrific.

The show/season has been well received. On Rotten Tomatoes it has a 92% positive rating. On Metacritic it exists, but with no critics rating. And on imdb.com it has a score of 8,2/10.

While it does have one or two low points, season 2 of “Buffy the Vampire Slayer” is still a great sophomore outing that takes its simple premise and elevates it to something really special. It has a great story, great characters, great performances, great music, and great writing/directing/action/effects. Time for my final score. *Ahem*. My final score for “Buffy the Vampire Slayer” season 2 is a 9,78/10. So yes, that is correct, it does indeed get the “SEAL OF APPROVAL!”.

Season 2 of “Buffy the Vampire Slayer” is now completed.

“Go Fish”, more like “Go Fuck Itself”.

Movie Review: The Invisible Man (2020)

The world is a scary place right now, so let’s just stay inside and escape from scary shit. So what’s on the menu? Scary shit? Oh my.

Invisible ladies and invisible men… “The Invisible Man”.

A short while after she manages to escape from her abusive boyfriend, Cecilia (Elisabeth Moss) finds out that he’s committed suicide. She’s free from his terror at last… or so she thinks. “The Invisible Man” is a title that conjures up a lot of silly bullshit in my head. It’s a bit of a ridiculous premise. But this movie takes its setup and creates something that is mature and slow-paced, tackling some sensitive subjects in a way that emotionally invests the viewer from the start. And on top of that, it’s scary. The deliberate pacing allows the filmmakers to instill a slowly simmering sense of dread into every scene, fucking with the viewer’s head at every turn. It’s a story that perfectly balances a mature and serious drama with psychological thrills to create one of the most refreshing and electrifying horror narratives I’ve experienced in recent years.

The movie cleverly finds ways to quickly introduce you to the characters and get you invested in them, without purely relying on spoken exposition. Elisabeth Moss plays Cecilia, the woman at the center of our story. She’s been through some horrible stuff that I wouldn’t wish upon anyone. So it’s interesting to see everything she goes through here, and how it shapes her as a person. Ups, downs, she gets to hit all the notes, and it’s utterly enrapturing. And Moss is fantastic in the role. Then we got Harriet Dyer as her sister Emily, who is really good in that role. Aldis Hodge plays Cecilia’s friend, James, and he’s really good in his role. Storm Reid is really good in her role. Really, every actor in this movie brings their A-game.

The score for the movie was composed by Benjamin Wallfisch, and I think he did a fantastic job with it. Like with the film’s deliberate pacing, it has a way of instilling a sense of dread, which chilled me down to the bone. Wallfisch also created some low-key haunting pieces for slower, more emotional scenes and some louder pieces for some of the more overtly horrific scenes, and it’s all fantastically well composed.

Loosely inspired by the H.G. Wells novel of the same name, “The Invisible Man” was written and directed by Leigh Whannell. And man, he did amazingly with that. His direction is slow and confident, creating suspense on a level that is seldom seen in a lot of mainstream horror. And when you combine Whannell’s directorial skills with Stefan Duscio’s otherworldly cinematography, you get some insanely engaging and memorable visuals that add to the drama and horror.

This movie has been very well received. On Rotten Tomatoes it has a 91% positive rating and a “Fresh” certification. On Metacritic it has a score of 71/100. And on imdb.com it has a score of 7,5/10.

“The Invisible Man” is the rare remake/reimagining that goes above and beyond in justifying its existence. It has a great plot, really good characters, great performances, fantastic music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “The Invisible Man” is a 9,90/10. Which of course means that it gets the “SEAL OF APPROVAL!”.

My review of “The Invisible Man” is now completed.

You can’t see the man, but you should see the movie.

Series Review: Transformers Prime – Season 1 (2010 – 2011)

Hello. My name is Markus. I’m 22 (soon 23) years old, and I watch kids cartoons. And you can’t fucking stop me.

Ladies and gents… “Transformers Prime” season 1.

A heroic group of alien robots known as the Autobots secretly reside on planet Earth as they try to fight off the villainous Decepticons. The setup is basically the same as any other “Transformers” adaptation, Autobots fighting Decepticons, Autobots having some human friends, yada yada yada. No need to dwell on the setup stuff, as it’s basically the same in most shows. However, “Transformers Prime” transcends its well-trodden premise in its execution, which is pretty damn good. While it’s still a kid-friendly action cartoon, it sports a fairly serious tone that isn’t afraid to go to some surprisingly dark places at times, making for a show that can give kids the colorful action fix they might want, while also featuring some surprising nuance for any potential adults (AKA me) watching. Even the filler episodes help further develop the world and characters, while still retaining a relatively closed off plot for those specific episodes. Am I saying this is the deepest plot for a show ever? Of course not. But it’s still way more compelling than I actually expected, leading me to be genuinely invested in what was going on without solely relying on my nostalgia for this franchise.

