Change Your Image
![](https://m.media-amazon.com/images/M/MV5BYTQxODc5OGMtZWZjNi00N2FiLWI5YzMtNzIxOGU0ZGRkNGI4XkEyXkFqcGdeQXVyOTQwMDUyNDY@._V1_SY100_SX100_.jpg)
JoshuaMercott
My Books: https://www.amazon.in/~/e/B07BRPDHKK
My Blog: https://mrmercottreviewer.com/
My IG: https://www.instagram.com/joshuamercott87/
My IMDB: https://imdb.1eye.us/name/nm13240611/?ref_=pro_nm_visitcons
Ratings
Most Recently Rated
Reviews
Bridgerton (2020)
Scandalous & Sensual Feast of Possibilities - Season 3 Review
It began as such stories do, on the basis of love. Unmatched romantic vibes merged beautifully with distinguished Regency-era lifestyles, and the strangely amusing 'Mayfair marriage market' that has come to define this series.
Suffice to say, the complex aristocratic social-politics of "Bridgerton" continued to captivate, only this time it brought with it a laudable serving of empowerment and self-discovery.
It has become well-established by now that Penelope Featherington - a seemingly sweet and benign wall-flower of a girl - was actually Lady Whistledown.
Nicola Coughlan did exceptional work this season balancing not only her past as Penelope Featherington but also her future as a Bridgerton.
Her marriage to Colin Bridgerton was as natural as it was meaningful. They had such intense chemistry. In more than a few episodes, I felt as if Julia Quinn's novels - from which this show was adapted - truly came to life on screen.
Nicola Coughlan's stellar performance was met on equal footing by Luke Newton who gave Colin Bridgerton a gravitas that was memorable and inspiring.
The way they reconciled their earlier misunderstandings, became better friends, and bloomed into something more was a romantic journey as credible as it was covetous.
More than their chemistry, though, it was their honesty with each other that contained the greatest value in season 3 of "Bridgerton".
I also loved the independent-woman angle they wove around Penelope this season, making her story highly relevant in her own world as well as our real one.
A whole new debutante season was in the works, with the Bridgerton family once more aiming to put their best foot forward.
As expected, a plot-twist took place featuring Penelope and Colin, taking this season on a wonderfully distinct track worth appreciating.
Covering important elements like body positivity and giving an 'invisible' plus-size woman an equal chance at landing romantic happiness made season 3 of "Bridgerton" charming in more ways than one.
Even some of the characters' hair-dressing told their respective stories - Cressida Cowper springs immediately to mind.
Broken friendships, ruinous secrets, scandalous revelations, and passionate eroticism all played potent roles this season, taking the "Bridgerton" story in fascinating new directions.
Every artist in "Bridgerton" season 3 brought their A-game. There were some familiar faces and then some new ones and together they wove a high-society mélange of intrigue, deception, and of course luscious romance.
I Saw the TV Glow (2024)
Suspenseful & Subtextual with Arthouse-Retro Vibes
Growing up in the suburbs received a new twist in this movie. "I Saw the TV Glow" contained natural as well as supernatural phenomena, but with a profound helping of subtext.
Featuring a late-night TV show ("The Pink Opaque") that seemed to be more real than it appeared, this plot bottled a good bit of suspense and eldritch-style chills that would've impressed Lovecraft.
At times campy, but in a cool 80s ways, "I Saw the TV Glow" incorporated some old-school movie magic that was fun and engaging - for this '80s kid' anyway.
I'm still surprised at how simple the script was! The story essentially revolved around Owen - played exceptionally well by Justice Smith, and his kid version by Ian Foreman.
He was left questioning his own reality after a new older friend Maddy - played exquisitely by Brigette Lundy-Paine - introduced him to a bizarre TV show.
Owen was familiar with the show, but not in a full-on geeky way. However, the same show at 10.30pm apparently created a different 'effect' that could best be described as a mysterious quantum teleportation.
"I Saw the TV Glow" explored this strange possibility and lived up to its hype while doing so. Within the show itself, Helena Howard (as Isabel) and Lindsey Jordan (as Tara) gave nuanced-nostalgic performances.
One of the most laudable contributions came from Emma Portner who not only portrayed Marco and Amanda but also Mr. Melancholy and the Evil Clown.
The retro setting additionally worked marvels for the movie, making "I Saw the TV Glow" another nostalgic chapter in this genre, and thoroughly worth watching.
They sometimes even broke the Fourth Wall, adding distinct vintage-film vibes. There was a valid reason for that in the movie.
The systematic step-by-step approach to storytelling further enriched the flow, making the movie seem as experimental as it was arthouse. I genuinely liked this filmmaking style.
"I Saw the TV Glow" drew me into the plot and made me want to know how it would all end.
On a similar note, the movie naturally wove in empathy for its characters. They showed so much without telling too much. In this lay this script's most underrated quality.
As the movie progressed, I couldn't help but be drawn into its myriad subtext levels, which told a more real story featuring human emotions like melancholia, delusion, and loneliness.
Before long, "I Saw the TV Glow" donned different minimalistic veils of truth, including identity, orientation, soulmate connections, domestic abuse, coming-of-age tropes, parallel-dimension concepts, and Simulation Theory themes.
All this made the movie feel compelling and worth checking out again in future to, perhaps, see what other subtext-rich lessons lay under its surface.
--- --- ---
Special shout-out to Danielle Deadwyler (as Brenda), Conner O'Malley (as Dave), Madaline Riley (as Polo), Haley Dahl (as a band singer), and Kris Esfandiari (as a band singer).
The Last Stop in Yuma County (2023)
Realistic Take On Human Fallibility
Escalation certainly won this race. "The Last Stop in Yuma County" bottled cinematic suspense in classic old-school ways without compromising modern tastes.
A roadside Arizona reststop became the hub of a hostage situation involving a travelling knife salesman, a diner waitress, a gas pump operator, and more besides. Only a handful of them knew they were actually hostages.
Two bank thieves were at the heart of the problem. They were passing through with their ill-gotten wealth, but the lack of fuel at the pump prompted them to wait a while at the diner.
Add a couple of Bonnie and Clyde wannabes - Ryan Masson (as Miles) and Sierra McCormick (as Sybil) - who brought their own agenda to the counter, and the situation had a good chance of going sideways, and fast.
Soon, the original two criminals decided to do whatever it took to hold on to their stolen gains, even if it meant taking lives.
As simple as that premise may sound, "The Last Stop in Yuma County" told the tale in extraordinary ways. It ticked off all the classic boxes and portrayed a common theme in an intriguing style.
Jim Cummings (as the salesman) did amazing work in this one. As nuanced as it was natural, his performance was casually captivating. I've been a fan of his work, especially "The Beta Test" (2021); among others.
Jocelin Donahue (as Charlotte; the waitress) gave a neat and streamlined performance worth watching. Faizon Love (as Vernon; the gas pump operator) held his own and was memorable.
The villains who stepped into the picture and made the rest stop diner a living hell did great work. "The Last Stop in Yuma County" wouldn't have been the same without such dark elements keeping the movie's suspense quotient strong.
In this regard, kudos to Richard Brake (as Beau; as patient as he was cunning) and Nicholas Logan (as Travis; as reckless as he was ruthless). Their characterisation was a tad clichéd but their acting was more than remarkable. They made it worth sticking around to see what would become of them.
"The Last Stop in Yuma County" escalated quickly without any slow-burn pacing. It became increasingly enjoyable, thanks in large part to how the plot felt like something from Hollywood's classic era. The script contained no fuss or bother, and focused on its core theme.
Each scene unravelled with careful aplomb, telling a tale that captured how fate and luck played with people's lives. "The Last Stop in Yuma County" felt like a credible and compelling take on this philosophy.
The way things went from bad to worse, grazed mistaken identity, and then created a whole new twist featuring the knife salesman was riveting.
"The Last Stop in Yuma County", when carefully studied, proved that a scenario like the one in this plot would have most probably unravelled as shown. Every sequence felt real, involved split-second decisions, and highlighted human fallibility and immortality in sharp measure.
Sometimes, those who don't cause a harm end up propagating it. "The Last Stop in Yuma County" framed that outcome in a simple and engaging way.
--- --- ---
Noteworthy performances from Michael Abbott Jr. (as Charlie), Barbara Crampton (as Virginia), Connor Paolo (as Gavin), Gene Jones (as Robert), Robin Bartlett (as Earline), Jon Proudstar (as Pete), Sam Huntington (as David), and Alexandra Essoe (as Sarah).
