Movie Review: Evil Dead 2 (1987)

Going a bit more old school with today’s Month of Spooks entry. So here we go.

Ladies and gentlemen… “Evil Dead 2”.

After being the only survivor of an attack by a demonic force, Ash Williams (Bruce Campbell) runs into some strangers. And he has to team up with them to try to survive an absolute fucking onslaught of demons. So now we have our sequel/soft reboot. And fuck me, it’s good. Sure, the plot doesn’t do anything too major in terms of advancing storytelling techniques, but it instead presents some basic ideas and executes them in a way that is both scary and overall really entertaining. It manages to both be suspenseful horror and campy, fun popcorn entertainment.

The characters in this are colorful and entertaining. Bruce Campbell plays Ash Williams, sole survivor and overall main protagonist. He goes through a bit of a surprising arc here, which involves his psyche kinda getting broken by all the batshit insane/horrific things happening to him, and I really found myself caring for him. And Campbell is great in the role. We also get supporting work from people like Sarah Berry, Dan Hicks, Kassie Wesley DePaiva, and Ted Raimi, and they all do very well in their respective roles.

The score for the movie was composed by Joseph LoDuca, and it was good. Like the story, it kind of mixes more suspenseful pieces with more fun, slightly campy tracks, and this blend makes for an enjoyable score that fits the overall mood of the movie. Yeah. Not much else to say there.

“Evil Dead 2” was written by Sam Raimi and Scott Spiegel, with Raimi handling direction. And Raimi has such a good grasp of how to create a compelling atmosphere, right from scene one I was invested in what was going on, thanks to Raimi’s direction, which manages to create slowly seeping chills while still being highly energetic and fun. I mean, his direction is largely why the first 25-ish minutes genuinely scared me. I also have to give a lot of cred to the team that created the various effects throughout the movie, because they were fucking spectacular. Puppets, makeup, prosthetics, stop motion, liquids… it all looks great, and adds so much to the experience. What is also interesting is that there’s a decent amount of comedy throughout this movie, and that all of it is quite funny, and luckily never clashes with the more horrific elements of the movie.

This movie has been generally well received. On Rotten Tomatoes it has a 98% positive rating and a “Fresh” certification. On Metacritic it has a score of 69/100. And on imdb.com it has a score of 7,8/10.

“Evil Dead 2” is an absolute blast. It has a really solid plot, good characters, great performances, good music, great writing/directing, fantastic practical effects, and funny comedy. Time for my final score. *Ahem*. My final score for “Evil Dead 2” is a 9,87/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Evil Dead 2” is now completed.

Groovy.

Movie Review: The Invitation (2016)

Every year for the past few years, as we get closer to October (AKA the Month of Spooks), people keep recommending this fucking movie. So there, I finally got around to it. YOU HAPPY NOW?

Ladies and gentlemen, thanks for accepting… “The Invitation”.

On a night like any other, Will (Logan Marshall-Green) gets invited to a nice dinner at his ex-wife’s home. And as the night goes on, old memories keep coming back, all the while Will suspects that something might be going on. So now we have our story, and I think it’s an interesting one. What we have here is partly a character-driven drama, and partly a bit of a psychological thriller, and the blend makes for an utterly compelling and unpredictable experience that kept me on the edge of my seat from scene one. It is quite a slow burn, which might turn some viewers off, but for me it just added to the overall experience.

The characters in this are flawed, nuanced, and overall interesting. And I won’t go through them all, as that might ruin some of the reveals or interesting moments with them in case you’ll watch it. But the cast features people like Logan Marshall-Green, Tammy Blanchard, Emayatzy Corinealdi, Michelle Krusiec, Mike Doyle, Jordi Vilasuso, Michiel Huisman, John Carroll Lynch, and they all are great in their respective roles.

The score for the movie was composed by Theodore Shapiro, and I thought it was good. It is this low, almost droning score that creates a bit of an uncomfortable tension in some scenes, and adds emotional weight to others. It isn’t one I’m gonna find myself listening to in my spare time, but I thought it worked quite well for this movie.

“The Invitation” was directed by Karyn Kusama, and I think she did a fantastic job with it. She has a way of staying intimate to the main character while still encompassing everything going on around. To call the direction tight and focused would be underselling it. This is complemented by the outright stunning cinematography by Bobby Shore, which gives the movie an almost dreamlike vibe at times.

This movie has been generally well received. On Rotten Tomatoes it has an 88% positive rating and a “Fresh” certification. On Metacritic it has a score of 74/100. And on imdb.com it has a score of 6,6/10.

