Series Review: Midnight Mass (2021)

It’s finally here, friends… THE MONTH OF SPOOKS! That’s right, Oc-fucking-tober, a month of spooktacular content! Yeah, I’m excited. So let’s go!

Ladies, gents, and non-binaries… “Midnight Mass”.

“Midnight Mass” follows the residents of Crockett Island, a remote little mound somewhere in America, as strange things start happening around their home following the arrival of a new, charismatic priest (Hamish Linklater). This show is at its core a character-driven drama, delving deep into themes of grief, guilt, faith, and past traumas, and I find all of it compelling. The way that this stuff is handled throughout the seven episode run is some of the most nuanced and beautiful storytelling I’ve had the pleasure of experiencing in any show. This even gives extra weight to the sections which lean more on classic horror, both in terms of thematic depth and  in terms of how much suspense and terror it is able to generate. So yeah, the story here is emotionally resonant, nuanced, unpredictable, scary, and overall just fucking spectacular.

The characters in this show are all very flawed, layered, colorful, and insanely interesting to follow. All of them have some past (or present) trauma going on, and it makes for some incredibly engaging character work. What helps this further is the frankly insane cast, featuring people like Kate Siegel, Zach Gilford, Hamish Linklater (who is the standout for me), Henry Thomas, Kristin Lehman, Rahul Kohli, Annabeth Gish, Samantha Sloyan, Annarah Cymone, and many more, all giving top tier performances.

The score for the show was composed by The Newton Brothers, who absolutely knocked it out of the park with the music here. I’ve enjoyed their work in the past, but I feel like they really outdid themselves here. Of course you do have some traditional horror stings, but there are also a lot of quieter, more emotional pieces throughout the show as well, along with some frankly haunting bits as well. It manages to hit every kind of emotion possible, making for a very engaging soundscape that adds a lot to the show.

“Midnight Mass” was created for Netflix by Mike Flanagan, who also directed and co-wrote all the episodes. And I gotta say, the dude knocked it out of the fucking park with his directing here. Not that Flanagan’s direction has ever been bad, but you can tell that this was a real passion project for him just by how all out he goes with the way his shots flow, how tightly edited it is, and how just how ambitious it can be at times. Further adding to this is the cinematography by Michael Fimognari, which is beautiful and really adds to the storytelling. The special effects in this are all great as well. It’s just an insanely well crafted show that you can tell everyone involved put 250% into. I know that is mathematically illogical (and possibly impossible), but I don’t care, it’s how I feel.

This show 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 74/100. And on imdb.com it has a score of 7.9/10.

“Midnight Mass” is an absolutely phenomenal horror show that had me glued to the screen from start to end. It has a fantastic story, great characters, fantastic performances, great music, and fantastic directing/writing/cinematography. Time for my final score. *Ahem*. My final score for “Midnight Mass” is a 9.94/10. Which does mean that it gets the “SEAL OF APPROVAL!”.

My review of “Midnight Mass” is now completed.

Month of Spooks is off to one hell of a start!

Series Review: Guilt – Season 1 (2019)

Have you ever lied? If you said no, then that’s most certainly a lie, because we’ve all done it at some point. And since you lied to me, doesn’t that make you feel a little guilty? Anyhow, let’s talk about a Scottish tv show.

Ladies, gents, and non-binaries… “Guilt” season 1.

While driving home from a party, brothers Max (Mark Bonnar) and Jake (Jamie Sives) accidentally run over an old man, killing him. The two then do their best to cover their tracks and move on with their lives. However, as with most stories, things don’t work out quite so easily. Right off the bat, “Guilt” had me hooked. It had a great setup for a crime-thriller narrative that they then told in an often darkly comedic way. It made for one hell of an engaging watch… for part of it. The first two episodes I thought were genuinely great, starting with its relatively simple premise and building cleverly upon it. But then the remaining two episodes screwed itself a bit by convoluting matters. I get that thriller narratives tends to have a few twists and turns to them, that’s par for the course. But I feel like “Guilt” has a few too many, messing with the tightness and flow of the story. I was still entertained throughout the last two episodes, and there are a few really good moments (including the ending). I just felt that it got a little messier than it needed to. Overall, it’s pretty good.