The characters in this are colorful, fun, and surprisingly nuanced (kinda like the plot). The cast is a bit too big to go into detail for, so here’s just a quick rundown (starting with the core Autobot team). You got Peter Cullen back as the ever inspiring Optimus Prime, you got Kevin Michael Richardson as the strong but not too smart Bulkhead, you got Sumalee Montano as the fierce and loyal Arcee, and you got Jeffrey Combs as the ever cranky but lovable Ratchet. Among the bad guys you got Frank Welker (fuck yeah) back as the menacing Megatron, you got Steve Blum as the ever scheming Starscream, you got Daran Norris (who possibly gives my favorite performance in the show) as the sassy and clever Knock Out, and you got Gina Torres as the sinister Airachnid. As for human characters, you got Josh Keaton as aspiring cool guy Jack, you got Tania Gunadi as the almost annoying, but luckily endearing Miko, you get Andy Pessoa as the young but bright Rafael, and you get Ernie god damn Hudson as Special Agent Fowler. Sorry I won’t go into more detail on each character, but I don’t have the time or willingness to ruin some interesting developments that occur.

The score for the season was composed by Brian Tyler and Matthew Margeson, and I think they did a good job with it. For the most part it is of course the cool action brass one might expect, but it does get a little more somber when needed. There is also frequent use of the main theme as well, but I’m fine with that, because it’s great. Really, this score is solid.

“Transformers Prime” was developed for the Hub Network by Alex Kurtzman, Roberto Orci, Duane Capizzi, and Jeff Kline, with writing/directing by a whole load of cool people. And I have to say, this show is way more well crafted than I expected… those last three words seem to be coming up a lot in this review. The first time I saw the art style, I wasn’t really a fan. But when I watched it in action, I grew to really like it, with only a few minor niggles regarding some of the human designs. But the overall animation here is great, showing plenty of detail without sacrificing good movements and such. Usually I tend to lean towards preferring drawn 2D animation, but here I think the animation team made great use of 3D animation to create a lot of fun angles and camera movements, making for some spectacular action scenes.

The show doesn’t really exist on my sites I use for this “other ratings” section. But on imdb.com it has a score of 7,8/10.

Season 1 of “Transformers Prime” surprised the hell out of me, it’s one of the best action cartoons I’ve seen in recent years. It has a really good plot, really good characters, great performances, really good music, and great directing/animation. Time for my final score. *Ahem*. My final score for season 1 of “Transformers Prime” is a 9,62/10. So it does get the “SEAL OF APPROVAL!”.

My review of “Transformers Prime” season 1 is now completed.

Roll out…

Series Review: Second Chance (2016)

Do you ever think about what happens after we die? I mean, sure, our bodies stop functioning and there’s just a lifeless husk. But if you allow yourself to add the idea of a soul to the human equation, it becomes way more intriguing. Does it stay in the same space, experiencing everlasting darkness, or will it move on to a new host? I’m just intrigued by this kind of stuff.

Ladies and gentlemen… “Second Chance”.

When ex-sheriff Jimmy Pritchard (Philip Baker Hall) gets killed when trying to stop a break-in, he is brought back from death by twins Mary (Dilshad Vadsaria) and Otto (Adhir Kalyan), this time as a much younger and more powerful man (Rob Kazinsky). And Pritchard uses this second chance to try to reconnect with his son (Tim DeKay) and help him solve crimes. That’s right, they have a clever setup for a sci-fi/drama, and they force in a procedural element. And the case each week isn’t even sci-fi related (bar like one), but instead tends to be more regular affairs. And while it could get away with this with clever writing, á la “Lucifer”, it doesn’t really have that going for it. I wouldn’t call the story of this show bad. The individual cases are fine distractions, and the few times they introduce a more overarching plot to it all it is pretty fun. And the occasional bit of family drama works pretty well too. So overall… this stuff is okay.