I can see now why people kept recommending me to watch “The Invitation”, because it’s fucking great. It has a great plot, really good characters, great performances, really good music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “The Invitation” is a 9,89/10. So it gets the “SEAL OF APPROVAL!”.

My review of “The Invitation” is now completed.

Maybe it’s a good thing that I don’t get invited to a lot of stuff.

Movie Review: It (2017)

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

Ladies and gentlemen… “It”.

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

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

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

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

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

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

My review of “It” is now completed.

I am so mixed on this movie.

Movie Review: Mulberry Street (2006)

And the spooks continue. So what’s on today’s menu? Well, it’s a movie from a creative team whose other works I’ve enjoyed. And this was their first collaboration, so I thought I’d finally get around to it.

Ladies and gentlemen… “Mulberry Street”.

Mulberry Street, Manhattan. It’s a hot day. A group of people go about their day. But soon that will be turned on its head when an infection that turns people into rat monsters starts spreading. It’s basically a zombie siege movie, but with a unique spin on the infection. I can respect that, and it’s clear that the writers really wanted the story to feel more fleshed out and engaging, but in the end I just didn’t find the overall execution very interesting.

The characters, like the story, are written to seem more fleshed out, but again, I just didn’t really give a shit. Maybe I could care a little bit about Nick Damici’s character at times, but that’s mainly because he’s played by the awesome Nick Damici. The cast try, and the performances for the most part are alright. But man, in the end it doesn’t do much to help me care about the people who might become a rat monster’s lunch.

The score for the movie was composed by Andreas Kapsalis, and it isn’t great. I’ve enjoyed this kind of more minimal synth-esque score before, but the way it was executed here wasn’t that great. It somehow managed to feel like it wasn’t enough, while also being slightly overbearing.

This movie was written by Nick Damici and Jim Mickle, with Mickle handling direction. Like I said at the beginning of the review, I love this team, I’ve reviewed multiple things of theirs before, all getting recommendations from me. And I get that they were working with a lot of limitations (most of them budgetary) on this. But man, I am not a fan of the presentation in this movie. It’s a shaky, handheld, early 2000s digital camera, which is a combo I don’t like. The look it creates honestly hurts my head. Moments that should be scary and intense end up becoming a little annoying.

This movie has gotten some mixed reception. On Rotten Tomatoes it has a 70% positive rating. And on imdb.com it has a score of 5,6/10.

I love these guys, I really do. So it kinda hurts when I say that “Mulberry Street” isn’t really that good. The plot is uninteresting, I didn’t care for any of the characters, the performances are okay, the music isn’t great, and the directing/cinematography is kinda painful. Time for my final score. *Sad ahem*. My final score for “Mulberry Street” is a 4,76/10, so I’d recommend skipping it.

My review of “Mulberry Street” is now completed.

*sigh*

Movie Review: Candyman (1992)

Time for some more spookums for the Month of Spooks. So let’s stop standing around and get into it.

Ladies and gents… “Candyman”.

Grad student Helen Lyle (Virginia Madsen) is working on a thesis about a local spooky legend known as the Candyman (Tony Todd). And as she investigates this legend, she soon comes face-to-face with the titular myth. So now we have a psychological thriller/procedural. And I’m gonna be frank with you guys, I really liked the story told here. For something that can be technically considered a slasher, there’s a surprising amount of nuance to the story, putting doubt in your mind about certain story elements, making the viewer feel uneasy about the things going on. Despite a relatively short runtime, it took its time to tell this chilling and surprisingly nuanced narrative. That’s not to say that there aren’t thrills, ’cause there are. But the story here isn’t just some thinly veiled excuse for gory slicing and dicing a la Jason Voorhees. The story here has an actual purpose, and I was pleasantly surprised by it.

The characters in this are, like the story, surprisingly nuanced and engaging. Virginia Madsen plays Helen, the grad student investigating the local legend. She’s a bit of a skeptic, so when she starts coming face-to-face with some of the strange things she doesn’t fully believe in, she starts going through a bit of a fascinating arc. And Madsen is fantastic in the role. Next we have Tony Todd as the titular legend. I won’t go into too much detail in case you haven’t seen it but want to. But let’s just say that he’s one of the more intriguing horror antagonists out there. And Todd is great in the role (and what a cool voice he has!). We also get supporting work from people like Xavier Berkeley, Kasi Lemmons, DeJuan Guy, Vanessa Williams, and more, all doing very well in their respective roles.