The characters in this show are colorful, flawed, and overall quite interesting. Mark Bonnar plays Max, the older of the two brothers. A successful lawyer with a snazzy house, snazzy clothes, and an overall snazzy life, it’s interesting seeing what a stressful situation like this does to him. It reveals quite a bit and provides some great character development, with Bonnar being absolutely phenomenal in the role. Next we have Jamie Sives as Jake, the younger of the brother. Normally a quiet record store owner, seeing how he tries to deal with the guilt (HA!) of the whole “Oops, accidental murder” situation is fascinating. And Sives is great in the role. I also want to quickly mention that these two actors work wonderfully together, with the clashing of the characters’ personalities making for some excellent character drama. Anyhow, we also get supporting work from people like Ruth Bradley, Moyo Akandé, Emun Elliott, Sian Brooke, and more, all doing very well in their respective roles.

The score for the show was composed by Arthur Sharpe, and I think he did a pretty good job with it. He has an interesting way of blending traditional thriller cues with some light rock elements, which gives the show a very fun soundscape. There’s also a handful of licensed tracks used throughout, and they work quite well in their respective scenes.

“Guilt” was created and written by Neil Forsyth, with directing duties handled by one Robert McKillop. And I think they did a really good job on that front. The direction of this show has this really vibrant energy about it that keeps it from ever getting dull, making it feel like it moves along at a clip, which helps keep scenes engaging. Helping further this is Nanu Segal’s terrific cinematography, and some fantastically snappy editing by Nikki McChristie and Colin Monie. It’s just a really well crafted show.

This show/season has been pretty well received. On Rotten Tomatoes it has a 100% positive rating. On Metacritic it exists, but seems to have no real consensus. And on imdb.com it has a score of 7.3/10.

Despite getting a little tangled in its own twisting web towards the end, season 1 of “Guilt” is still a highly enjoyable batch of episodes. It has a good story, great characters, fantastic performances, really good music, and great directing/editing/cinematography. Time for my final score. *Ahem*. My final score for season of “Guilt” is an 8.35/10. So while flawed, it’s still worth watching.

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

I love Mark Bonnar, he’s such a good actor.

Series Review: Line of Duty – Season 6 (2021)

Anyone who’s followed this blog for an extended amount of time knows what a big fan of this show I am. So obviously I was quite excited that it had returned this year, despite delays due to covid. And now I’ve finally watched through this latest season, I’m ready to share my mad ramblings about it.

Fellas, ma’ams, and bent coppers… “Line of Duty” season 6.

Following in the murder of a journalist,  AC-12 get tasked with looking into DCI Jo Davidson (Kelly Macdonald) and her potential mishandling surrounding the situation. Meanwhile we see Steve (Martin Compston), Kate (Vicky McClure), and Ted (Adrian Dunbar) are dealing with the consequences of the previous season. So season 6 is not only acting as a new case for our favorite anti-corruption officers, but it’s also attempting to address what’s come before as well as try to tie the bow on a lot of the threads set up throughout the show. It basically acts as a full on final act for the entire show. And I honestly found the narrative in this season to be really solid… with a few caveats. To be quite honest, I wasn’t a giant fan of the first two episode. They weren’t bad per se, as far as overall quality goes, they’re good. But something about them didn’t quite hook me as much as I expected. Previous seasons could have me clutching my legs almost immediately, or by the end of episode 1 at the latest. Here it took until episode 3 for my body to even feel the tingle of suspense. But when that point hits it just gets better and better, and it finally feels like we’re sucking diesel. And without getting into spoilers, let’s talk about the controversial final episode for two seconds… I don’t mind it. I feel like the revelations and events within it, while not exactly what I expected or had in mind, fits quite well for the show and ultimately serves as a very thought-provoking and logical end to this saga.

The characters, both new and old, this season remain as unique, flawed, complex, and interesting as always. Steve, Kate, and Ted’s bond has morphed a little bit since the end of last season in ways that are interesting, and it makes for some excellent bits of interaction and character development throughout. And I think I don’t need to say much about Compston, McClure, and Dunbar who are all as terrific as always. Then there’s series newcomer Kelly Macdonald as Jo Davidson, the DCI under investigation from AC-12 this season. She’s a decently interesting character whose development I enjoyed following throughout this season, with Macdonald being really good in the role. We also get supporting work from people like Perry Fitzpatrick, Nigel Boyle, Shalom Brune-Franklin, Tommy Jessop, Gregory Piper, and more, all doing very well in their respective roles.