Sweet Tooth: This Is a Story (2024)
Hearty Adieu to a Heartfelt Tale - Season 3 Review
Continuing to live up to the original comic books, "Sweet Tooth" progressed admirably in season 3 and delivered a finale performance for the ages. I always felt this show was strangely under-rated, and was convinced of that after watching its third innings.
Based on the graphic novels by Jeff Lemire, the "Sweet Tooth" series was rife with storytelling possibility and subtext. I enjoyed reading the comics and watching the first two seasons.
Christian Convery (as Gus) was the heart and soul of this tale. He did impressive and empathic work from start to finish. His character arc in the third season of "Sweet Tooth" was worth watching.
Nonso Anozie (as Tommy "Big Man" Jepperd) captivated in season 3. He did pivotal work in the previous seasons and this time round was tasked with a much bigger challenge. It was great to see what he brought to his role in "Sweet Tooth".
Stefania LaVie Owen (as Becky "Bear") and Naledi Murray (as Wendy) complemented more than a few performances in the third season. Add Amy Seimetz (as Dr. Gertrude Miller; aka Birdie, Gus' mother, and the scientist who started it all), and "Sweet Tooth" season 3 gained additional value.
Adeel Akhtar (as Dr. Aditya Singh) deserves special mention. He was utterly memorable in the last two seasons as a conflicted scientist doing what he had to do to save the world and saving his own soul in the end. He contributed a fine performance that was equally subtle and impactful.
Complex villainy from the likes of Rosalind Chao (as Zhang), Kelly Marie Tran (as Rosie Zhang), and George Ferrier (as Jordan).
This post-apocalyptic fantasy-thriller already set a resounding tone when it originally showcased how human-animal hybrids were either reviled or exploited. This season further explored that concept in admirable ways.
Revealing flashbacks, heart-wrenching moments, and a steady pace defined season three of "Sweet Tooth". It enunciated family and friendship in beautiful ways.
As great as the show has been so far, the final season did contain a few contrived elements that were on the nose and not as credible as I'd hoped, particularly in the last two episodes. But these were few and far between, and didn't get in the way.
The historical flashbacks deserve particular praise. Going back to the early 1900s, it hinted at and later confirmed the existence of hybrids as far back as that timeline. This had major implications for what precisely started 'The Sick' which killed ordinary humans and to which the hybrids were immune.
In this regard, Nathaniel Lees (as Munaqsriri, aka The Caribou-Man) did extraordinary work. From his captivating practical-effects costume to his stellar line deliveries (evident meanings included), I believe his was one of the finest performances in "Sweet Tooth".
I loved how adeptly this series showcased the way people react to something or someone different. In this lay one of the greatest messages in the story of "Sweet Tooth" - the message of embracing differences and peaceful co-existence.
--- --- ---
Meritorious performances from Chris Tempest (as First Mate Nathaniel Burke), Joel Tobeck (as Captain James Thacker), Helene Wong (as Bridget), Ken Blackburn (as Paul), Ian Mune (as Ron), Judy Rankin (as Patrice), Cara Gee (as Siana), Ayazhan (as Nuka), Louise Jiang (as Ginger Zhang), Seth Flynn (as Ben), Jonah Wren Phillips (as Theo), Edith Poor (as Coral), Dahnu Graham (as Milton), John Leigh (as Captain Stafford), Leo Maggs (as First-mate Darwin Crusoe), Michael Hurst (as Walter), Will Forte (as Richard "Pubba" Fox), and James Brolin (as the narrator & older Gus).
The Crown: Sleep, Dearie Sleep (2023)
Cunningly Speculative & Intricately Dramatized - Season 6 Review
Starting off with the car crash that killed the former Princess of Wales was a bold move. Thus began season 6 of "The Crown", setting a conspiratorial tone that promised a no-nonsense dramatization of the tumultuous life and times of the royal family, including the estranged Diana Spencer.
As strikingly realistic portrayals go, Elizabeth Debicki as HRH Princess Diana was remarkable in every way. She came close to capturing the unique spirit of service and reasonably rebellious nature for which the OG Diana was loved and admired all over the globe.
Rufus Kampa (as younger HRH Prince William) and Fflyn Edwards (as younger HRH Prince Harry) were outstanding in their respective roles. They evoked so much of their real-life counterparts, though not much has been known of how the boys were in their youth.
The same could be said of Ed McVey (as teen HRH Prince William) and Luther Ford (as teen HRH Prince Harry). This season seemed to be as much about them as their iconic mother.
Much of the scandal sourced from Salim Daw (as Mohamed Al Fayed) and Khalid Abdalla (as Dodi Fayed). They were the sparks to plenty of fuses, as dramatized in "The Crown" season 6. Both delivered natural acting and a wealth of subtext to the final season.
I loved everything Dominic West (as HRH Prince Charles) and Olivia Williams (as Camilla Parker Bowles) brought to this season. Following his divorce from Diana, there has been much speculation (to date) about how things transpired in the aftermath. West and Williams' emotive and natural performances provided potential clues and truths - as unearthed by the showrunners of "The Crown".
Imelda Staunton (as HRM Queen Elizabeth II) and Jonathan Pryce (as HRH Prince Philip, Duke of Edinburgh) were astounding in season 6. They continued to captivate and delivered fine acting that spoke volumes about their recently deceased royal counterparts.
I also enjoyed what Lesley Manville (as HRH Princess Margaret) - though subdued, compared to other seasons - brought to the game this time round. Claudia Harrison (as Princess Anne) left a notable impression as well.
Much of what happened after Diana's divorce from Prince Charles and consequent trysts with Dodi Fayed became the focus of season 6 (part 1). I'm not sure if some of the elements can be construed as hard facts, but they did come close and captured a lot of what was being said on the matter in 1997.
The team exquisitely captured the intense lack of privacy Diana experienced. It was almost as if all the good she did inspired bad by way of the paparazzi and excessively adoring fans. The team also investigated (i.e., "Operation Paget") the possibility that Diana's car crash might not have been an accident.
Liberties were certainly taken to tell those portions of the royal story which were out of the public eye. As speculative as those scenes were, they captured a reasonable realism, in keeping with what such high-profile dramatizations often demand.
The later entry of Kate Middleton added to the enrichment value this season. Meg Bellamy did great work portraying this influential figure who, in recent times, seems to be inspiring strange headlines. In retrospect, it feels like the 'new' Princess of Wales is still struggling with similar old problems, especially public pressure to be more than human.
This season also gave due diligence to anti-monarchist sentiments, tumultuous statecraft, and a Britain poised to step into the future. Most of these elements will be recognisable to younger viewers, making season 6 of "The Crown" a relatively modern take compared to its previous seasons.
Packed with subtext and speculation in good measure, this season soon proved to be as relevant as it was riveting. I equally liked the historical flashbacks and fast-forward-to-modern-day instances. The final season wrapped up on elegant, meaningful, and traditional notes - as befits the nature and theme of "The Crown".
--- --- ---
Memorable and distinguished performances from Bertie Carvel (as Tony Blair), Lydia Leonard (as Cherie Blair), Erin Richards (as Kelly Fisher), Ben Lloyd-Hughes (as Mark Bolland), Alex Blake (as Stephen Lamport), Enzo Cilenti (as Mario Brenna), Forbes Masson (as Duncan Muir), Andrew Havill (as Robert Fellowes), Blake Ritson (as Andrew Gailey), Adam Damerell (as Alastair Campbell), Jamie Parker (as Robin Janvrin), Ella Bright (as younger Kate Middleton), Eve Best (as Carole Middleton), Honor Swinton Byrne (as Lola Airdale-Cavendish-Kincaid), Oli Green (as Rupert), Jack Cunningham-Nuttall (as Fergus Boyd), Lorcan Cranitch (as Commissioner Stevens), Martin Turner (as Lord Chamberlain), Jonathan Hyde (as Duke of Norfolk), Richard Heap (as Archbishop Williams), Paul Tinto (as Piper to the Sovereign), Rebecca Forsyth (as a palace maid), Anthony Calf (as the Royal Photographer), Viola Prettejohn (as younger Princess Elizabeth)...
Olivia Colman (as Queen Elizabeth II; surprise cameo), and Claire Foy (as Queen Elizabeth II; another surprise cameo).
Hit Man (2023)
Surprisingly Exciting Police Story
In a lot of ways, "Hit Man" was a true-romance story instead of a true-crime one. It featured a so-called notorious undercover hitman who fell in love when least expected, thereby establishing a macabre rom-com undertone that was thoroughly entertaining.
