Series Review: Vigil (2021)

I’ve talked about my fair share of British tv shows over the years. And now it’s time to talk about yet another one, let’s gooooo!

Ladies, gents, and non-binaries… “Vigil”.

Following a death on board the submarine HMS Vigil, DSI Amy Silva (Suranne Jones) gets sent aboard to investigate it. But what starts out as a somewhat death investigation soon turns into a much larger conspiracy involving the Royal Navy and potentially various other, high level sectors. So it’s part mystery, part conspiracy thriller, and then also part melodrama. So let’s break things down a little, starting with the mystery and conspiracy angle. At the off-set it feels fairly grounded, just a standard Beeb cop drama of a death being investigated, and as it goes on it becomes more complex, more improbable, and even a bit silly… and I liked that. It’s a conspiracy thriller right out of Robert Ludlum or or Tom Clancy’s typewriter, and there’s something about those kinds of stories I find quite compelling. It keeps it fun and engaging. Now let’s talk about the third part I alluded to earlier… the melodrama. Interspersed throughout is a backstory involving Amy and her relationship to fellow policewoman Kirsten Longacre (Rose Leslie). And while a bit of personal drama can add some nice weight to a show like this, it didn’t feel super well implemented in this. There are a few moments involving the two that I don’t mind, but a lot of these scenes of romantic melodrama just don’t feel as naturally baked into the show as they could be. So yeah, the story here is a little bit mixed. Mostly good, but has some things that let it down.

The characters in this are all decently interesting, sporting interesting personalities and mostly having interesting dynamics between each other. But what really makes them stand out is the cast. Every actor in this cast is at the top of their game, bringing the characters to life beautifully. Suranne Jones, Rose Leslie, Shaun Evans (my personal standout), Paterson Joseph, Stephen Dillane, Daniel Portman, Martin Compston, Adam James, Anjili Mohindra, and more, are all fantastic in this show.

The score for the show was composed by Berenice Scott and Glenn Gregory, and I think it was pretty good. It’s a mostly ambient affair, taking a low-key and almost sneaky approach  to build creeping tension or have you more invested in the personal drama. And I think it works fine, it’s a decent score that works well for the show.

“Vigil” was created for the BBC by Tom Edge, with writing by him, Chandni Lakhani, and Ed Macdonald, and with directing duties split between Isabelle Sieb and James Strong. And I think this show has some strong direction. While the submarine seems waaaay bigger than an actual sub, they still find good ways of making it feel claustrophobic, which adds a little to the suspense in the scenes set down there. But even the ones set on the surface, following the investigations up there are really well helmed with good shots and editing. It’s just a well crafted show.

This show has been decently well received. On Rotten Tomatoes it has a 75% positive rating. And on imdb.com it has a score of 7.3/10.

While its melodramatic bits drag it down at times, “Vigil” is still a highly enjoyable, if ludicrous, conspiratorial police thriller. It has a fun plot, good characters, fantastic performances, pretty good music, and great directing/editing. Time for my final score. *Ahem*. My final score for “Vigil” is a 7.98/10. So while it’s far from perfect, I’d still say it’s worth watching.

My review of “Vigil” is now completed.

We all live in a Vigil submarine…

Movie Review: The Trip (2021)

Marriage. Should be all about love and support. But sometimes it doesn’t quite go so smoothly. I mean, I’ve never been married, so I wouldn’t know, but I am a very observant man, so I know that not all marriages are perfect. In fact, few are… fuck, got a bit real there… let’s talk about a movie.

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

While going through a bit of a spat, married couple Lars (Aksel Hennie) and Lisa (Noomi Rapace) decide to take a nice little trip to their cabin for the weekend, both unaware that they both have violent, sinister plans for the other one. In a way it is “Mr. and Mrs. Smith” via “Gerald’s Game”, and I found that to be a really fun premise. It alternates between pitch black comedy and surprisingly tense and uncomfortable thriller quite well, handling both tones quite well and making it all feel like a solid, cohesive whole, while also managing to be quite unpredictable. I do think however that the movie might be slightly longer than it needs to be. If you shaved off five to ten minutes, the pacing would feel way better. As the final product stands, it doesn’t ruin the entire thing, but it does bring it down a little bit. So overall, a solid story, if a little poorly paced at points.