As with previous seasons, the score was composed by Carly Paradis, and as with those aforementioned seasons, she did an excellent job. Tense, emotional, and exciting, her score is just great.

Season 6 of “Line of Duty” was completely written by series creator Jed Mercurio, with direction of the seven episodes split between Daniel Nettheim, Jennie Darnell, and Gareth Bryn. And I don’t know what to say here that I haven’t rambled about before in my other reviews, the craft here is superb, finding a nice balance between looking really sleek and still retaining a lot of grit throughout. And while it takes a bit to get genuinely suspenseful for me, when it actually does, it is really fucking tense. Yeah, I got nothing new to add here.

This show/season has been pretty well received. On Rotten Tomatoes the season has an 86% positive rating and a “Fresh” certification. On Metacritic it has a score of 86/100. And on imdb.com the show has a score of 8.7/10 and is ranked #106 on their “Top 250 TV shows” list.

While the first two episodes are a little less engaging than I would’ve liked, there’s no denying that the sixth (and potentially final) season of “Line of Duty” ends up being another tense, exciting, and highly watchable run of AC-12’s antics. Time for my final score. *Ahem*. My final score for season 6 of “Line of Duty” is an 8.94/10. So while that slow start does hurt it a little, I’d still definitely say that it’s worth watching.

My review of “Line of Duty” season 6 is now completed.

If this is indeed the last we’ll see of this show, then I must say that it’s been great following it and I’m gonna miss having it around.

Movie Review: The Conversation (1974)

Surveillance, something that’s part of our society, and we often don’t think about it. Sometimes it’s done for our safety and sometimes it’s perhaps used for less savory purposes. Anyhow, let’s talk about a movie.

Ladies, gents, and non-binaries… “The Conversation”.

The story follows Harry Caul (Gene Hackman), a surveillance expert who recently got tasked with following and recording a young couple. However, as he proceeds with this job, he starts growing paranoid about the entire situation. What we have here is a slowly burning conspiracy thriller with a lot of character drama interwoven throughout, and I found it to be utterly fucking engrossing. Right from the first shot the movie gives off this really uncomfortable vibe, creating a really fascinating and frankly eerie mood that doesn’t let go until it’s over. And the way it tackles theme of paranoia, morality, and various other themes through its storytelling is just superb, making for a really nuanced and engaging conspiracy thriller.

The characters in this are all really interesting, because you never know who can be trusted or if anyone really is on Harry’s side. It helps in adding to the film’s overall sense of paranoia, which just made me even more tense. Gene Hackman plays Harry Caul, a long time surveillance expert and our protagonist. He’s a fascinating man that I found really engaging to follow. Part of this is due to the writing, but most of it is of course down to Hackman who is absolutely superb in the role. And in the supporting cast we see people like John Cazale, Frederic Forrest, Allen Garfield, Cindy Williams, Harrison Ford, and more, all of which are great in their respective roles.

The score for the movie was composed by David Shire, and I think he did a really good job with it. Some of it has a little bit of basis in lounge jazz, bouncing around a lot on higher notes, having a bit of fun with itself. But soon enough you start hearing it shift in tone a bit, going down on the lower keys a lot more, creating this eerie and intense vibe that borders on horror-esque at times. Really helps sell the increasing paranoia of the narrative beautifully.

“The Conversation” was written and directed by Francis Ford Coppola. And quick little sidenote: This came out the same year as “The Godfather Part II”, so Coppola really had one busy year. Anyhow, I don’t think I’m claiming anything unexpected when I say that he did an excellent job with his direction. He manages to keep us close and intimate with Harry, while still somehow making us feel somewhat distant, almost like we’re surveilling him. Really helps in building a sense of unease around the whole situation, just making me insanely uncomfortable. And Bill Butler’s cinematography really helps sell this too. It’s just excellently crafted.

This movie has been very 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. The movie was also nominated for 3 Oscars in the categories of Best Picture, Best Original Screenplay, and Best Sound.

While its sloooooow pace might put some off, I found “The Conversation” to be an electrifying thriller that I won’t soon forget. It has a fantastic story, really good characters, fantastic performances, great music, and fantastic directing/cinematography. Time for my final score. *Ahem*. My final score for “The Conversation” is a 9.91/10. So I’d say it gets the “SEAL OF APPROVAL!”.