Imagine being mistaken for a good guy when you're working as a professional killer-for-hire, but only pretending to do so on the police's behalf, and in New Orleans to boot.
That's what happened to Gary Johnson, who was played to outstanding effect by Glen Powell, who was casually funny, intense when needed, and charming otherwise. He was a psychology professor whose skills the police needed to cinch certain criminals, but then he got deep into the heart of things and lost his way; or rather, found a new one.
The message at the heart of "Hit Man" became clear when Gary broke his own rules to help one of the contract-killer hirers - Madison Figueroa Masters (played engagingly by Adria Arjona) - escape her abusive husband Ray Masters (played notably by Evan Holtzman).
There was a predictable twist connected to her character, but nothing so bad as to ruin the plot. A feel-good story coupled with rom-com vibes thus unfolded, with a generous helping of intrigue and humour.
"Hit Man" 2024 contained a wealth of pleasant surprises. For starters, it felt like the story tapped into the ever-high demand for murder-misadventure tales and gave it a romantic twist, with an undercover civilian pretending to play a cut-throat character to bust various criminal endeavours.
The movie also had a welcome 80s vibe. But what I genuinely admired about it was the fact that it was all based on a true story, and a very real Gary Johnson who worked as a college instructor (psychology and philosophy) by day and moonlighted as an undercover hitman for the New Orleans police.
Sanjay Rao (as Phil), Retta (as Claude), Austin Amelio (as Jasper), and Gralen Bryant Banks (as Sergeant Hank) did good work as the NOPD crew. Molly Bernard (as Alicia; Gary's civilian ex) gave a memorable performance as well.
As for the wide-ranging list of contract-killer hirers, Mike Markoff (as Craig), Bryant Carroll (as Walt), Martin Bats Bradford (as Isaac), Jo-Ann Robinson (as a posh woman), Jonas Lerway (as Monte), Kate Adair (as Rita), Morgana Shaw (as Tammi), Ritchie Montgomery (as Marcus), and Richard Robichaux (as Joe) were all caricatured down to a T but nonetheless gave engaging (though brief) performances. According to Press reports, the real Gary Johnson died - 1947-2022. Obvious conspiracy theories notwithstanding, "Hit Man" was a careful nod to one of the shadiest professions still in existence today; don't let some of the dialogues in this movie make you believe otherwise.
The plot also insinuated that even in the coldest of hearts, there might be the need to go good and help the innocent. But don't go trusting your friendly community killer after reading that line. Not all of them are keen on being as nice as Gary Johnson was, and he was the goddamned police (irony-sarcasm intended).
The movie ended on a dark note, rife with psychological subtext but no real-life parallels. The OG Gary Johnson was, apparently, the "chilliest dude imaginable". There were also some interesting noir-movie easter eggs worth appreciating.
"Hit Man" was one of the few movies to surprise me this year. For a story based on grim true-crime cases, its protagonist came across as skillfull, heroic, and entertaining in all the right ways. Such characterisation balance was genuinely admirable.
"All pie is good pie."
--- --- ---
Special shout-out to Kim Baptiste (as a defence lawyer), John Raley (as a defence lawyer), Jordan Salloum (as Ray's friend), Stephanie Hong (as Mindy), Joel Griffin (as Peter), KC Simms (as Jerren), and Murphee Bloom (as Gwen).
Sous la Seine (2024)
Fascinating 'French Jaws' with Heart
Taking a dive in La Seine? You'll think again after watching this movie. "Under Paris" was everything you'd expect to find in a strictly dramatized and biologically implausible take on a giant shark. But I've not seen a more compelling take in the shark-attack genre since 1975's "Jaws".
In this story, Paris was busy courting the World Triathlon Championships. As expected, the sporting activities were scheduled to unfurl in the River Seine.
Before long, some scientists, activists, and police personnel confirmed the presence of a giant shark in the storied river.
After realizing they couldn't pull political strings to stop the event, select team members attempted to stop the shark from endangering lives.
Bérénice Bejo (as Sophia Assalas) fulfilled the role of the alarmist-scientist. Her performance set a natural and compelling tone in the plot, making "Under Paris" feel like it could well and truly happen.
Léa Léviant (as Mika) was the environmental activist whose role was important for several reasons, most importantly the implication that the shark in question was unnaturally present in the Seine owing to climatic, and other, causes.
There's a lot of this happening in the real world, particularly how entire species are moving to oceanic zones where they rarely venture or have never before seen to do so.
One of the leading causes for such behaviour is rapidly changing ocean temperatures, which are either killing or diverting species essential to that ecosystem.
Fish are migrating from warmer to cooler waters, with many of them moving toward the poles - something they wouldn't normally do. There's a surprisingly large amount of news on this, so Google to know more.
The opening scene of "Under Paris" set a stellar tone in this regard, clearly highlighting the plastic source of the shark problem that later plagued the Seine. Mika's speech in the movie further enriched its core message.
Nassim Lyes (as Adil Faez) brought good contrast to "Under Paris". His role as Commander of the River Police brought him into Sophia and Mika's radar. The way he went about helping them gave me a glimpse at a potential 'French Statham' - in reference to the amazing Jason Statham's work on 2018's "The Meg".
"Under Paris" 2024 was a shocking and entertaining shark movie to come from outside Hollywood. It was a strong reminder that human-induced Climate Change is happening and that it's affecting more than just human lives.
Everything about the SOS (Save Our Seas) group was amazing. They evoked the work done by admirable activist organizations like Sea Shepherd and more. I also liked how they implemented ethical hacking to keep tagged ocean species safe from illegal trawling and fishing.
Also noteworthy was how the "Under Paris" shark was not seen as a monster, but a creature in need of help, a creature trying to survive in a world humans slapped out of whack.
But when Sophia and team learned that the shark in question was a newly adapted species that could become an invasive one, and fast, they had little choice but to put it down.
Using the real-life fact that old, and still dangerous, artillery shells are still present on the Seine riverbed, the team tried to avert disaster but to no avail.
The movie concluded on a Parisian doomsday note that was as compelling as it was scary. 'Under Paris' thus became 'Paris underwater', tying in perfectly with what the 'sharks' of Climate Change and sea-level rise promise to do all over the world.
I found myself enjoying every second of this movie. I never expected to find this story to be so implausible yet compelling. The irony in "Under Paris" is how our own actions, or lack thereof, can create a monstrous scenario that will return to harm and haunt us for generations to come.
--- --- ---
Noteworthy performances from Yannick Choirat (as Chris), Victor Pontecorvo (as Sam), Anaïs Parello (as Jade), Ibrahima Ba (as Adama), Nagisa Morimoto (as Ben), Jonas Dinal (as Adewale), Aurélia Petit (as Angèle), Daouda Keita (as Léopold), Marvin Dubart (as Markus), Aksel Ustun (as Nils), Sandra Parfait (as Caro), and Anne Marivin (as the Mayor of Paris).
Ripley (2024)
A Defiant & Extraordinarily Paced Misadventure
Set in 60s Italy, this story captured deep emotions and dark secrets in good measure. The titular character was based on Patricia Highsmith's novels. Though I haven't read the books, this mini-series gave me plenty of reasons to do so.
For starters, Andrew Scott (as Tom Ripley) was a tour de force. His subtle acting more than complemented the scenes and sequences called for in this story. He delivered big time, so much so that I feel I cannot see anyone else in this role for the foreseeable future.
Ripley was so real, natural, amateur even. This character is certainly one of Scott's most nuanced and versatile career performances. The way he defied all odds to make good his nefarious escape was admirable and uncomfortable to watch.
Dakota Fanning (as Marjorie "Marge" Sherwood) did great work in this series. I've been a fan of her acting for a while now. She continued to captivate and impress in the "Ripley" TV series, in which she went on to prove that everyone is using everyone else for their own reasons.
Johnny Flynn (as Richard "Dickie" Greenleaf) gave an interesting conflicted performance that was worth appreciating.
As a privileged travel-happy spendthrift of a son, Dickie Greenleaf was in Italy chasing his preferred lifestyle with Marge by his side.
None of this sat well with his millionaire father, Herbert Greenleaf (good acting from him as well), who was compelled to ask Tom Ripley to help out - all expenses paid, plus salary.
As if this premise wasn't intriguing enough, the plot was perfectly paced and boasted an admirable black-n-white noir vibe, which seemed to emulate Highsmith's book covers.
Eliot Sumner (as Frederick "Freddie" Miles) did extraordinary work in this series, especially their 'dead body' performance.
Hildegard De Stefano (as Mina) was a brief but outstanding addition. Her character was based on the star Italian singer Mina Mazzini.