The score for “Candyman” was composed by Philip Glass, and I think it’s pretty spectacular. Sure, the opening track has some minor things that I’m not a huge fan of. But other than that, this score is wonderful. It’s eerie, yet mournful. Haunting, yet sad. Like with the things we talked about earlier, there’s a surprising amount of nuance to it, and especially with the main theme, which is one of the most stunning that I’ve ever heard.

Loosely based on a short story by Clive Barker, the movie was written and directed by Bernard Rose. And I think he did a great job with it. Yes, there are jump scares, and yes there is gore. But he still has a direction that generally relies more on a subtle creep-factor rather than constant thrills, which adds to the overall experience. There’s even a lot of fun camerawork throughout, which helps add a bit of extra energy to proceedings, and not just have it be a slightly boring, static shot of something happening.

This movie has been pretty well received. On Rotten Tomatoes it has a 74% positive rating. Roger Ebert gave it 3/4 stars. And on imdb.com it has a score of 6,6/10.

I was pleasantly surprised by “Candyman”, it’s a surprisingly nuanced little horror movie. It has a really good plot, really good characters, great performances, fantastic music, and great writing/directing. Time for my final score. *AHEM*. My final score for “Candyman” is a 9,78/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Candyman” is now completed.

Wait, how many times did I say his name in this review? 1, 2, 3, 4, fuck.

Movie Review: Shelley (2016)

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

Ladies and gents… “Shelley”.

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

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

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

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

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

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

My review of “Shelley” is now completed.

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

Movie Review: Ad Astra (2019)

Space, the final frontie- Hold on, this isn’t “Star Trek”. This is something else… so let’s talk about it.

Ladies and gentlemen… “Ad Astra”.

Astronaut Roy McBride (Brad Pitt) must go on a potentially dangerous mission across the stars to try to uncover the truth behind what happened to his space-traveling father many years ago. And before you get too many assumptions, I have to tell you that this isn’t really that kind of space adventure. Don’t expect “Star Wars”. This is a slowly burning character study that will test the patience of some viewers. That’s not to say that there aren’t exciting bits in this movie, there are. But the more action-packed stuff is less of a priority here, making way for the slow burn drama. And I found it quite engaging. It’s not my favorite space drama, that crown still goes to “Moon”, but I still thought the plot of “Ad Astra” was very good.

There’s really only one character worth talking about here, and that is Roy McBride, played by Brad Pitt. He’s shut off his emotional as a response of something that happened in his past. Which makes him a very reserved individual, not letting a lot of people in. And he goes through quite an interesting arc in this movie, making him quite a nuanced character. And Pitt is fantastic in the role. Yes, it’s a very subdued performance, but you can read so much just from eyes. And there are some damn solid supporting players here too.

The score for the movie was composed by Max Richter, and my god, it was fantastic. It often has a very dreamlike quality that perfectly complements Roy’s personal solitude, in combination with the desolation that we call space. Synths, strings, some piano, these are just some of the elements that get blended quite wonderfully to create the mesmerizing score.

“Ad Astra” was written by James Gray and Ethan Gross, with Gray handling direction. Gray’s direction manages to be both sweeping and intimate, really giving us some impressive vistas in combination with the tightness to Pitt’s McBride. His direction manages to generate a decent bit of emotion, making me care. Then it also builds some pretty good suspense in parts. And let’s talk about Hoyte van Hoytema’s cinematography, which is some of the most stunning I have ever seen, taking my breath away at many points. Seriously, the craft in this movie is meticulous.

This movie just came out, so scores may change. But so far it has been quite well received. On Rotten Tomatoes it has an 81% positive rating. On Metacritic it has a score of 80/100. And on imdb.com it has a score of 7,3/10.

“Ad Astra” isn’t for everyone… but I thought it was great. It has a really good plot, a really good central character, great performances, fantastic music, and great writing/directing/cinematography. Time for my final score. *AHEM*. My final score for “Ad Astra” is a 9,62/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Ad Astra” is now completed.

Ad Astra is about Brad Astra seeking his Dad Astra. The movie’s not Bad Astra, in fact it’s quite Rad Astra, which makes me very Glad Astra. 

Movie Review: Goodfellas (1990)

Yes, you got that right. I only now got to this “must watch” piece of cinema. Shut up.

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 gents… “Goodfellas”.

As far back as he could remember, Henry Hill (Ray Liotta) always wanted to be a gangster *brass music plays*. And throughout the movie we follow his rise within the mob, giving us all the ups and downs. And yes, we’ve seen this kind of shit in a bunch of movies before. But I don’t think I’ve seen it done this well before. The movie is two hours and twenty minutes long, but you never feel that runtime thanks to writing that is equal parts dramatically compelling and pure entertainment value. It crackles along at a good pace, while still presenting us with situations that last with the viewers, even after the credits have rolled. It doesn’t do the slow, methodical approach that “The Godfather” used, instead opting for a more popcorn-friendly style still rises above most basic gangster stories.