My review of “The Conversation” is now completed

If anyone wonders why I’m choosing to stop talking to people, know that I blame Francis Ford Coppola.

Movie Review: Gunpowder Milkshake (2021)

Women are great. That is all. ONWARDS TO THE REVIEW!

Ladies, gents, and non-binaries… “Gunpowder Milkshake”.

15 years after her mother (Lena Headey) disappeared on her, Sam (Karen Gillan) has ended up becoming an assassin, just like her mom. But after a job goes wrong, she finds herself doubting her loyalties when stuck choosing between following the organization that raised her, or helping a little girl (Chloe Coleman) that’s been caught right in the conflict. There are a lot of elements here that we’ve seen in various other action/thrillers before, but I feel like “Gunpowder Milkshake” puts enough of a unique spin on them to not just feel like a derivative. But I’m also not gonna sit here and tell you that this is one of the freshest feeling narratives in recent action efforts. It’s a perfectly enjoyable Friday night popcorn feature story that serves as a solid enough thread to justify the action scenes. I know it sounds like I’m ragging a bit on it, but I swear I’m not. It’s a decent story with enough charm and flair to make it stand out somewhat in the world of action-revenge-going rogue type movies.

The characters in this are colorful, fun, and overall pretty entertaining. Karen Gillan plays Sam, our main protagonist. She’s a tough assassin with a bit of emotional baggage from events in her past. She’s a pretty interesting character and I really enjoyed following her. And Gillan was really good in the role. And the supporting cast, featuring people like Lena Headey, Chloe Coleman, Angela Bassett, Michelle Yeoh, Carla Gugino, Ralph Ineson, Paul Giamatti, and more, are all really fucking good.

The sore for the movie was composed by Frank Ilfman, and I think he did a good job with it. Ilfman blends a few different styles within his score here, most notably a little bit of synthwave, some typical action orhestration, and a fair bit of Morricone-style western tunes. And it makes for a very fun soundscape that really helps elevate each scene within the movie. There’s also a few licensed songs used throughout, and they work quite well in their respective scenes.

“Gunpowder Milkeshake” was directed and co-written by one Navot Papushado, and I’d say he did a good job with it. His directing has a fair bit of energy to it, and when blended with a lot of stylish lighting and editing, makes for quite the electrifying watch. And this especially comes through in the action scenes, all of which are slick, violent, and a ton of fun. It’s just a stylishly crafted flick.

This movie just came out, so these ratings will likely change after this review comes out (and my lazy ass ain’t editing shit over time). On Rotten Tomatoes it has a 64% positive rating. On Metaritic it has a score of 47/100. And on imdb.com it has a score of 6.5/10.

Even though “Gunpowder Milkshake” doesn’t do anything to reinvent the wheel, it’s still a fiercely entertaining action flick that I can happily recommend. It has a pretty good story, pretty good characters, really good performances, really good music, and really good directing. Time for my final score. *Ahem*. My final score for “Gunpowder Milkshake” is an 8.41/10. So I’d definitely say it’s worth watching.

My review of “Gunpowder Milkshake”.

A gunpowder milkshake sounds like a terrible dessert. Sounds like it’d be really gritty and also put you at risk of igniting your entire mouth. Think I’ll stick to regular milkshakes, thank you.

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

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

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

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

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

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

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

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

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

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

Well, damn…

Movie Review: Regression (2015)

Is there a devil? Fucked if I know, so let’s talk about a movie, which is something I do know about!

Ladies and gentlemen… “Regression”.

Minnesota, 1990. Detective Bruce Kenner (Ethan Hawke) is tasked with finding the culprit behind the traumatic events in a young woman’s (Emma Watson) life. And while investigating, evidence starts pointing towards a satanic cult potentially being involved. I’m gonna be honest, I like the premise of this one. It is interesting, it has potential to be a really fascinating thriller. And credit where it’s due, I did find the first half of the film kind of enjoyable. Admittedly a bit rote in what was going on, as we’ve seen similar shit in other procedurals, but it was still a decent take on familiar story territory (terristory?). Buuuuut when we entered the second half the train started to derail a bit. The pacing started dragging, and things started to get convoluted and messy. It all felt like it was in service of trying to shock its viewers with weird twists and revelations rather than make something that feels coherent and satisfying in any way. It also has a habit of getting a bit silly at a few points, which would be fine if the rest of the movie didn’t take itself so god damn seriously all the time. So yeah, solid premise, decent first half, trainwreck second half.