Margherita Buy (as Signora Buffi, the landlady) gave a nuanced performance that was exceptionally natural and inspiring.
Maurizio Lombardi (as Inspector Pietro Ravini) had an intense screen presence that was a blend of classic acting and admirable timing.
Pleasant surprise-cameos from Louis Hofmann (as Max Yoder), Fisher Stevens (as Edward T. Cavanagh, Esq.), and John Malkovich (as Reeves Minot) added to the entertainment value in the "Ripley" mini-series.
Tom was not only Dickie's old friend but also a small-scale swindler. He chose to go to Italy for reasons that seemed obvious at first, but soon turned into a dangerous mix of ambition, greed, ego, murder, and identity theft.
In a lot of ways, the plot - as seen from today's perspective - reminded me of the ongoing deep-fake crisis and AI-theft issues. What Ripley did back in the 60s - in this story, that is - seemed like an alternate-reality version of what's happening today with different digital scams.
In almost every way, "Ripley" was an excellent psychological thriller that checked all the right boxes. It featured a lead character whom almost anyone would love to hate, and hate to love. Indeed, 'the quick brown fox jumped over the lazy dog'.
This limited series had a criminally brief run that I wish they explore more of in future. Now, where are those books?
--- --- ---
Memorable performances from Bokeem Woodbine (as Alvin McCarron), Ann Cusack (as Emily Greenleaf), Vittorio Viviani (as Matteo), Renato Solpietro (as Carlo), Massimo De Lorenzo (as the Excelsior desk clerk), Corrado Fortuna (as the Bolivar desk clerk), Enrico Roccaforte (as the Palma desk clerk), Francesco La Mantia (as the Savona desk clerk), Franco Silvestri (as Emilio D. Braganzi), and Francesco Foti (as Lt. Enrico Ferrara).
Out of Darkness (2022)
Explorative & Experimental, But Disappointing
Though it wasn't altogether compelling, let alone prehistorically accurate, "Out of Darkness" established a good level of suspense right from the get-go and pursued a simple and linear plotline that - much like its characters - didn't stray too far.
A sense of discovery and danger defined this story about a family of roving cave-people who lived 45,000 years ago. Around that time, scientific studies have postulated that evolved versions of human beings may have lived alongside less-evolved Neanderthals.
A strange creature also played a part in "Out of Darkness". It was stealthy humanoid predator that seemed to be a mix of feline and ape. That they barely showed this beast on-screen should've made it seem scarier through implication, but it disappointed me instead because it was revealed to be a Neanderthal in disguise.
I liked what Chuku Modu (as Adem), Iola Evans (as Ave), Kit Young (as Geirr), Safia Oakley-Green (as Beyah), Luna Mwezi (as Heron), and Arno Lüning (as Odal) brought to the story. Both the Neanderthals, played by Rosebud Melarkey and Tyrell Mhlanga, did good work too.
The Tola tongue spoken by the early humans was entirely made-up for this movie. I genuinely liked what they did with it. Though it was loosely based on Basque, the cave-people's language felt credible and had some curious linguistic root-words to our current lingos.
But with each character contributing just-enough performance value to an otherwise average plot, this movie earned some of my attention but even less of my respect. The team certainly managed to do more with less, but given the current 'movie atmosphere', they could've branched this tale out instead of keeping it so localized.
After all, early humans were known for their nomadic lifestyles. Sadly, in "Out of Darkness", they seemed more interested in behaving like helpless sheep who'd woken up one day and found themselves strangers in a strange land, which they technically weren't.
This element, however, was partly acceptable for one reason. It felt like the team was attempting to explore the earliest origins of human nature, particularly our species' self-destructive tendencies. So much about our prehistory is still unknown, though.
The inherent message in this movie was to keep an open mind, nothing is always as it seems, and people - even those who seem monstrous or different in our eyes - are capable of profound compassion.
Though a good many portions of the movie worked, "Out of Darkness" eventually failed to make me commit to the fate of its characters.
Shôgun (2024)
Dramatic Accuracy Meets Intense Empathy - Season 1 Review
The c.1600s Feudal Japan era and its tradition-driven society were superbly showcased in season 1 of "Shogun". From outstanding Samurai action-choreo to some of the finest on-screen characterisations, this series delivered it all, and then some.
It bottled vice and violence, but within the parameters of this historical tale. Such balance was exemplary and made the plot feel credible, though it was partly fiction.
Partly, because season 1 of "Shogun" was based on the historical fiction after the same name by James Clavell. His novel was directly based on power struggles in Feudal Japan, with a special emphasis on Toyotomi Hideyoshi's successors, who later founded the Tokugawa shogunate.
In the book as well as the series, each main character was based on an actual historical figure, dramatized as and where needed to tell this story.
Hiroyuki Sanada (as Lord Yoshii Toranaga) deserves first mention before I delve further into this review. His timeless acting and extraordinary screen presence made his character stand out and leave a lasting impression.
Anna Sawai (as Toda Mariko) brought subtlety, elegance, and deadly nuance to bear on her role in "Shogun" season 1. Every scene in which she featured felt rife with suspense and imminent danger. She also stoked outstanding empathy in the later episodes.
Cosmo Jarvis (as John Blackthorne) was the 'foreigner' who, ever since he was brought to the Land of the Rising Sun, found his luck setting into darkness. His performance as an enterprising English Protestant was amazing, especially the way he conveyed the culture-shock gravitas of his situation. Blackthorne's gradual evolutionary arc was worth beholding.
Tadanobu Asano (as Kashigi Yabushige) played a suspenseful double game that made him a red herring, of sorts. He also gave nothing away in almost all his scenes - an acting style that's quite underrated.
Fumi Nikaido (as Ochiba No Kata) was subtle yet brilliant, delivering a performance that elevated statecraft and legacy-driven ambition. She was the mother of the Heir, the rightful Taiko who was yet young, leaving a power vacuum the Regents shamelessly exploited.
The first season of "Shogun" covered Osaka, particularly the political turmoil brewing in the higher, and highest, ranks of government following the death of the former Taiko. I never would've guessed bureaucracy would be so intriguing.
The detailed web that linked so many people - including Hiroyuki's Lord Toranaga and the intimidating Ishido Kazunari (played by Takehiro Hira), Lord Kiyama (played by Hiromoto Ida), Lord Sugiyama (played by Toshi Toda), and Lord Ohno (played by Takeshi Kurokawa) - was astounding.
I liked how they captured the darker side of Portuguese-Catholic trade relations and corruptions instead of simply aggrandizing inter-nation prosperity angles. When they added some catalytic European Protestantism to the mix, I had a feeling some serious religio-political chaos would ensue; and it did.
This Japanese period-drama showcased storytelling excellence in more ways than one. It could've easily broken the golden rule of 'show, don't tell' but managed to elevate the delivery of each episode - and the characters and struggles featured in them - in some of the most artistic and technical ways.
Form whichever angle you approach it, this plot is not exactly something you'd call original. There are so many such Samurai stories, after all. The era in focus has been done to death, too, capturing the many slices and chapters in the lives of Shoguns and their fiefdoms.
Regardless, "Shogun" season 1 somehow took the familiar and made it seem fresh and exciting. I remember feeling much the same when I watched "Vikings" (2013-2020). Yet, I was left in multiple states of suspense and longing when viewing "Shogun".
Outwitting manoeuvres, assassination attempts, racial prejudices, and realistic twists added to the credibility of "Shogun" season 1.
The way each player pursued their motives was human, down to a T. In fact, the protagonists who seemed to be the good guys only did what they did to hold on to what they had.
This intensely empathic and exceptionally dramatized story has the power to stand the test of time. I can't wait to see what they've got lined up for us in season 2 of "Shogun".
Jeanne du Barry (2023)
Truths Wrapped In Silks
This French-language story was only slightly about Johnny Depp and mainly about a woman named Jeanne du Barry, played by Maïwenn - who also directed and co-wrote the movie.
A stunning depiction of court life and corruption wrapped in a deceptively elegant package unraveled on screen as the movie played out. Yesteryear France - early- to mid-1700s - was brought into focus.
The script delivered a stunning portrayal of double standards displayed among the French aristocracy. It contained part satire and part historical-romance vibes, but the story mostly captured all-too-human elements that were as enjoyable as some of the period-drama series I've seen over the years.
Each character was given exceptional attention to detail, particularly King Louis XV, played by the inimitable Johnny Depp. His performance was surprisingly minimal but just as surprisingly impactful. It was captivating to see him deliver all his lines in French.
