Movie Review: Them That Follow (2019)

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

Ladies and gents… “Them That Follow”.

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

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

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

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

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

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

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

Damn snakes.

Series Review: Swamp Thing (2019)

I’ve been waiting for this show to be made available over here for quite a while. And finally, Friday the 8th, we got it. And now that I have finished it, I can finally give my thoughts. So here we go.

Ladies and gentlemen… “Swamp Thing”.

CDC doctor Abby Arcane (Crystal Reed) finds herself traveling back to her old hometown of Marais, Louisiana when some strange viral shit is found coming out of the swamps of that area. And as she continues her investigation of it, she soon finds out that there’s more to these swamps than meets the eye. Secrets, tragic backstories, the horror of the unknown, these are some of the things that are explored throughout the 10 episodes of “Swamp Thing”. I point out the episode count because this show was meant to be 13, but after the very sudden cancellation of the show, they had to reduce it to 10. And while the finished package holds up very well, I could still sense some of those cuts here and there. But the story we get here is still pretty great, creating a surprisingly nuanced journey that scares and emotionally invests in equal measure.

The characters in this are flawed, damaged, layered, and very interesting. Crystal Reed plays Abby Arcane, a CDC doctor with a tragic past, returning to her old home town. She’s determined, good at heart, but is also sometimes haunted by things that happened to her once, and she’s a great protagonist that I loved following. And Reed is great in the role. Next we have Derek Mears as the titular creature. I won’t say much more than saying that he’s an interesting character, and Mears’ performance is really good. Then we have Andy Bean as Alec Holland, a scientist Abby meets when she returns to Marais. He’s a bit eccentric, but a good dude who is pretty interesting. And Bean is really good in the role. Next we have Will Patton as Avery Sunderson, a beloved businessman in Marais… however there’s a bit more to him than meets the eye. And Patton is great in the role. We also get supporting work from people like Virginia Madsen, Henderson Wade, Maria Sten, Kevin Durand, Ian Ziering, Jennifer Beals, Jeryl Prescott, and many more, all doing very well in their respective roles.

The score for the show was composed by Brian Tyler, and it was great. It’s sometimes loud and intimidating, and sometimes more quiet and emotional. There’s also plenty of low, droning BWOOOMs. And while those could be obnoxious in lesser hands, the way they’re used here works quite well, and adds to the uneasy vibe the show clearly wants to go for.

Based on the iconic DC Comics character created by Len Wein, Alan Moore, and Bernie Wrightson, “Swamp Thing” was developed by Gary Dauberman and Mark Verheiden, with writing and directing by them and a whole bunch of other cool people. And I think the craft here is superb. The amount of suspense built is insane, which makes for a horror show that ends up being genuinely scary. I also have to praise the effects in this show, because they’re spectacular. What we get here is a healthy blend of practical effects and CGI. For example, the Swamp Thing suit is completely practical, and looks amazing. The swamps, completely practical (with some possible CG enhancements). Now, with this being both an effects-heavy show and a horror series, that means that there’s plenty of gore throughout. And I mean plenty. And not just gore for the sake of gore, but gore to disturb and shock the viewer. And I mean, it certainly got some “OH MY GOD!” and “HOLY SHIT” out of me as I watched it all unfold. So if you have trouble with insanely violent media… consider yourself warned.

This show has been very well received. On Rotten Tomatoes it has a 94% positive rating. On Metacritic it has a score of 67/100. And on imdb.com it has a score of 7,8/10.

Despite some of the cut corners made from the episode reduction, “Swamp Thing” is still a damn fine horror-drama. It has a really good plot, great characters, great performances, great music, fantastic effects, and great directing/writing. Time for my final score. *Ahem*. My final score for “Swamp Thing” is a 9,61/10. So yes, you got that right, it does actually get the “SEAL OF APPROVAL!”.

My review of “Swamp Thing” is now completed.

Can someone please uncancel this?

Series Review: Fortitude – Season 2 (2017)

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

Ladies and gentlemen… “Fortitude” season 2.