The characters in this, much like the premise, have solid enough setups. The foundations for them is strong, and could make for some intriguing character dynamics. However, much like a chicken that gives you salmonella, they are a bit undercooked. Ethan Hawke plays detective Bruce Kenner, our skeptic lead character whose stance is constantly shifting. He’s probably the closest we get to an interesting arc at times, but then in the end I felt very unsatisfied by it. Hawke does a damn good job with his performance, but the character isn’t quite as interesting as he clearly could be. And in supporting roles we see people like David Thewlis, Emma Watson, David Dencik, Lothaire Bluteau, Dale Dickey, and more, all doing pretty well in their roles, but just like with Hawke’s detective Kenner, their characters don’t feel fully fleshed out. And when you have a top notch cast like this, it gets to be a bit of a shame when the characters themselves feel so undercooked.

The score for the movie was composed by Roque Baños, and he did an alright job. It’s a fairly standard thriller score with some mildly eerie strings and piano, with the occasional bit of brass to increase intensity in certain scenes. Not saying it really succeeds at that (sadly), but I recognize what he was going for. And all things considered, it was an alright score in itself.

“Regression” was written and directed by Spanish director Alejandro Amenábar, and I think he did a fine job. There are times when he creates a decent atmosphere, however it seldom lasts long enough to really elevate the messy narrative. And even in scenes that are meant to be less atmospheric and more investigative, you know, the procedural stuff, Amenábar’s skill never really manages to help much beyond a “I guess this scene is well constructed in the technical sense”. Speaking of which, to be slightly positive for once, I have to say that Daniel Aranyó’s cinematography does look nice, it is pleasing to my eye. Again, it doesn’t really do enough to save the narrative or characters, but it’s at least something I can be nice about.

This movie hasn’t been very well received. On Rotten Tomatoes it hs a 15% positive rating. On Metacritic it has a score of 32/100. And on imdb.com it has a score of 5.7/10.

Despite some promising elements, “Regression” sadly fell short for me. The plot felt like a mess, the characters are uninteresting, the performances are really good, the music is fine, and the directing is fine. Time for my final score. *Ahem*. My final score for “Regression” is a 4.23/10. So sadly I’d have to recommend skipping it.

My review of “Regression” is now completed.

Damn it.

Series Review: Castlevania – Season 4 (2021)

This review is a bit of a bittersweet one. On one hand, I get to talk about this show once again (yay!)… but this has also been confirmed to be the final season (boo). I’ve loved every season that’s come before, so I was of course excited. But then we get to the question: Did they stick the landing? Let’s find out.

Ladies, gents, and non-binaries… the final season of “Castlevania”!

We once again find ourselves within the region of Wallachia as Trevor (Richard Armitage), Sypha (Alejandra Reynoso), and Alucard (James Callis) once again must go on quests to save the people, and possibly also the world as we know it, from powerful forces. All the while Carmilla (Jaime Murray) and her vampire sisters scheme to try and take over the world, with Isaac (Adetokumboh M’Cormack) working to find a way to kill her. As you can read, a lot of shit is going on here, and even then I left out A LOT of stuff as I don’t want to spoil it for anyone. But what’s my verdict on the story here? It’s great. They manage to make everything feel like it truly matters, like there are actual stakes, and they manage to keep it consistently engaging. Whether it’s through a big, over the top action scene or a slower, more conversational part, the writers manage to keep it really engaging throughout the entire 10 episode run. And when it’s all said and done, it wraps up in an emotionally satisfying way that works really well for the story and world that they’ve developed.

The characters of this show, be they new or old, remain some of the most colorful, layered, fun, and overall interesting ones in recent memory. Most of them get a good arc here, and I think it makes for some great dynamics between them, as well as just making them highly engaging on their own. And the cast is just as stellar as ever, with both returning cast members and newcomers giving it their fucking all. And within said cast we find people like Richard Armitage, Alejandra Reynoso, James Callis, Adetokumboh M’Cormack, Jessica Brown Findlay, Theo James, Jaime Murray, Yasmine Al Massri, Ivana Milisevic, Malcolm McDowell, Toks Olagundoye, Titus Welliver, and many other very talented actors.