His interactions with Jeanne proved plenty of things, one of which was the fact that some women had to do what they had to do to survive in a world where too much and yet too little was expected of them.
Jeanne Bécu (played by Jeanne Bécu) was an illegitimate child born into poverty. She did whatever it took to improve her social status and station in life. Then along came an ambitious opportunity that let her rub elbows (and knees) with royalty.
As she climbed the ranks in Louis XV's court, she eventually became the king's final mistress. But, as expected, not everyone was happy to see her rise. Her presence, nay existence, set flame to all sorts of fuses. "Jeanne du Barry" dramatised the fireworks that followed.
There's a moment in this movie that will irk Africans and African-Americans. Zamor became a racially tense introduction. But bear in mind that 1700s France had to be captured truthfully, hence the incorporation of the 'exotic' boy from Africa, via India. In this regard as well, some Indians may be miffed if they don't comprehend the nuances of the era.
And all this before the scandal and drama Marie Antoinette brought with her when she later came to court. She married Louis XV's grandson - Louis XIV, aka 'Le Dauphin' of France.
This will be a story of erotic desire, social satire, and captivating subtext for cinema enthusiasts. To others, it will be an idyllic glance into the life of King Louis XV and his favourite mistress.
Either way, the story informed as well as pleased. And it did both without compromising that singular old-school French élégance. It's been a while since I saw a movie as neatly crafted and technically balanced as "Jeanne du Barry".
Boy Kills World (2023)
Crazy Bad! Watch Only for Bill Skarsgård
What happens when a deaf and mute guy can kick ass like a pro? "Boy Kills World" delivered expected high-octane action sequences and bloody-brilliant fight choreo, creating an emulative benchmark in the genre.
However, a lot of other elements in the movie were downright sub-par or woefully inadequate. Aside from Bill Skarsgård's role, not much else was worth appreciating in "Boy Kills World".
Between his vivid (and unintentionally distracting) imagination and martial arts (fully intentional) skills, Boy fulfilled the role of protagonist in more ways than one. Bill Skarsgård's outstanding performance enriched this story, giving it the just-right sensationalism and realism it needed to be compelling and captivating.
His death-dealing skills were embellished with generous blood and gore, making this action flick exciting and evocative of movies from the 80s where they often went all out to tell similar stories. But even his engaging acting couldn't keep this ship afloat.
His younger versions, played in part by Cameron Crovetti and Nicholas Crovetti, added to Boy's intriguing character-growth arc. Fulfilling the all-important role of Boy's mind-voice was H. Jon Benjamin, which did exceptional work in that regard.
Famke Janssen (as Hilda Van Der Koy) was the big-bad villainess in this script. She brought good screen-presence and suave deadliness to her role, but so much was left to the imagination and so little shown on screen that a great baddie became a great disappointment.
The rest of her family, Glen and Gideon - played respectively by Sharlto Copley and Brett Gelman - were amazing, for what it's worth. Michelle Dockery (as Melanie Van Der Koy) was great as well. But I'm still shocked how such superb talents were given such terrible dialogues in more than a few scenes.
Boy's trainer, known simply as Shaman, was enlivened by Yayan Ruhian, who did minimal but memorable work. Boy's mother (imaginary) and sister Mina - played respectively by Rolanda Marais and Quinn Copeland - were noteworthy.
I liked how Boy wasn't the only badass fighter in this movie. Case in point, the guard known as June27 (later revealed to be something more), played intimidatingly well by Jessica Rothe. Then there was Dawid Szatarski (as Dave), who left an impression.
Andrew Koji (as Basho) and Isaiah Mustafa (as Bennie) were stellar additions to the cast. They were not only funny but also strong. But some of their scene directions bordered on loud or cringey. After allying with Boy, they proved to be full of surprises as the story progressed.
The movie was a little "John Wick" meets "Hunger Games", with a dash of "Wolfenstein" (the classic video game) thrown in, but that only ended up reducing the story's propensity to engage. Though it was set in a dystopian dictatorship, several elements in the movie were non-compelling, even mundane.
Anyway, what it lacked in originality "Boy Kills World" more than made up for with grit-glorious martial arts. A good helping of humour and one good plot-twist near the end added to the entertainment value packed into this punch-fest of a movie.
Alas, a glaring absence of creativity coupled with a lazy plot rendered this movie a circus of let-downs with the only ray of light being Bill Skarsgård's rendition of Boy.
--- --- ---
Special shout-out to Jane de Wet (as Anna) and Frances Sholto-Douglas (as an angry bystander).
Gojira -1.0 (2023)
Heroic Excellence!
Gojira... Here's a Japanese word that's become something of a household one. Godzilla needs no introduction. Also, the 'kaiju' at the heart of this franchise is not bloodthirsty, we just happen to be in its way.
In many regards, Godzilla has become a fan-favourite for all the right reasons. This humongous creature making landfall on the shores of Tokyo and unintentionally destroying and terrorizing the citizens has been a fantasy-sci-fi staple since 1954.
That legacy classic was directed and co-written by Ishiro Honda. Eiji Tsuburaya covered special effects and Toho Co., Ltd. Produced and distributed it, marking Gojira, as the first-ever film in the Godzilla franchise, which today boasts 38 titles under its giant kaiju umbrella.
In "Godzilla Minus One" - rather, 'Gojira - 1.0' - I felt I was transported back in time to relive the essence of the first film, while another part of me was sent forward into the future to see how modern CGI would've elevated this outstanding story of a so-called monster who simply went about his day without caring what the 'ants' under his feet thought about it.
Set in the WWII era, "Godzilla Minus One" made for riveting - and at times subtextual - viewing. I watched it in the original Japanese dub, which made the story and its iconic character feel even more authentic.
They also diligently showcased the pain, loss, and other experiences - minesweeping, starvation, and more - of the Japanese people during WWII, further enriching the storytelling value in this movie.
Ryunosuke Kamiki (as Koichi Shikishima) did noteworthy work. His on-screen innocence and quiet resilience were deserving of appreciation. He was a flawed character, a coward in fact. But that's what made his redemption arc all the more laudable.
Both Sakura Andô (as Sumiko Ota) and Minami Hamabe (as Noriko Oishi) elevated the empathy angles in the story. Sakura's outstanding acting soon made her one of my favourite characters in "Godzilla Minus One". Minami was equally compassionate and ferocious, making her character an admirable one.
Some inspiring performances from Hidetaka Yoshioka (as Kenji Noda), Kuranosuke Sasaki (as Seiji Akitsu), and Yuki Yamada (as Shiro Mizushima) as well.
The irony behind this brilliant movie lay in how all the chaos started, namely with nuclear radiation from an explosion in the ocean. Ironically, in recent times, Japan dumped its nuclear-energy waste offshore.
In the movie, the very reason Godzilla/Gojira came to be was because of a mutation induced by an atomic-bomb radiation.
That said, "Godzilla Minus One" was a masterclass in filmmaking. It was nostalgic and breathtaking, especially the way it managed to use a consistently adapted storyline to create something relatively new.
Near the end of the movie, it became quite clear that no wildlife corridor in the world can accommodate the likes of Godzilla.
On a similar note, it was even clearer that human-induced pollution can potentially end up creating a monster that will come back to destroy us all. Such karmic backlash is already underway, only the 'Godzilla' we mutated is Climate Change.
Even in "Godzilla Minus One", the problem affected the ocean first before making landfall. This aligns with how human-induced Climate Change is altering oceanic currents, thereby creating more intense and unpredictable weather, not to forget its impact on melting glaciers. If we don't drown, we just might burn.
From a strictly cinematic perspective, "Godzilla Minus One" was engaging, empathic, and elevating. It emulated the original franchise style and gave us a modern Gojira worth adoring.
--- --- ---
Special shout-out to Munetaka Aoki (as Sosaku Tachibana), Yûya Endô (as Tadamasa Saito), Kunihiro Suda (as the Ginza reporter), and Miou Tanaka (as Captain Tatsuo Hotta).
The Fall Guy (2024)
A Super-Trooper Homage to Stunts & Stuntpeople
Though I didn't catch the 1981-1986 TV series that inspired this movie, I have a good feeling Glen A. Larson (the original creator; d.2014) would've liked what they did in "The Fall Guy" 2024.
The story was pretty straightforward: a stuntman facing a dismal future ended up back in his ex-girlfriend's life only to realize he was going to have to find her latest movie's lead actor who was missing.
Most of the focus was on the stuntman's (Colt) personal experiences and work, both of which were amusing but also eye-opening.