The characters in this have good setups, and are on occasion pretty interesting. In our leading role we have Rob Kazinsky as the recently resurrected Jimmy Pritchard. A rough-around-the-edges ex-sheriff with a rocky past, trying to do good in his newly given second chance, even if it isn’t always easy. And that makes him a fun character to watch, with Kazisnky bringing a rugged charisma that makes him even more fun to watch. Dilshad Vadsaria and Adhir Kalyan as the two twins have an interesting dynamic since they’re such opposites in various regards, and I thought they both were good in their roles. Tim DeKay as the disgruntled son is a bit of fun, and makes for some good scenes between him and Kazinsky. And I can’t complain about the occasional bits we get with Philip Baker Hall, because he’s just great. Really, it’s a mostly solid cast.

The score for “Second Chance” was composed by John Paesano, and this is the weakest work I’ve ever heard from him. Now, that’s not saying Paesano’s a bad composer, because he’s fantastic. It’s just that his score here is so bland and unmemorable that if I tried remembering and humming it right now, a singularity of blandness would erupt in my room, causing everything in here to turn grey and brown. Again, Peasano is great, but I get the feeling he wasn’t allowed to flex his composing muscles here.

The show was created for the FOX network by Rand Ravich, with writing by him and other cool people, and direction by various people. And the craft here is fine. Most of the time it’s standard single cam setups, with little thought to much else. On occasion we get a decent shot, and sometimes we get some decently enjoyable action. But the overall craft here doesn’t go much further beyond pretty good, probably because of the limitations of the procedural format.

This show has gotten some mixed reception. On Rotten Tomatoes it has a 30% positive rating. On Metacritic it has a score of 47/100. And on imdb.com it has a score of 7,5/10.

While it doesn’t do much to stand out from the pack, “Second Chance” is still a decent Sunday afternoon distraction. It has an okay plot, good characters, really good performances, mediocre music, and decent writing/directing. Time for my final score. *Ahem*. My final score for “Second Chance” is a 6,57/10. So while heavily flawed, it can still be worth a watch.

My review of “Second Chance” is now completed.

It seems FOX isn’t gonna give this show a… second chance.

My Favorite Scenes: Doom Patrol – People Like Us

Holy shit, ain’t this a corpse. When was the last time we did a My Favorite Scenes post? February 2017? Okay, not quite as far back as I thought, but still… that’s nearly three years. Well, for any newer readers, this series is all about me explaining why I like certain scenes in movies and tv. A blogger friend of mine had a similar series and I nicked the idea from him. As you can probably imagine, this involves some spoilers for any particular movie or series that the scene is featured in. So be warned. Anyway, let’s talk about “Doom Patrol”!

Based on the DC comic book team of the same name, “Doom Patrol” is about a group of misfits who have all been brought together by Doctor Niles Caulder (Timothy Dalton), since they really have nowhere else to go. And in the show, Niles goes missing, which leads to various adventures where the team tries to find clues to his whereabouts, while also dealing with their own personal demons. I actually reviewed the first season of the show in 2019 (*cough* shameless plug *cough*), and mentioned in that show that I absolutely adored its mix of relatively unknown superheroes, compelling character drama, and hilariously crude humor. And today we’re talking about a scene that kind of encapsulates some of that. So it goes without saying, spoilers for “Doom Patrol”, and in particular its 8th episode, “Danny Patrol”.

So in episode 8, “Danny Patrol”, two of the team’s members, Larry Trainor/Negative Man (Matt Bomer/Matthew Zuk) and Cliff Steele/Robotman (Brendan Fraser/Riley Shanahan) get transported to Danny, a sentient, teleporting, gender-queer street (yes, you read that right), when it needs help from Doctor Caulder (who is still missing at this point). While here, Larry and Cliff make acquaintances with Maura Lee Karupt (Alan Mingo Jr.), a sort of front person for Danny, the sentient, teleporting, gender-queer street (god, I love saying that). And during a scene in the episode, Larry gets invited up to sing some karaoke, in which he does and begins covering “People Like Us” by Kelly Clarkson. And during this musical number, you see Larry open up, show some actual joy. His entire life, he’s been a bit of an outsider, starting as a closeted gay man in the 1960s U.S. Army, and then later being a bit of a radioactive freak with a strange alien being living inside of him, which of course kinda prevented him from bonding with people. But finally it seems like he has found some people who just accept him for who he is. Freaks, outcasts… “People like us, we gotta stick together”. And then when the ending of the scene revealed itself, it was a bit of a gut punch to me. In lesser hands, this could’ve just been a goofy scene of a mummy-man singing a song from an American Idol winner while visiting a sentient, teleporting, gender-queer street. But thanks to the wonderful writing and world-building of “Doom Patrol”, it became one of the most uniquely compelling scenes I’ve experienced in any recent tv show, even making me tear up when I first saw it.