As with the previous seasons, Trevor Morris stood for the music, and once again he’s killed it. Big, epic orchestral pieces, smaller and more somber pieces, even a little bit of synth, the man mixes a few different styles that fit beautifully into creating a highly engaging soundscape for the show.

As with its previous seasons, “Castlevania” season 4 was written by Warren Ellis, with the Deats brothers handling the directing. And once again, the craft on display here is out of this world good. And where that shines the most is of course the animation, which is utterly breathtaking, especially during action scenes. Sure, it looks really good during slower, talky scenes too, but it’s during action that it really comes alive, giving us some breathtakingly dynamic, gruesome, and utterly badass fights that I will not forget any time soon. Powerhouse Animation, man, they never slip up.

This show/season just came out, so it currently doesn’t have much data on my usual sites. But here is still the link for the Metacritic page. On Rotten Tomatoes it currently has a 100% audience rating. And on imdb.com it has a score of 8.2/10.

So yeah, the final season of “Castlevania” completely sticks the landing, making for an emotionally satisfying and highly entertaining end to this series that I love. The story is great, the characters are great, the performances are fantastic, the music is great, and the directing/animation is fantastic. Time for my final score. *Ahem*. My final score for the final season of “Castlevania” is a 9.97/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Castlevania” season 4 is now completed.

It’s… it’s over… *sad sniff*.

Movie Review: All the Money in the World (2017)

I’m back! To clarify: I took a little break from writing for a little over two weeks because I just didn’t have much energy, but now I’m here again! And hopefully I’ll be able to keep this shit up semi-regularly again. So yeah, let’s goooooo!

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… “All the Money in the World”.

Italy, 1973. Gail Harris (Michelle Williams) finds herself in a precarious situation after her son (Charlie Plummer) gets kidnapped one night. And we follow her as she tries anything to save her son, which includes trying to get help from her son’s billionaire grandfather (Christopher Plummer). So what we have here is part kidnapping thriller and part domestic drama, and for the most part I think it holds up well. The movie jumps between Gail’s struggle with her former father-in-law, and her son being stuck with the kidnappers. And both stories are pretty solid, with one half being a really fascinating character drama, and the other being a tense as hell thriller. The only issue I do have is that the pacing does suffer a little bit towards the middle. It doesn’t break the movie in half, but it does bring it down a little bit.

The characters in this are all pretty interesting and all bounce off of each other quite well. First up is Gail, played by Michelle Williams. A tough, yet also vulnerable woman trying her damndest to just get her son home safe and sound. She is a pretty interesting protagonist to follow, and Williams is great in the role. Next we have Christopher Plummer (R.I.P) as J. Paul Getty, the billionaire whose money the kidnappers want. He’s a stubborn old man who can often come off as a real son of a bitch, which makes him a wonderful counterpoint to Williams’ Gail, making for some interesting drama and character dynamics. And Plummer is just terrific in the role. Then we have Fletcher Chace, Getty’s number one guy. While not the most fleshed out character in the movie, he does make for a nice addition to the cast as a way of briding the gap between characters. And Wahlberg is really good in the role. And Charlie Plummer is an absolute standout as J. Paul Getty III, he is so god damn good in his role. We also get supporting work from people like Romain Duris, Andrew Buchan, Marco Leonardi, Giuseppe Bonifati, and more, all doing well in their respective roles.

The score for the movie was composed by Daniel Permberton, and I thought it was pretty good. It’s not exactly groundbreaking in any way, and I don’t I’m gonna remember it in a week, but overall it did work well within the movie itself, and I think it helped out the various scenes where it could be heard. There’s also a few licensed tracks used throughout, and those work pretty well too.

Based on a book by John Pearson, “All the Money in the World” was directed by Ridley Scott, and I think he did a damn good job with it. He clearly still has such a grip on how to really pull the viewer into a scene. From a basic enough wide shot to bits of action, the man has a masterful grasp of the film. And I don’t think I can go on without mentioning the mad lad’s reshoots. For any cave dwellers that might be unaware, this movie originally starred Kevin Spacey as J. Paul Getty, but after all the sexual assault/harassment allegations against him came out, the studio pulled the movie from a festival. Ridley Scott, being the marvelous jackass that he is just said “Delay the movie a few days and give me some money for reshoots”, after which he pulled in Plummer (and any of the non-predatory actors left) and reshot all the Getty stuff. And the mad son of a bitch pulled it off. So yeah, Scott is a god damn pro.