Ryan Gosling (as Colt Seavers) was a revelation. I've always been a fan of his work and this role was no exception. He gave it such casual style and classic-Gosling comedy that it would be easy to miss just how much timing and skill went into his performance.
I liked and appreciated what Emily Blunt (as Jody Moreno) brought to the movie. Her work often has elegant nuances worth admiring. In "The Fall Guy", she not only expertly and realistically portrayed a woman working in film, but also some softer more romantic contrasts.
I loved the script-subtext conversations between Colt and Jody. It had an old-school rom-com flair, which served as amazing relief in this otherwise action-driven plot.
The star of the movie-within-the-movie was Aaron Taylor-Johnson (as Tom Ryder) who was given enough screen time, which he used to outstanding effect to convey his character's quirks and laxities.
The way he slipped into the role of villain was so natural that it has me even more excited to see what he does in "Kraven the Hunter" (MCU), "Nosferatu" (Robert Eggers), and "28 Years Later" (Danny Boyle).
Set injuries, career downslides, city-life struggles, and thrilling comebacks all added up to a great time.
The movie was an amazing testament to the work done by so many people, including the OG "Fall Guy" Lee Majors and the first Jody Banks, Heather Thomas. Both gave a great cameo at the end of the movie.
The original series that inspired this one brought its own take to the genre and remains a classic action-adventure show for the ages.
2024's "The Fall Guy" was more than just an entertaining action flick, though. It was a cool homage to what stuntpeople do on the job, and how little recognition they get despite performing some of the most integral and life-threatening stunts in cinema.
--- --- ---
Special shout-outs to and amazing performances from Hannah Waddingham (as Gail Meyer), Ioane Saula (as Birdie), Winston Duke (as Dan Tucker), Adam Dunn (as Nigel), Matuse (as Doone), Ben Knight (as Dressler), Stephanie Hsu (as Alma Milan), and Jason Momoa (as himself).
Tarot (2024)
An Arresting Chapter in Divination Horror
Based on the 1992 novel "Horrorscope" by Nicholas Adams, "Tarot" certainly captured some old-school nostalgia and delivered a no-nonsense story that managed to contain sufficient suspense, not to forget some mildly chilling frights.
This movie can go over your head if you are unfamiliar with Tarot. Much of the script - and the original novel, am sure - used plenty of tropes connected to this ancient and enigmatic soothsaying and fortune-telling technique via cards.
A typical pack of seventy-eight cards (divided into Minor and Major Arcanas) comprises four suits - swords, cups, pentacles, wands.
The movie included live-action versions of some of the main Tarot-deck cards. This included Death (played by Cavin Cornwall), The Fool and The Hanged Man (both played by Felix Leech), The Hermit and The Magician (both played by James Swanton), The High Priestess (played by Lucy Ridley), and The Devil (played by Joss Carter). Each of their costumes and CG-renders were amazing.
Bringing some interesting B-movie vibes and seamless interactive performances were Harriet Slater (as Haley), Adain Bradley (as Grant), Jacob Batalon (as Paxton), Avantika (as Paige), Humberly González (as Madeline), Wolfgang Novogratz (as Lucas), and Larsen Thompson (as Elise). They did good work conveying intense anxiety regarding their fates.
A rental mansion in the woods soon became ground-zero for a creepy series of events involving a spooky Tarot reading gone wrong. One of the later sequences included a séance where a supernatural force was unwittingly unleashed and became too powerful to stop.
A creepy basement, liquor-loving delinquents on vacay, and a slightly over-simplified take on Tarot's iconic Arcana figures made me feel a teeny-tiny bit dejected - because I sincerely hoped this movie would go to some bigger and darker places - but I enjoyed their take on it anyway.
As the kids returned home, Haley's readings for them all manifested but in bloody-bad ways. Her knowing how to do such readings well was a little convenient, but alright. Apparently, using someone else's deck of cards to fortune-tell is considered bad luck, especially if that deck happened to be ancient, super-creepy, and not its first time at the murder-rodeo.
Olwen Fouéré (as Alma Astrom) brought something interesting to the plot. I loved everything about her character except the rushed (and contrived) way in which the others got to her - seeing first-page search results online, literally, and nothing else.
"Tarot" 2024 was fun to watch - sorry-not-sorry. It was a clichéd story riddled with jump scares that took me back to the 90s, in a manner of speaking. I haven't read Nicholas Adams' book yet, but I have a good feeling it far exceeds the entertainment value in this 2024 adaptation.
The cards' back-story came in due time. When it did, I found it to be one of the major highlights in "Tarot" 2024. The connection between the antiquated Tarot deck that Haley and her friends discovered and the 18th-century Hungarian 'Astrologer' (portrayed by Suncica Milanovic) against whom great injustice was committed made for riveting viewing.
This movie became 50-50 for me. I liked most portions of it (including the amusing ending) but wasn't too fond of some others. "Tarot" proved to be a captivating tale whose shortcomings were a result of an unimaginative adaptation of a popular 90s novel. I felt they could've done more. But, no complaints, really. I enjoyed what they did with what they had.
The First Omen (2024)
Extraordinary 'Ave Satani' Evocations
That damned tune is stuck in my head again! Even after all these years, the music and motive of "The Omen" stories have endured the test of time and inspired this outstanding 2024 prequel.
"The First Omen" delivered extraordinary nostalgia and singular thrills that evoked so much of what these stories and characters - hell, the whole franchise - is known for.
This sixth film in "The Omen" franchise is basically a prequel to the original 1976 movie that started it all. It's not a remake, but a follow-up - rather, a follow-back - set in 1971 (story year).
This dark tale took me back in time to, well, the first-ever Omen. How did it all begin? What went down when the devil came to town?
This time round, they gave due focus to the mother of the anti-christ, most probably a girl named Layla. Nicole Sorace (as Carlita Scianna) gave a riveting, subtle, and nuanced performance. She was kept hidden at a nun-run orphanage where the Church could keep an eye on her, until she was ready - for reasons outlined later.
Playing a young American nun sent to Rome, Nell Tiger Free (as Novitiate Margaret Daino) was outstanding. I have enjoyed her performances for a while now, especially her acting in M. Night Shyamalan and Tony Basgallop's "Servant" (2019-2023). She held her own against the devil's coming in this one too, and made an admirable show of it.
It was amazing to see Ralph Ineson (as Father Brennan), Charles Dance (as Father Harris), and Bill Nighy (as Cardinal Lawrence) - big fans of them all. They did great work in "First Omen".
I liked how the team didn't paint a fake portrait of cardinals, priests, and nuns. Some of them smoked, others went about their business without pomp or ceremony, and some of the novitiate nuns moved freely without strict after-hours supervision. It was all so natural and normal.
From questioning one's faith - a trope that unrelentingly carries over in stories like this one - to unearthing unforgettable Church conspiracies - something that would've put a smile on Dan Brown's face - "The First Omen" was a fine lesson in horror-suspense storytelling.
The conspiracy - as shared by Ineson's Father Brennan, now excommunicated - was rife with intrigue and plausibility. That the Church would go to demonic lengths (ironically so) to ensure they retained their spiritual power among the masses, particularly in the face of growing secularism, added outstanding subtext to the movie.
The Church seemed to be forcing satanic impregnations on eligible women so they could control the anti-christ born through that unholy union! Making the Church villains who wanted to remain heroes was a storytelling masterstroke.
Evidently, Satanism raised its horned head before long. The movie was all about the birth of Satan's child, for crying out loud, so this thread was more than essential in "The First Omen" 2024.
The anti-christ in question didn't have to be the direct spawn of Satan, but rather an offspring birthed via one of his demons. Or so it's been implied, what with that Jackal-entity.
From voluntary suicides to ritual sacrifices, the movie kept it all prompt and straightforward. Such lack of grandiosity only made those moments feel even more credible, and doubly scary for it.
There were some classic 'accidental' deaths, too. The first attempt - the plummeting pipe - was a direct reference to how a priest died similarly in the '76 movie.
I would've actually welcomed a gender-shift, because it would've made more sense. Anything 'anti' to the 'son of god' could, in all probability, be a 'daughter of the devil'.
But they made up for that with another dark twist. The Church planned to have the same jackal-ish demon mate with one of its own daughters from an earlier conception.
The Church wanted a male to serve as the anti-christ and they were desperate when the only births were females, who unfortunately became the target of infanticide.
Even more suspenseful was the hard-to-predict twist which dragged Margaret Daino into crisp focus as one of the surviving children bearing the '666' mark. This moment in the movie took me by surprise and I loved it.