Scenes like this is why I adored season 1 of “Doom Patrol”, and is why I am really looking forward to whatever madness they’ll be concocting for season 2.

Have a good one, and show some love to people around you, even when you’re not standing near a sentient, teleporting, gender-queer street.

12 Films of Christmas 2019 (Final Part)

We’re finally at the last part of this silly series of mine. It’s been fun for me to contrive reasons for non-christmas movies being christmas movies. And since we started this series with “Star Wars”, we might as well end it with “Star Wars”. *Checks title*. Oh god.

*Deep fucking sigh*. The “Star Wars Holiday Special” is a 1978 CBS tv movie somehow following on from George Lucas’ 1977 smash hit. It’s about the family of Chewbacca, and how they’re waiting for him to come celebrate the holidays with them. And as the creators try to fill out a 90 minute runtime, before that happens, we experience a whole bunch of different skits and music videos supposedly set a long time ago in a galaxy far, far away. That’s right, it’s a variety show, including people like Art Carney, Bea Arthur, and Jefferson fucking Starship. So let’s get contriving.

Now, right off the bat I imagine you calling humbug on this, since it’s called “Holiday Special”. But let me clear something up, this isn’t about christmas… or hanukkah… or kwanzaa. It’s about Life Day. What’s Life Day? Fuck if I know, it’s some weird wookie holiday made up for this fever dream. But it’s not any actual holiday, so it goes. So what’s my contrivance then? Well, I could use the excuse of it being about a family get-together, which would be the easy way out so I could get this done quickly. But I’m gonna use something else.
So as mentioned earlier, this “Star Wars” thing is inexplicably a variety show, which is contextualized as things that Chewie’s family puts on through various monitors. And none of it is interesting or makes much sense… just like tv programming around the holidays. Sure, on occasion you might catch a decent flick (or in this Special’s case, a Jefferson Starship number), but for the most part it’s just a weird hodgepodge of stuff.

As you probably gathered from this post, I was not a fan. Christmas eve should usually be all about joy and love, but I guess I felt like a bit of misery was in order too.

Happy holidays.

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.

Series Review: Watchmen – Season 1 (2019)

That’s right, it’s not just christmas contrivances you’ll get. Regular reviews will show up too, I ain’t forgettin’ my roots. So, let’s talk about a comic book thing.

Ladies and gentlemen… “Watchmen” season 1!

Set in an alternate version of 2019, “Watchmen” follows a whole bunch of people, as they try to navigate the strange and intense happenings of this world they live in. And that’s pretty much all I’ll say in regards to explaining the core plot, because it’s such a weird and unique experience that if explained further, it would risk kinda ruining it. But I’ll say that the ways it ties into the classic comic book are really neat, and even looking at it without really knowing much (if anything) about the comic, it’s still a highly entertaining and unique journey that has a satisfying beginning, middle, and end.

The characters in this are flawed, layered, colorful, and just really interesting. Regina King plays Angela Abar, an undercover police officer who more or less serves as the main protagonist of the story. She’s tough, but she does also have a vulnerable side that makes her feel more human and relatable. And King is great in the role. And that’s all the cast I’ll go into, as some reveals are better left experienced (kinda like the plot). But I can say that the cast is filled out with people like Jean Smart, Tim Blake Nelson, Sara Vickers, Jeremy Irons, Don Johnson, Louis Gossett Jr, Yahya Abdul-Mateen II, Tom Mison, James Wolk, and many more, all doing very well in their respective roles.

The score for the show was composed by Trent Reznor & Atticus Ross, and good god damn, they did a phenomenal job with it. They do some tracks that are quite exciting and cool-sounding, while also providing some tracks that are a bit more dramatic and emotional. They have created a score that not only covers every emotion one needs created for a show like this, but also fits the weird and unique style of everything else in the show. There’s also some licensed tracks used throughout, and they work quite well in their respective scenes too. So yeah, this show has good music.

Based on the classic DC Comic by Dave Gibbons and Alan Moore, “Watchmen” was developed for HBO by Damon Lindelof, who also served as lead writer, while giving directing duties to a whole bunch of other people. And the craft on display here is absolutely superb, creating a world that is familiar (thanks to it technically still being earth), and yet a bit alien, thanks to its awesomely off-kilter tone. The directing is energetic, but also suspenseful, fun, and engaging. The cinematography too is stunning, giving us some great lighting and framing. And with all this said, episode 6… some of the best craft in a tv episode this year, from the shots, to the editing, to the directing… it’s fucking spectacular.