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

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

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

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

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

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

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

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

Movie Review: The Cabin in the Woods (2012)

Well that’s a bland as fuck horror title. I mean, there’s no way it could subvert any tropes or expectations within the horror genre. No way. Whatsoever. None. Zero. Nada. Nah. Nuh-uh. N- you see where this is going, aren’t you?

Ladies and gentlemen… “The Cabin in the Woods”.

Tell me if you’ve heard this one before: A group of pesky youngsters travel into the middle of fucking nowhere to stay in a cabin for a weekend. But it doesn’t take too long for their weekend to get ruined by something sinister. Yes, it does indulge a bit in a lot of old school horror tropes… but then it also satirizes them the rest of the time. You can tell that the people crafting the story have a love for the genre and its cliches, but also know when to poke fun of and subvert them. It puts an insanely unique and fun spin on horror that I found really clever and enjoyable.

The characters in this are for the most part walking cliches… but then there are moments where their identities are subverted ever so slightly. The shit they do with these characters is quite fun. And the lead cast, consisting of people like Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, and Jesse Williams, all do wonders with what they’re given. And in the supporting cast you have people like Bradley Whitford, Richard Jenkins, and Amy Acker, all doing very well in their roles too.

The score for the movie was composed by David Julyan, and I think he did a pretty great job with it. It’s sometimes more subtle and ominous, and sometimes bombastic and thrilling. It’s just a really well composed score that works quite well for the movie. Not much else I can say on that.

“The Cabin in the Woods” was written by Joss Whedon and Drew Goddard, and Goddard directing it (this being his debut). And man, they knocked it out of the park with that. While the movie is mostly concerned with pointing at horror tropes and satirizing them, they of course also have to indulge in them a bit, creating some genuinely suspenseful and gruesome scenes that add to the overall experience quite well. There is also a good amount of humor strewn throughout the movie, and it made me laugh… ’tis very funny.

This movie has been quite well received. On Rotten Tomatoes it has a 91% positive rating and and fresh certification. On Metacritic it has a score of 72/100. And on imdb.com it has a score of 7,0/10.

“The Cabin in the Woods” is fucking rad. It has a great plot, good characters, great performances, great music, and great writing/directing. Time for my final score. *BOO*. My final score for “The Cabin in the Woods” is a 9,89/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “The Cabin in the Woods” is now completed.

Hell yeah.

Movie Review: Vampire Hunter D: Bloodlust (2001)

Well this is a first for the Month of Spooks… animation. So here we go.

Ladies and gentlemen… “Vampire Hunter D: Bloodlust”.

When a girl (Wendee Lee) is kidnapped by a vampire, her family hires a legendary bounty hunter (Andrew Phlipot) to get her back. The setup is an old school one, but the way they handle it feels fresh. For one, it’s set in the distant future… but it also looks like the old west. This blend of different styles makes for a fun and unique universe. But it’s not just the world building that works about this movie. “Bloodlust” really takes time to weave a surprising amount of nuance throughout, making me really care about what really happens throughout the story, be it larger, epic moments or smaller, intimate drama.

Like with story before them, the characters in this movie have a bit more nuance than expected. At first they can seem like stereotypes. Broody, stern, Hannibal from “A-Team”, asshat. But if one sticks around, the characters get fleshed out quite a bit, making them a hell of a lot more compelling. First up we have D(E,F,G), the titular character at the center of the story. He’s the broody fucker I mentioned before… but he’s also a compassionate, strong-willed, and endearing guy who works to stay on the side of good. And I think Andrew Philpot does a great job with the voice work. Next we have Leila (cue Derek and the Dominos), another bounty hunter searching for the kidnapped girl. Tough, determined, stern, and also has a good heart. And she grows quite a fun rapport with D. She’s voiced by Pamela Adlon, who I think does a damn fine job with it. Wendee Lee does a good job as the kidnapped girl, who we meet multiple times throughout. And the vampire that did said kidnapping, played wonderfully by John Rafter Lee, is quite an interesting antagonist. Again, all the characters are pretty interesting. And the supporting cast is great.