This movie has been pretty well received. On Rotten Tomatoes it has a 79% positive rating and a “Fresh” certification. On Metacritic it has a score of 7.2/10. And on imdb.com it has a score of 6.8/10.

While not within the upper echelon of Ridley Scott’s filmography, “All the Money in the World” is still a damn good biographical thriller. It has a really good story, good characters, great performances, pretty good music, and great direction. Time for my final score. *Ahem*. My final score for “All the Money in the World” is an 8.42/10. So while flawed, I’d still say it’s worth buying.

My review of “All the Money in the World” is now completed.

Ridley Scott, you glorious madman.

Series Review: Des (2020)

Been a while since we covered a tv show, so I’m a bit excited right now. Also, don’t murder people.

Ladies and gentlemen… “Des”.

The year is 1983. Police have arrested Dennis “Des” Nilsen (David Tennant) on suspicion of homicide after human remains are found near his home. And throughout the show we follow the cops a they try to identify the various victims, as well as trying to get information out of Nilsen regarding everything he did. This is an interesting little crime drama. Now, it does fall back on a lot of tropes from these type of true crime murder mystery type stories, which is possibly the show’s biggest fault. It’s not outright bad, but the sometimes formulaic nature does take away some from it. But with this said, I did still find the story here decently interesting. It has this sort of eeriness that I feel we don’t necessarily get in similar things. I don’t know how to explain it, but the whole vibe around it just makes it a bit more interesting. And I do still think the investigation around Nilsen and his victims is a pretty interesting one, especially as we learn more about him as a person. There is also some stuff set around the bureaucracy of the investigation, which does add a decent bit of drama. On the whole I do think the story here is solid enough, just a little familiar in its structure.

The characters in this are pretty interesting. Especially our main two, who are both really compelling. First up we have Daniel Mays as Detective chief inspector Peter Jay, the man leading the investigation into Nilsen’s murders. He’s a man of principle, someone determined to see this all through, even when the higher ups try to get in his way. He’s a compelling lead, and Daniel Mays gives a really good performance. And then we have David Tennant as Dennis Nilsen, AKA Des. He’s a really frightening character. But not in a Hannibal Lecter or Annie Wilkes kinda way where they’re made to be frightening. Nilsen is frightening in how blunt and forward he is. Right from the start he’s like “Yeah, I killed them” and has no problem telling how it happened, like how you might tell your friends about your trip to Spain. He’s frightening because he is so… human. And Tennant is fantastic in the role, giving one of the best performances of his career. We also get supporting work from people like Jason Watkins, Barry Ward, Jay Simpson, Bronagh Waugh, and more, all giving good performances.

The score for the show was composed by Sarah Warne, and I think she did a pretty good job. It’s very low key, going for a somewhat eerie, almost droning sound to add to the atmosphere of the show. It really helps create an engaging soundscape within the show.

Based on the book “Killing for Company” by Brian Masters, “Des” was created by Luke Neal and Lewis Arnold, with Arnold directing, and Neal serving as lead writer. And I think the craft here is really strong. One thing I really appreciate about the directing and such here is how remarkably restrained they are. So many other people would probably give us the gory, graphic details of the entire situation, but the crew here didn’t. They hold back quite a bit, just giving us the explanations of everything that happened. And while too much exposition can be a bit bothersome, I feel that they found the right balance here. I must also commend Mark Wolf on his cinematography, because it’s really frickin’ good and fits the story being told really well.

This show has been quite well received. On Rotten Tomatoes it has an 89% positive rating. On Metacritic it has a score of 75/100. And on imdb.com it has a score of 7.7/10.

While its formulaic nature does bring it down a little bit, “Des” is still a pretty compelling crime drama. It has a good story, pretty good characters, great performances, really good music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “Des” is an 8.45/10. So while flawed, it’s definitely still definitely worth watching.

My review of “Des” is now completed.

Symphony of Des-truction…