The characters in this are weird, colorful, flawed, unique, and quite entertaining. It’s hard describing them without getting too much into it, but I will say that all of the characters play off of each other well and have some interesting role within the story. And the entire cast is great, in particular our two leads Aksel Hennie and Noomi Rapace. But the supporting cast is rock solid too, containing people like Atle Antonsen, Christian Rubeck, André Eriksen, Stig Frode Henriksen, and more.

The score for the movie was composed by Christian Wibe, and it was okay. Pretty standard thriller stuff, nothing that really sticks out in my mind. Worked well in the moment, but won’t be remembered afterward. There’s also a handful of licensed songs used throughout, and they are all full and help add to the mood of their respective scenes in really fun ways. So yeah, the music overall is pretty good.

“The Trip” (original title: I Onde Dager) was directed and co-written by Tommy Wirkola, and I think he did a great job here. He has this fun, snappy, off-kilter energy that really kept my eyes stuck to the screen, even when the movie dragged its feet a little. You can just tell that he has a lot of fun while crafting a scene, and that really helps keep it fun for the audience. But his style especially shines through in the more action-packed moments, as they are intense, fast, fun, and violent as all hell. If you’re in the mood for some really brutal and well made gore, it can be found here.

This movie has been pretty well received. On Rotten Tomatoes it has a 91% positive rating. And on imdb.com it has a score of 6.9/10.

While its occasionally weird pacing does bring it down a little, “The Trip” is a highly entertaining thriller-comedy that I do recommend. It has a solid story, good characters, fantastic performances, pretty good music, and great directing. Time for my final score. *Ahem*. My final score for “The Trip” is an 8.01/10. So while it is flawed, I would definitely say it’s worth watching.

My review of “The Trip” is now completed.

And remember, kids: Don’t go on a weekend trip with your significant other if you’re going through something.

Movie Review: Army of the Dead (2021)

Hello there, my friends, I hope you’re doing well. So now we’re moving onto the final stretch of the Month of Spooks. Only seven days left. So how are we kicking off this last week then? More zombies? Okie doke, let’s go!

Ladies, gents, and non-binaries… “Army of the Dead”.

The world has gone to shi- actually, most of the world’s fine for once. Really, Las Vegas is the only place that’s gotten fucked by a zombie outbreak. Anyhow, an enigmatic businessman (Hiroyuki Sanada) has decided to hire a group of mercenaries from all walks of life to bust into the outbreak zone and pull off a daring heist. So yeah, part heist flick, part zombie flick… and I had quite a bit of fun with it. The narrative doesn’t ever really do anything we haven’t seen in either of those sub-genres, but it instead just chooses to do them in a gleeful, bombastic, and sometimes insane way that I had a lot of fun with. Now, I’m not saying that the enjoyment was absolute, because there were a few things holding it back a little. First off, this movie is two and a half hours long, and while it for the most part moves at a clip, there are times where it drags a little. And that dragging comes from the second issue, and that’s some of the more serious drama spread throughout. I don’t mind having serious character drama in my goofy action movies, that can be surprisingly effective, but I just didn’t think it quite worked here. Had they given the script another pass and tried to iron it out more, then maybe. But as it stands, the drama just bogs it down for me a bit. Otherwise, I had fun with this apocalyptic heist story.

The characters in this are… fine? I didn’t necessarily mind them, and a few I did actually kinda like. But on the whole they all feel a little underdeveloped and like they could’ve been a little more fleshed out. But what I can happily say is that the cast itself is great. Dave Bautista is great as the tough yet kind leader, Matthias Schweighöfer is great as the comic relief safe expert, and Hiroyuki Sanada (despite very limited screen time) is as cool as always. The rest of the cast, containing people like Ella Purnell, Omari Hardwicke, Nora Arnezeder, Garret Dillahunt, Raúl Castillo, Tig Notaro, Athena Perample, and more are all great too.