The characters in this are flawed, nuanced, colorful, entertaining, and just overall really interesting. Ray Liotta plays Henry Hill, the man at the center of the story with dreams of being the next big gangster. His journey from small time crook to where he eventually ends up is quite fascinating, and he’s one of the most compelling protagonists I’ve had the pleasure of following in anything I’ve watched recently. And Liotta is great in the role. Next we have Lorraine Bracco as Karen, Henry’s wife. Seeing her journey alongside Henry is quite interesting, especially since she becomes a bit of a conflicted character that has a really interesting rapport with Henry and his story. And Bracco is great in the role. Next we have Joe Pesci as Tommy, Henry’s friend and a fellow gangster. He’s a very short-tempered guy who makes for a lot of unpredictable scenes, which is all I’ll say about him. And Pesci is great in the role. We also get supporting work from people like Robert De Niro, Paul Sorvino, Frank Sivero, Tony Darrow, and many more, all doing very well in their respective roles.

What’s interesting about the music in “Goodfellas” is that there is no typical score. No composer, no orchestra… jack shit. Instead there’s a lot of licensed music, mostly period accurate rock songs, that get used throughout to help set the mood and tell the story. And god damn it, the use of said songs here is fucking spectacular, partly because there’s a lot of music in there I genuinely like in general, but also because the director (and possibly editor) has a good fucking grasp of how to utilize a song throughout a scene.

Based on a book called “Wiseguy” by Nicholas Pileggi, the movie was co-written by Pileggi and Martin Scorsese, with Scorsese of course handling direction. And really, what else can I say that hasn’t been said before? This shit is immaculate. The blend of the writing and directing here creates a crackling energy that makes it an absolute blast to watch. Never does it feel dull. There are a few moments where it risks slipping into it, but then it picks up again, like a shot of adrenaline straight to the heart.

This movie has been very well received. On Rotten Tomatoes it has a 96% positive rating and a “Fresh” ceritifcation. On Metacritic it has a score of 89/100. And on imdb.com it has a score of 8,7/10 and is ranked #18 on the “Top 250” list. The movie won 1 Oscar in the category of Best supporting actor (Pesci). It was also nominated for an additional 5 Oscars in the categories of Best picture, Best supporting actress (Bracco), Best director, Best adapted screenplay, and Best film editing.

I don’t think I’m bringing anything new to the table when I say that “Goodfellas” is fucking rad. It has a great plot, great characters, great performances, great music, and great writing/directing. Time for my final score. *Ahem*. My final score for “Goodfellas” is a 9,88/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Goodfellas” is now completed.

I see why people like this so much.

Series Review: Line of Duty – Season 5 (2019)

During the first quarter of this year, I started getting into this show thanks to recommendations from friends (some of you might remember all the reviews I posted). And now the fifth season has come to a close, after finally premiering a few weeks ago. So let’s talk about it.

Ladies and gentlemen… “Line of Duty” season 5!

After a secret police transport carrying very valuable amounts of contraband is hijacked, it is suspected that the capers had help from the inside. So it’s up to Arnott (Martin Compston), Fleming (Vicky McClure), and the rest of AC-12 to investigate this case, leading them down one of their most complicated and dangerous cases yet. So now we have our “Line of Duty” continuation. As per usual, it gives us a new situation to follow while also building on the overall mythos of the show. And like with previous seasons, this makes for some truly anxiety-inducing television that electrifies from start to finish. I’d even argue that this is the most suspenseful and unpredictable of the seasons, especially since it really starts toying with our beloved leads in ways that we haven’t really seen before. And while the show has put me on the edge of my seat before, it’s never made me feel this glued to the proceedings. So I’d argue the story/events of this season is some of the best yet.

The characters here are nuanced, flawed, unique, and just overall incredibly interesting. Martin Compston and Vicky McClure returns as Steve Arnott and Kate Fleming, our two main leads for the show, and they’re just as interesting as ever, both in investigating the case and also in some of their personal stuff. And both actors are once again great. Adrian Dunbar returns as Ted Hastings, head of AC-12, who deals with a lot more personal turmoil than usual, which really gives him a lot of new and intriguing development that we only caught glimpses of before, making him a real standout this season. And Dunbar is great in the role. New to the show this season is Stephen Graham, who plays John, the apparent leader of the gang that stole the contraband. He’s tough, ruthless, but there’s also a humanity behind his eyes that makes him a bit more compelling than your common thug. And the stuff they do with him this season is great. And Graham is fantastic in the role. We also get supporting work from people like Taj Atwal, Tomi May, Rochenda Sandall, Anna Maxwell Martin, Polly Walker, and more, all doing very well in their respective roles.