All this time, my mind was on Margaret potentially being the guardian of the devil's child after Layla would've birthed him, something similar to which played out in the 1976 movie.
The ending, with the picture of Gregory Peck - who played Robert Thorn in the original "Omen" - felt like the pièce de résistance. It tied this prequel neatly with the earlier movies, including the twin-births from Margaret.
All in all, "The First Omen" proved to be an unforgettable retelling of an old tale. It was an origin story and future message both rolled into one, and I felt a little 'Ave Satani' about the whole diabolical shebang.
--- --- ---
Natural and remarkable performances from Tawfeek Barhom (as Father Gabriel), Sonia Braga (as Sister Silva), Maria Caballero (as Novitiate Luz), Federica Santoro (as a smoking nun), Ishtar Currie-Wilson (as Sister Anjelica), Guido Quaglione (as Alfonzo), and Andrea Arcangeli (as Paulo).
Sting (2024)
Character-Driven Creeps & Chills
A spider from an asteroid cluster... At first, it sounds like an over-stretched Sci-Fi trope. But given what Science has learned so far about asteroids potentially being able to sustain small-scale, even microscopic, lifeforms the idea doesn't seem so far-fetched.
Spiders have always had an uncanny ability to adapt. Their evolutionary model has remained much the same for millions of years. So, to see some sort of Spacey spider grow from a tiny little thing to a deadly monster was both compelling and scary.
Alyla Browne did great work as Charlotte, the "final girl" who found and raised the spider-monster. In keeping with its nature, the creature grew hungry for more and ended up targeting her and the family in just a few days.
The apparent parallels to raising dangerous dogs added to the movie's subtext value. Though upbringing and circumstances do play a key role, any pet that was bred for violence in some capacity will someday give in to that genetic urge.
Everything about the New York apartment (and those unkempt vents) in which this creature tormented the other residents and their little pets added to the entertainment value of "Sting".
This character-driven story didn't prioritise its monster more than its people - I genuinely liked this angle.
Remarkable performances from Ryan Corr (as Ethan; the exhausted but loving other-father, building supervisor, and comic-book artist), Penelope Mitchell (as Heather; the hard-working mother and design planner), Robyn Nevin (as Gunter; the irate aunt), and Noni Hazlehurst (as Helga; the amnesiac grandma, with some punchy one-liners) kept the story interesting.
Jermaine Fowler (as Frank; the exterminator, and a funny guy), Silvia Colloca (as Maria; an apartment resident, and grieving mother), Danny Kim (as Erik; an apartment resident, and self-appointed scientist, also responsible for growing the spider) did memorable work.
Kailah Cabanas' work as the spider puppeteer made this practical-effects monster feel doubly real. Also, some of the CG spider-attack sequences were bloody-brilliant brutal.
There was much worth processing and appreciating in "Sting" 2024. The movie delivered some familiar but fun chills that made it an interesting spider-horror flick that reminded me of just why these insects scare so many of us.
What I especially liked about "Sting" were the neat layers of empathy they wove into the overall plot. The team managed to make me feel for the characters, especially when they were in grave spidery danger.
When you stop to consider some of the beautiful but badass creatures found in Australia, you'll get a clear picture that anything is possible in the natural world, including the existence of eerily intelligent spiders from a just-as-natural Outer Space.
Don't think I didn't see all those pretty little eggs in the finale! This calls for a 'stinging' sequel.
Civil War (2024)
A Showcase of Human Fallibility & Immorality
Full-blown civil war in the U. S. A. - or at least a dramatized take on the possibility, involving a secessionist Texas and California - carried this movie across the finish line. Great pacing and detail-driven storytelling further enriched "Civil War", especially its characters.
Speaking of whom, the characterisation in this movie was on point. They not only established diversity but also gave their main and side characters great importance across various scenes and sequences.
The dystopian theme complemented some of the creative elements they established to set the tone in "Civil War" 2024.
The story touched upon more than a few ongoing events irl, but aggrandized them to suit the theme of this story. In fact, there was an actual rebel-soldiers assault on the White House in "Civil War", a stark reminder of the civilian-led one on Jan 6, 2024, when Trump supporters stormed the Capitol building.
Then there were the war journalists in "Civil War", whose portrayal and plight were well-crafted and candid. The core characters were on a self-appointed mission to DC where they aimed to interview and photograph the President, who hadn't been seen in public for several months but whose TV broadcasts kept on going.
Kirsten Dunst (as Lee Smith) was a notable addition to the cast. Aside from her amazing natural acting, she seemed to evoke the famed WWII war correspondent Elizabeth "Lee" Miller, whom Kate Winslet reincarnated in the 2023 movie "Lee".
Cailee Spaeny (as Jessie), Wagner Moura (as Joel), and Stephen McKinley Henderson (as Sammy) further enriched the script and gave it realistic and empathic variety.
Noteworthy performances from Nick Offerman (as the POTUS; an almost Biden-ish caricature) and Jesse Plemons (as a soldier; pleasant surprise, there).
U. S. Army rebels went about doing their thing across war-torn America. This theme played out in not-so-detailed fashion, but well enough to convey the gravitas and peril that "Civil War" promised. The war in Washington was especially intense; near the finale.
The story went at a steady pace and didn't contain too many high-octane thrills. However, the almost "Walking Dead" style undertones and long relatively silent moments followed by sudden bursts of action added to the chills and suspense elements in "Civil War".
The final few minutes of the movie spoke volumes to human nature, especially how aggressive ambition can inspire self-serving tendencies.
--- --- ---
Special shout-out to Jefferson White (as Dave), Edmund Donovan (as a gas-station goon), Melissa Saint-Amand (as a shop assistant), Karl Glusman (as a spotter), Jin Ha (as a sniper), Nelson Lee (as Tony), Sonoya Mizuno (as Anya), Juani Feliz (as Joy), and Jojo T. Gibbs (as a soldier).
Sasquatch Sunset (2024)
A Benchmark in Experimental Improv
As art movies go, "Sasquatch Sunset" stood out not for being original but for being bold. It also had a distinct film-school vibe - actors are often asked to pretend to be different animals or birds.
This family story was just that. It involved a family of Sasquatches, actual versions of which resemble the Tibetan Yeti and are rumoured to roam secretive forest regions in the USA.
The way in which David and Nathan Zellner captured that secret life, using adequate dramatizations and fictional flourishes, made "Sasquatch Sunset" run like a wildlife documentary at times.
I especially liked the attention to primate-lifestyle detail - especially gorillas and chimps - that further enriched this script and gave it a primal yet relatable sheen.
The Sasquatches' experiences also featured the looming threat of human encroachment via logging, highways, camps, traps, and townships. These elements were especially telling.
Jesse Eisenberg (as the male Sasquatch), Riley Keough (as the female Sasquatch), Christophe Zajac-Denek (as the kid Sasquatch), and Nathan Zellner (one of the writer-directors himself as the alpha-male Sasquatch) were so natural, for lack of a different word, that they made their beastly characters seem compelling instead of caricatured.
The experimental design of these four core characters and the wilderness they called home evoked distinct feelings of simplicity, freedom, and honesty. The creatures also possessed sufficient intelligence to make their motives feel credible.
Outstanding practical effects and makeup added to the wonder in "Sasquatch Sunset". The team seemed to have used educated guesswork to re-enact a small chapter in the life of a Neanderthalic 'missing link' species that was humanoid enough to behave human.
Some of the scenes were so raw and disgusting, but that was precisely what made those scenes work. The movie went to some intriguing places I didn't quite expect, resulting in shameless (in a good way) storytelling that crossed the right boundaries to tell this tale.
Near the finale, I couldn't help but feel the word 'Sunset' in the title was referring to the end or extinction of the Sasquatches and, in close connection, the forests they called home.
Feud: Phantasm Forgiveness (2024)
Deadly Truths, Deeply Introspective - Season 2 Review
The 1950s, 60s, and 80s were brought into crisp focus in season 2 of "Feud", particularly the schemes and scandals featuring the 'Swans' and Truman Capote.
The story was based on Laurence Leamer's book "Capote's Women: A True Story of Love, Betrayal, and a Swan Song for an Era". That title reveals plenty of what one can expect to find in this dramatized adaptation.
I liked what they did in the first season, showcasing the rivalry between Joan Crawford and Bette Davis, played exquisitely by Jessica Lange and Susan Sarandon, resp. In this season, it was all about a bunch of New York City socialites whose beauty, grace, and power stirred Capote's captivation and curiosity.