The score for the movie was composed by Tom Holkenborg (AKA Junkie XL), and I enjoyed it. Nice mix of brass and electronics to create a score that hearkens back to more old school films, while still feeling quite contemporary. It’s solid stuff. There’s also a handful of licensed songs used throughout, and I have slightly mixed feelings. Some work well enough and can add a nice bit of fun, but one or two didn’t fully click for me, with one specific track eliciting the biggest eyebrow raise I’ve given in a while. So yeah, the music in this is mostly good.

“Army of the Dead” was shot, directed, produced and co-written by Zack Snyder for Netflix. Aaaaand I think he did a really solid job here. The dude knows how to craft some bombastic, fun action set pieces, and he delivered on that front here. When zombie carnage is going down, Snyder cranks it up to 11. It’s generally well shot, insane, intense, and insanely gory. Speaking of which, I love the gore in this movie, as it’s not only well crafted, but also plentiful and quite creative, making for one hell of a fun time. The only thing I didn’t necessarily enjoy about Snyder’s ways here is his frequent use of shallow focus. I don’t mind shallow focus at all, and there were times where it helped create a nice shot in this movie. But he uses it a bit more than maybe needs to be done, which can be a little distracting at times. For the most part I like what Snyder does with his directing and such here, but that part was a little iffy at times.

This movie’s gotten some mixed reception. On Rotten Tomatoes it has a 67% positive rating. On Metacritic it has a score of 57/100. And on imdb.com it has a score of 5.8/10.

While it does have its fair share of flaws, I still had a really fun time with “Army of the Dead”. It has a fun plot, okay characters, great performances, good music, and great directing/action/effects. Time for my final score. *Ahem*. My final score for “Army of the Dead” is a 7.99/10. So while flawed, it’s still certainly worth watching.

My review of “Army of the Dead” is now completed.

Viva Las Veg- AH, IT’S BITING MY LEG!!!

Movie Review: Before I Wake (2017)

Good *insert the time of day you read this in here*, hope you’re doing well. Time for more spooktacular content. So let’s go!

Ladies, gents, and non-binaries… “Before I Wake”.

Jessie (Kate Bosworth) and Mark (Thomas Jane) are a loving couple who have made the decision to adopt a young boy (Jacob Tremblay). What they don’t know however is that this boy carries a special, strange secret. The story in this movie is an interesting one, often leaning more towards a dark fantasy rather than outright horror… at least early on. Towards the later half it leans heavier on the horror elements. And I must say that I found the story here quite enjoyable. It has some interesting themes that we’ve seen discussed multiple times in works by this director, and while this isn’t his most engaging or nuanced take on the subject matter, it’s still a generally well written and enjoyable narrative that managed to creep me out a few times.

The characters in this are alright, not the most deep or interesting ever, but they work well for the story. Kate Bosworth does a really good job as Jessie, Thomas Jane is great as Mark, Jacob Tremblay is of course great as Cody, the kid that the couple adopts. And then you also have an interesting supporting cast, featuring people like Annabeth Gish, Dash Mihok, Kyla Deaver, Jay Karnes, and more!

The score for the movie was composed by Danny Elfman, along with the Newton Brothers (talk about one hell of a teamup), and I’d say they did a solid job together. It’s an ambient score that manages to build a fair bit of drama, helping add a good bit of emotion to certain scenes. There’s also of course some classic loud horror hits, and they work fine, even though we’ve heard that sort of stuff a kajillion times.

“Before I Wake” was directed and co-written by Mike Flanagan (hell yeah), and also has a bit of an interesting production history. Apparently Relativity Media bought the rights in 2014, slating the film for a 2015 release, but later got pulled due the company going bankrupt. Eventually after much back and forth it then landed in the hands of Netflix, who finally released it in 2017 worldwide… except for the states who got it in 2018. So yeah, it’s an interesting tale. Anyhow, back to Flanagan.
This man doesn’t miss when it comes to directing. Even in this film, which isn’t one of my favorites he’s done, he still does a damn good job. His direction has this simmering, slowly burning, often dreamlike vibe that just makes each scene a hell of a lot more engaging.

This movie has gotten some mixed reception. On Rotten Tomatoes it has a 66% positive rating. On Metacritic it has a score of 68/100. And on imdb.com it has a score of 6.2/10.