The score for the movie was composed by Marco D’Ambrosio, who did a wonderful job with it. It’s moody and atmospheric, but also big and epic, as well as emotionally charged. It perfectly helps create the vibe the movie is going for, which is has a familiar sense of gothic brood, while still feeling fresh and unique for this movie.

Based on a manga series by Hideyuki Kikuchi, “Bloodlust” was directed by Yoshiaki Kawajiri, who I think did a wonderful job with it. His direction manages to keep the energy and pacing up throughout, without making it feel like he’s rushing things. He will let quiet moments simmer a bit, but without accidentally slipping into boredom. And holy fucking shit, the animation is stunning, which shouldn’t be a surprise considering the fact that Madhouse was the studio behind it (they make well animated stuff, yo). Combining Kawajiri’s meticulous direction with the animation talents at Madhouse was clever, as it makes for not only some gorgeously detailed wide shots, but also some insanely entertaining action scenes. It also makes it so the few pure horror bits we get become genuinely creepy. So well done, crew.

This movie has been generally well received. On Rotten Tomatoes it has a 72% positive rating. On Metacritic it has a score of 62/100. And on imdb.com it has a score of 7,7/10.

“Vampire Hunter D: Bloodlust” isn’t just a highly entertaining vampire action movie, but it’s also a surprisingly nuance movie that subverts a fair bit of expectations. It has a really good plot, great characters, great performances, great music, and great directing/animation. Time for my final score. *AHEM*. My final score for “Vampire Hunter D: Bloodlust” is a 9,67/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Vampire Hunter D: Bloodlust” is now completed.

Any time you have a character with single-letter names, I just wanna continue the alphabet after referring to them.
“So what’s the character’s name?”
“D”
“Interesting”
“E, F, G, H, I… “

Movie Review: From Dusk Till Dawn (1996)

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

Ladies and gents… “From Dusk Till Dawn”.

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

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

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

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

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

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

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

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

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: 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. 

Great Music #31

Well hello there, ladies and gentlemen, and welcome back to Great Music, the series where I just talk about music I like. Last time we did this was back in April. I’m not good at keeping up a consistent release pace for these posts. Oh well. Here we go.

So what’s on the menu this time? Bit of old school rock? Something from a famous movie? Nah, neither. This is a bit more… revolutionary (you’ll know why in a bit). Let’s first get something god damn straight: I don’t like nazis, they’re the fucking worst, get them the hell out. But since those sons of bitches don’t seem to go away any time soon, at least I can imagine it and get some catharsis from it… thanks to “Wolfenstein”. First released in 1981, “Castle Wolfenstein” was a stealth game with some shooting elements. Then in 1992 it saw a reboot of sorts with “Wolfenstein 3D”, a revolutionary (no, that’s not the part I meant earlier) game that really brought the first person shooter to the mainstream. Cut to 22 years and god knows how many games later, and we get “Wolfenstein: The New Order”, another reboot of sorts that shared some stylistic and thematic elements with “The Man in the High Castle” and “Inglourious Basterds”. That game was a huge hit among fans and critics (yours truly included). Then three years later, in 2017 we get the sequel, “Wolfenstein: The New Colossus”, a not quite as good, but still fairly enjoyable action game with some standout moments and characters. Now, the music of “The New Order” was good, but you can still tell that it played it a little bit safe, with composer Mick Gordon testing the waters a bit. After then making the acclaimed music for the 2016 reboot of “Doom”, you could tell that he had found his style and wouldn’t shy away from exploiting it like a motherfucker. Cut to “New Colossus”, where he (along with co-composer Martin Stig Andersen) brought his fucking A-game and gave us some of the best video game music of all time. I could’ve talked about any track from the OST and been just as happy, but I felt like I needed to pick one of the more unique tracks from it to truly justify this post. And that’s why I chose “Horton Hears a Revolution” (THERE IT IS!).