As with previous season, the music here was composed by Carly Paradis, who absolutely outdid herself. She’s come a long way from the slightly overbearing tunes of the first season, to the stuff we got here. There are layers, to her music, and it’s often subtly helping build the emotion of the scenes, making for a really nuanced and kinda beautiful score. It’s the best music we’ve gotten out of the show.

As with the previous seasons, all episodes this season were written by series creator Jed Mercurio, and directing by John Strickland (episodes 1 – 4) and Susan Tully (episode 5 & 6). And the craft on display is as tight as one expects from “Line of Duty” at this point. This show is no stranger to suspense, but the way it managed to make me clench every part of my body this season is quite unparalleled. Even in some of the more “quiet” conversation or interrogation scenes it is some of the most electrifying direction I’ve seen in a tv show.

This show/season 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 85/100. And on imdb.com it has a score of 8,6/10 and is ranked #137 on the “Top 250 TV” list.

I’m gonna be honest, season 5 of “Line of Duty” is my favorite season of the show so far, it’s fucking perfect. It has a fantastic plot, great characters, fantastic performances, great music, and fantastic writing/directing. Time for my final score. *AHEM*. My final score for “Line of Duty” season 5 is a 10/10. So it of course gets a “SEAL OF APPROVAL!”.

My review of “Line of Duty” season 5 is now completed.

God damn, I adore this show.

Series Review: Twin Peaks – Season 1 (1990)

Time to finally start clearing this thing from the watchlist.

Ladies and gentlemen… “Twin Peaks” season 1!

When a young woman is found murdered in the quiet mountain town of Twin Peaks, an FBI agent (Kyle MacLachlan) is called in to try to find out what happened. And as we follow Agent Cooper’s investigation, we find out about the cheating, double-crossing, and other idiosyncrasies going on in the town.  So now we have our little crime series. Now, at first it seems like a relatively average crime story, if a bit quirky. But it doesn’t take long for “Twin Peaks” to show that it doesn’t play by the book too much, blending a whole bunch of genres at once. Now, in a lot of cases (pun intended), switching between different genres like this show does can end up quite poorly. But thanks to the unique atmosphere and writing style of the show, the blend of crime, melodrama, comedy, and mild psychedelia works quite well to give us one of the most uniquely enjoyable plots in a season of television.

The characters in this are quirky, fun, colorful, nuanced, and overall quite interesting. Kyle MacLachlan plays Dale Cooper, the FBI agent brought in to help investigate the murder of Laura Palmer (Sheryl Lee). He’s a highly skilled agent, being able to figure things out about people by simple body language. He’s also quite a charming dude, being one of the most instantly likable characters I’ve had the pleasure of seeing. And MacLachlan is great in the role. I would describe more characters, but with their unique nature, I’d rather not, as they’re all best left experienced. But the supporting cast does include people like Michael Ontkean, Mädchen Amick, Dana Ashbrook, Richard Beymer, Lara Flynn Boyle, Ray Wise, Sherilyn Fenn, Peggy Lipton, Joan Chen, Michael Horse, and more, all doing very well in their respective roles.

The score for the series was composed by Angelo Badalamenti, and I think he did a really good job with it. It’s moody, suspenseful, emotional, a little meldoramatic, and even at times kinda fucking groovy. Most tracks get reused quite often, which could get old after a while, but the way these tracks are implemented throughout the show makes the recycling work quite well.

“Twin Peaks” was created by Mark Frost and David Lynch, with writing and directing by them and a bunch of other cool people. And they manage to create such a unique vibe for the show through these elements. Eerie, warm, fascinating, and even mildly surreal, there’s something about the style that makes it stand out, turning it into quite the intoxicating experience.

This show/season has been well received. On Rotten Tomatoes it has a 96% positive rating and a “Fresh” certification. On Metacritic it has a score of 96/100.  And on imdb.com it has a score of 8.8/10 and is ranked #54 on the “Top 250 TV” list.

Season 1 of “Twin Peaks” is pretty fucking good. It has a really good plot, great characters, great performances, really good music, and great writing/directing. Time for my final score. *AHEM*. My final score for “Twin Peaks” season is a 9,82/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Twin Peaks” season 1 is now completed.

Agent Cooper, a man after my own heart.