While not my favorite film from Flanagan, “Before I Wake” is still an enjoyable little horror-fantasy that I can recommend. It has a good plot, pretty good characters, great performances, good music, and great directing. Time for my final score. *Ahem*. My final score for “Before I Wake” is a 7.44/10. So while flawed, it’s still worth watching.

My review of “Before I Wake” is now completed.

I don’t know about you, but before I wake, I sleep.

Series Review: Buffy the Vampire Slayer – Season 6 (2001 – 2002)

Been a while since we did one of these, wasn’t it? Hold on, lemme check… Yup, December 2020, Jesus Christ. Shocking delay aside, my rewatches and reviews of this show finally continue. So let’s fucking gooooooo. Oh, and spoilers for the end of season 5, because that stuff ties into a few plotlines for this season. So if you haven’t watched that and don’t want spoilers… begone, come back later. As for the rest of y’all…

Ladies, gents, and non-binaries… “Buffy the Vampire Slayer” season 6.

Picking up months after Buffy’s (Sarah Michelle Gellar) heroic sacrifice at the end of season 5, she gets brought back to life by her friends. And we follow her as she’s reeling from that, seeing how what effect it has on her, all the while a new, yet familiar threat rises in Sunnydale, along with the usual subplots of the various members of the gang. Season 6 of “Buffy” has some interesting ideas within its narrative, and even has some great episodes and moments. But in the grand scheme of things it is quite dour and joyless. Yes, there is still fun to be had, ranging from the delightful “Once More With Feeling” to the charming “Tabula Rasa”, the latter of of which featuring one of my favorite visual puns in anything ever. But despite there being a decent amount of good stuff, there’s also a lot of things that really drag down this season for me. There’s the aforementioned tonal issues. The first half of the season isn’t quite as bad for that, but good god, the back half is almost pure misery all the time. Occasionally the seriousness leads to some good drama (the last episode for example, I think is damn good), but generally it becomes such an onslaught of pain that it becomes numbing. What doesn’t help is the general big bad of this season, which is a few people who’ve appeared in previous seasons. Not inherently the worst idea, and their specific plotline is oddly prescient to our society today. But in terms of how well it works within the show? Not really a big fan. They just become kind of annoying and don’t really add anything in terms of dramatic value. I see a lot of potential throughout the season, and there are some great fucking ideas throughout, but they either feel undercooked, incorrectly utilized, or missed. So yeah, in terms of story this season is a very mixed bag.

The characters here… you know, the characters of this show are usually a highlight. And obviously I still generally love them, but something about their development throughout this season is, once again, a mixed bag. Buffy herself remains pretty great, and her arc this season is one of the better ones, with Sarah Michelle Gellar once again absolutely fucking killing it. The only other arc I’ll talk about in a slightly longer format is that of Spike, played by James Marsters. Back in the earlier seasons he was the best. A Billy Idol-inspired vampire who was a crackerjack of charisma, violence, and badassery… Spike this season is a pathetic simp, and it’s one of the biggest mistakes the show’s made. Marsters still kills it with the material given, but the character’s development just doesn’t work. The rest of the cast, some get good stuff, some get less good stuff. Alyson Hannigan, Nicholas Brendon, Amber Benson, Emma Caulfield Ford, Michelle Trachtenberg, Anthony Head, they all put in good work.

The score for this season was composed by one Thomas Wanker (don’t laugh). And I think he did a good job. His style is generally understated, having a lower, more subtle tone that carries through, which I think sounds really good. This season also saw the return of Christophe Beck, as he did the music for the episode “Once More, With Feeling”, an episode which has some top tier tunes. So yeah, that’s cool. As for licensed tracks, there’s a handful used throughout, and they work pretty well in their respective scenes.

Season 6 of “Buffy the Vampire slayer” was, as always, written and directed by a whole slew of talented people, all bringing something interesting to it. It’s all generally well shot, with solid action and effects for the time.  Editing in some scenes can be a little too quick, but on the whole the craft is good. I don’t really know what to add, these guys basically found their groove around season 3, and there’s been much different in terms of improvement, it’s just a show that is well put together.