In the game, you play as American resistance fighter William Joseph “B.J.” Blazkowicz (voiced by Brian Bloom) as he tries to fight back against the nazi regime which had taken over the world in 1946, and still rules with an iron cross 14 years later. But he can’t do this alone, he has to gather allies. And at a point in the game he travels to New Orleans to try to recruit a resistance group led by southern preacher Horton Boone (voiced by Christopher Heyerdahl). And as he comes to their base, they start discussing the situation they’re in, which is accompanied by a bit of nice clarinet jazz… and Mick Gordon’s heavier-than-metal guitars and drums. You see, Mick likes to approach his compositions a bit differently compared to your John Williams or Michael Giacchinos of the world. Instead of the typical orchestrations of brass and woodwind, this crazy son of a bitch uses instruments typically found in heavy metal bands (and the occasional synth for good measure). It creates a heavy sound that fits the often satirical but still brutal style of the story and writing. And the way it is used to coincide with the jazzy clarinet is absolutely frickin’ wonderful, creating a mesmerizing chaos that honestly just takes my breath away every time I hear it, while also making me want to start a revolution against some nazi assholes.

Have a good one and enjoy.

Series Review: Doom Patrol – Season 1 (2019)

We’re getting a lot of superhero stuff these days. But what I do like about it is that we’re at a point where we’re getting more experimental things, not just typical “Colorful hero saves day” thing. Don’t get me wrong, I like those… but I appreciate the lean towards a lot more weird things. So let’s discuss such a thing.

Ladies and gentlemen… “Doom Patrol” season 1!

The story follows a group of outcasts who have been brought together by a scientist (Timothy Dalton) as they have to reluctantly band together to stop the villainous Mr. Nobody (Alan Tudyk)… at least that’s the initial setup. It sets itself up with a bit of a typical superhero idea, but then decides to shove that to the side a bit to explore the stranger side of the DC universe. While there are overarching themes and ideas, each episode is generally a self-contained adventure where the team encounter a new strange thing and have to deal with that while also having to try to handle their personal demons. So the show balances a lot of ideas and tones, which can often be a movie or show’s downfall. But “Doom Patrol” balances it all wonderfully to create a unique superhero show that for the most part just subverts most superhero tropes, all while giving us some of the most surprisingly compelling character drama that I have seen in quite a while. It’s a strange, fun, emotional, and overall well-realized story that I loved following from start to end.

The characters are flawed, layered, colorful, and just overall really interesting. They’re all damaged in some way, which makes them quite dysfunctional, leading to a lot of interesting character dynamics. And with the core cast of Diane Guerrero, Brendan Fraser, April Bowlby, Matt Bomer, Joivan Wade, and Timothy Dalton, you get some truly great performances to go along with these vividly written characters.

The score for the show was composed by Clint Mansell and Kevin Kiner. And man, it is pretty great. A lot of synth is used throughout, which gives the show an almost otherworldly feeling that helps sell the unique vibe of the show. It’s suspense-building, it’s emotionally charged, it’s exciting, it’s fun… it’s just a perfect match for the show. There are also a handful of licensed tracks used throughout the season, and they work quite well in their respective scenes. So yeah, this show has great music.

Based on the comic books from DC, the show was created by Jeremy Carver, and written/directed by a whole bunch of cool people. And as mentioned in some of the previous sections, the writing is some of the most uniquely compelling stuff I’ve experienced in quite some time. And the directing is pretty stellar too, featuring some really fun camerawork that adds a lot to the show in terms of visual storytelling. I should probably also mention that the show in large part is a comedy. So is it funny? Yes, very, it’s one of the funniest shows I’ve watched in a while. The humor can often be quite crude and weird, but I do think it works to the show’s advantage in giving it a distinct feel.

This show/season has been very well received. On Rotten Tomatoes it has a 95% positive rating and a “Fresh” certification. On Metacritic it has a score of 70/100. And on imdb.com it has a score of 8,2/10.

“Doom Patrol” is one of the weirdest shows I’ve seen in quite a while… but it’s also absolutely fantastic. It has a great plot, great characters, great performances, great music, great writing/directing, and hilarious comedy. Time for my final score. *Ahem*. My final score for “Doom Patrol” season 1 is a 9,92/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Doom Patrol” season 1 is now completed.

That was a bit insane.