This show has been well received. On Rotten Tomatoes it has a 96% positive rating and a “Fresh” certification. On Metacritic it has a score of 85/100. And on imdb.com it has a score of 7,8/10.

“Watchmen” is one of the best new shows of 2019. It has a great plot, great characters, fantastic performances, great music, and great writing, directing, cinematography, and editing. Time for my final score. *Ahem*. My final score for “Watchmen” is a 9,90/10. Which means that it gets the “SEAL OF APPROVAL!”.

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

I know I called this season 1, but I sincerely hope there are no more seasons. This is a perfectly contained package.

12 Films of Christmas 2019 (Part 2)

Well hey there, everyone. Welcome back to the second part in this series that I really should’ve called “12 Contrivances of Christmas”. Ah, fuck it, too late now. So let’s get into it.

So if you’re a bit of a sci-fi buff, or you just watch a ton of movies, you probably figured out from the top image that we’re talking about “Sunshine” today. Released in 2007, the movie was directed by Danny Boyle, written by Alex Garland, and starring a whole bunch of recognizable people. And it’s about the crew of a spaceship set to deliver a big bomb to space in an attempt to try to reignite our dying sun. So you’re probably wondering how I’m gonna contrive my reasoning for this one. Well, buckle up, because I am ready to deliver my reasoning.

Imagine. The sun is about to die. No sun, no warmth. No warmth, no life. No life, no christmas. So really, this non-christmas movie is all about saving christmas! Easy peasy, lemon contrivanceasy! But yeah, that’s my reasoning. Also, there’s a bit in the movie where you see a photo of the ship’s crew, wearing santa hats, clearly celebrating christmas. Double reason, double christmas contrivance! HAHA.
All joking aside, I love “Sunshine”, it’s one of my favorite sci-fi movies. It’s tense, emotional, exciting, visually stunning, and a feast for the ears.

Have a good one.

12 Films of Christmas 2019 (Part 1)

Season’s greetings, ladies and gents. Alright, enough of that holly jolly shit, let’s get down to business. For a few years now, I’ve had this series on my blog where I do twelve shorter pieces starting on December 13th, leading up to December 24th (AKA the date where us in Sweden primarily celebrate christmas). First two years, I did christmas songs. The next two, I did films. Now, for this year, I’m doing films again. However, I’m throwing a monkey in the wrench this year… I won’t use actual christmas movies. Instead I’m just using 12 movies, and I have to contrive a reason as to why I’m mentioning them in a christmas series. Gotta find some way to switch up the monotony, you know. So without further ado… here we go.

As you probably guessed from the image at the top, I am starting this series off with a classic of sci-fi/fantasy cinema. “Star Wars: The Empire Strikes Back”, released in 1980, sequel to the 1977 super surprise hit “Star Wars”. It once again follows Luke, Leia, and Han (Mark Hamill, Carrie Fisher, Harrison Ford) as they battle against the sinister galactic empire. Most of you probably assume that my contrivance for this is the first act of the movie, which is set on the snow-covered planet of Hoth. And while that adds to it, it’s not my main motivation (twist, motherfuckers). But for my contrivance to work, there will be spoilers. So if you haven’t seen “Empire Strikes Back”, then you’re either lying or you’ve lived under a rock for the past 39 years. So if you don’t want spoilers, go watch it, then come back. Don’t worry, I’ll wait…

Dramatic exaggeration of my long wait.

Welcome back. Now, spoilery contrivance time. If you’ve seen this movie, you should know that it’s all about bringing friends and family together, which is also what the holidays are about. First things first: We see Han get reunited with his old buddy Lando Calrissian (Billy Dee Williams). It seems slightly tense at first, but then there’s a hug and laughter and offers of refreshments.

And then there’s the family reunion. Later in the movie, we have Luke meeting the spooky looking Darth Vader (David Prowse/James Earl Jones). They scuffle a bit, Luke gets disarmed (HA!), and that’s when the classic line happens. No… I am your father! Got chills when I rewatched it yesterday, it’s still great. And isn’t it nice to see a boy and his father get reunited? Sure, it’s a bit awkward at first, but somewhere down the cockles of your heart, there’s still a bit of holiday heart warmth to it.

“Empire Strikes Back” is not only a fantastic movie, but also a nice, heartwarming movie about awkward reunions with friends and family. Perfect holiday analogy!

Have a good one.