This season has been quite mixed in its reception. It has a 63% positive rating on Rotten Tomatoes. On Metacritic it has an audience score of 4.9/10. And while there’s no season average, the show overall has a score of 8.2/10 on imdb.com.

Season 6 of “Buffy” is, as you’ve most likely gathered from my ramblings, a bit of a mixed bag. While it does sport some really good episodes and moments, on the whole it’s quite a mess. The story is mixed, the characters are pretty good, the performances are great, the music’s really good, and the directing is really solid. Time for my final score. *Ahem*. My final score for season 6 of “Buffy the Vampire Slayer” is a 7.20/10. So while it does have a fair bit of missteps, I’d still say it’s definitely worth watching.

My review of “Buffy the Vampire Slayer” season 6 is now completed.

Just one more season to go.

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: 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…

Series Review: Brotherhood – Season 2 (2003)

Last summer I covered the first season of this show. And I found it to be very good, which is something I don’t often get to say about media from my home country of Sweden. And now we’re back to cover the second season! So let’s see if this continuation is any good. Oh, and SPOILERS for the end of season 1, as that sets up this one. So yeah, let’s go.

Ladies, gentlemen, and non-binaries… “Brotherhood” season 2!

After finally having gotten arrested for robbing a bunch of banks, Jan “Hoffa” Lenhoff (Ola Rapace) gets sent off to prison. And so we follow him in his day to day life there, trying to get by while also thinking of getting out and back to his family. Right off the bat, this season is off to a good start. It’s nicely paced, the writing’s engaging, and the internal monologue of our main character really brings us nicely into the world. And as the season keeps going, the drama escalates and becomes more and more engaging… up until episode 4. Now, do not take that as the show jumping the shark at that point, because it doesn’t. The dramatic beats are still really solid. I do however feel that the pacing in episodes 4 and 5 is a bit off. What happens is that they’re working to cover A LOT of ground in just two episodes, when really it should’ve been spread out a little more, having maybe at least one more to help it from feeling so overstuffed with content. Again, the drama in itself is really strong and compelling, giving us a pretty nuanced look at these characters and their predicaments. I just wish we had another episode or two to space out the latter parts of the story a bit.

The characters in this are all pretty flawed, nuanced, and interesting. They all feel pretty believable, and they all work wonderfully within the story. Ola Rapace of course returns as Hoffa, our main guy from the first season. He was already a pretty interesting character, having an interesting arc in the first season. And in this second one he goes through another one, as his relationships get strained by his stay in prison, which makes for some compelling development. And Rapace is great in the role. We also get supporting work from people like Anja Lundqvist, Magnus Krepper, Jakob Eklund, Michalis Koutsogiannakis, Özz Nûjen, and more, all doing very well in their respective roles.

As with the first season, the music for season was handled by Martin Hansen and Mikael Nord Andersson, and they really brought their A-game here. The score of season 1 was already damn good, a moody, minimalist, blues-inspired score. And for season 2 they don’t alter the formula too much, other than adding some extra instrumentation to the various tracks, which I think really elevates it to being as great as it is.

As with season 1, the second season of “Brotherhood” was written by Lars Lundström and directed by Erik Leijonborg. And the two really did a damn fine job with it. I already talked about how solid the story and character stuff was, so I don’t think I need to mention much more about the writing. I will however say that Leijonborg’s direction remains one of my favorite aspects of the show. His style here isn’t exactly flashy or in your face, it’s very understated, almost having a bit of a fly on the wall feeling to it. And I think it works really well for the show.

This show doesn’t really exist much on my usual sites, so this section’ll be extra brief today. But I can say that it does have a score of 8.2/10 on imdb.com.

So while the pacing in the last two episodes if a little off, season 2 of “Brotherhood” is a damn good drama and further cements this as one of Sweden’s better television shows. It has a really good story, really good characters, great performances, great music, and really good directing. Time for my final score. *Ahem*. My final score for season 2 of “Brotherhood” is an 8.90/10. So while flawed, it’s definitely worth watching!

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

Quality tv, woo!