Tom Hollander did exceptional work getting into character and bringing the mysterious yet famous Truman Capote to life. I have always enjoyed watching Hollander act, and he delivered big-time in season 2 of "Feud".
From his devious secret-gathering tendencies to his same-sex exploits, Capote indulged in a lot of risks in his own life aside from the many lives he went on to risk with his writing.
The 'Swans' in question did stellar work. They each brought something significant, empowered, and consequential to their respective roles.
Naomi Watts (as Babe Paley), Diane Lane (as Nancy "Slim" Keith), Chloë Sevigny (as C. Z. Guest), and Calista Flockhart (as Lee Radziwill) gave outstanding performances that proved how easily power could be given and taken, with some planning and privilege. Together, those women proved that no man was above their law. It made for fascinating, and at times unnerving, viewing.
Molly Ringwald (as Joanne Carson), Demi Moore (as Ann Woodward), Treat Williams (as William Paley; RIP), Russell Tovey (as John O'Shea), and Chris Chalk (as James Baldwin) brought some captivating moments to the show.
"Feud" season 2 went to all the right places a show like this should. It combined deadly glamour, political finesse, and sexual exploits in some interesting subtextual, almost educational, ways.
Based on actual people, the dramatization was compelling and intricate, though I can't be sure if everything they portrayed can strictly be termed accurate.
Aside from the Rockefellers, the show had some captivating character-moments worth watching. Marin Ireland (as Katharine Graham) springs to mind.
Jessica Lange (as Lillie Mae Faulk; Capote's mother) was an extraordinarily pleasant surprise. It was great to see her in a new role, after watching her brilliant work in "Feud" season 1 where she played the one and only Joan Crawford.
What I found stunning in season 2 "Feud" was how they took petty, even silly, 'white people problems' and made it feel relatable, portentous, and spark-to-fuse suspenseful. The scripting genius lay in devilish details like those.
The relationship between Capote and the 'Swans' whom he caroused with in society gradually soured and turned venomous.
In the later episodes (E05, especially), Capote's darker observations - which he hadn't written yet - about his white-privileged 'Swans' shed a bright light on what was really simmering behind the veil of self-victimhood those high-society ladies wrapped themselves in, particularly after he wrote something scandalous about them and broke their trust in so doing.
It became a true revenge saga when his writings - as some writers are known to do - about their secrets (published as an excerpt in Esquire Magazine, and then some) became the bloody battlefield over which they fought and failed, at least in part, hoping to retrieve some measure of their pride and prestige.
But, to paraphrase a famed rhyme, all the queen's girls - rather all the queen's 'swans' - couldn't put that cracked egg back together at all.
Near the end, I couldn't help but feel Truman Capote was unwittingly searching for the mother he'd always wanted, but from among a set of socialites who were themselves unfit mothers. He seemed drawn like a moth to the same old flame in ways that Freud would've found intriguing.
In season 2, it felt like the real "Feud" was between Truman Capote and his inner demons.
--- --- ---
Special shout-out to Rebecca Creskoff (as Happy Rockefeller), Roya Shanks (as Louisa Firth), Joe Mantello (as Jack Dunphy), Hudson Oz (as Jimmy Woodward), Pawel Szajda (as Albert Maysles), Ella Beatty as (Kerry O'Shea), Jeffrey Grover (as Richard Avedon), Dennis Staroselsky (as Stanley Siegel), Jared Reinfeldt (as Nick), and Dean Allen Williams (as kid-Capote).
The Ministry of Ungentlemanly Warfare (2024)
Fierce, Fiery, Fantastic!
I'm still surprised this movie was based on a true story. The historical non-fiction book after the same name was written by Damien Lewis and published in 2015. "The Ministry of Ungentlemanly Warfare" movie adaptation made a compelling case to go read the book while also providing superb star-studded entertainment.
Going behind enemy lines during Nazi-Germany times, the story (set in the 1930s) captured some interesting contributions from the likes of historical personalities like Winston Churchill (exceptionally played by Rory Kinnear) and Ian Fleming (suavely enlivened by Freddie Fox).
It was Churchill - as expected - who came up with the idea of a 'suicide squad' of sorts, which the UK Parliament at the time would've frowned upon. This secret military team would go where no other could tread and were tasked with plugging Nazi war plans in the Atlantic.
The Special Operations Executive (SOE) unit gained the duty, nay burden, of choosing from among a group of skilled but crazy weirdos, including criminals and survivalists, to ensure mission success.
The movie established interesting subtext and delivered on characterisation. Seamless flow, alluring dialogues, and crisp scene connections all added up to a great story well told.
Henry Cavill (as Gus March-Phillips) was an inspiration to watch. He brought some nuanced acting to this role and plenty of wild amusement besides. Then there was that subtle but distinct thread connecting a potential James Bond idea, Gus, and Fleming.
Alan Ritchson (as Anders Lassen) was surprisingly funny. He also turned brutal in the blink of an eye, which made his character a focal point in the story.
Henry Golding (as Freddy Alvarez), Babs Olusanmokun (as Heron), Alex Pettyfer (as Geoffrey Appleyard), Hero Fiennes Tiffin (as Henry Hayes), and Eiza González (as Marjorie Stewart) all brought excellence to bear on their respective roles.
Til Schweiger (as Heinrich Luhr), the big-bad villain in this movie, was dastardly and doubly captivating. He had a certain gravitas about him that was equally familiar yet unnerving. Shame he wasn't given more screen time, though.
This whole crazy story was found in one of Winston Churchill's secret files, which were declassified in 2016. "The Ministry of Ungentlemanly Warfare" certainly lived up to its name - and Damien Lewis' book, am guessing.
I'm sure the movie was heavily dramatized, but the fact that such a squad even existed and that they helped support the Allies made this script turn like a charm. Less is more, indeed. But not when it comes to sequels, I may add.
High-octane action and silent-but-deadly kills met realistic suspense and blended into a wild ride behind enemy lines where a group of questionable Brits decided to let the Nazis know that not everyone from the little island were gentlemen.
--- --- ---
Special shout-out to Cary Elwes (as Brigadier Gubbins), Tim Seyfi (as the German R Boat Captain), James Wilby (as Viscount Algernon), Simon Paisley Day (as Admiral Pound), Babs Olusanmokun (as Heron), Danny Sapani (as Kambili Kalu), and George Asprey (as Commander Hopkirk).
Fallout (2024)
Consistently Nostalgic Entertainment - Season 1 Review
Capturing the essence of the hit video games from Bethesda Studios, season 1 of "Fallout" wisely didn't stray too far from the original look, feel, and vibe of this iconic and unnerving storyline.
From the threat of nuclear war - something which we're facing today - to the actual manifestation of it, the series delivered on the high notes, or should I say mushroom clouds.
The literal fallout of what would happen to society and civilization in case of nuclear destruction played out in earnest, as first seen through the eyes of the game developers.
Having played the game on PC, and thoroughly enjoying it back in the day, this series made me feel nostalgia and intrigue in equal measure. Intrigue, because there were some subtle yet dramatic liberties, plot-twists, and character modifications. Cold-fusion energy, for instance, was new to the show.
All in all, I was far from disappointed. Though I'm admittedly not a diehard fan of the franchise, I liked the games enough to appreciate what they did with this live-action adaptation - T-60 suits, Pip-Boy wrist-monitors, and all.
The setting was the same as in the original, namely Los Angeles. Post-apocalyptic themes and tropes unravelled with each episode, carried on the backs of amazing performances both inside and outside the underground nuclear bunkers.
An incredible amount of empathy prevailed in the tale, which fast-forwarded 200+ years into the future after LA was nuked. The plot gradually started filling out in earnest, aligning with the game's original vision in beautiful (meant artistically) ways.
Kyle MacLachlan (as Overseer Hank MacLean) had an enviable screen presence. I've been a fan of his work, from "Dune" (1984) to "Desperate Housewives" (2004-2012), so seeing him give another great performance in another Sci-Fi universe was amazing.
Ella Purnell (as Lucy MacLean) was the actual protagonist of this TV series. She did great work, held her own, and established a remarkable character arc. Her evolution from an innocent young vault-citizen to a confident explorer was worth watching.
Moises Arias (as Norm MacLean) was both amusing and mysterious. His work in other projects are worth noting, because only then will you appreciate how nuanced his acting was in this one.
Villainy with purpose... Sarita Choudhury (as Lee Moldaver) brought plenty of outstanding moments to the series. I didn't like the way things ended for her, because I was so looking forward to watching more of her in season 2 "Fallout". The character and the artist brought rebellious brilliance to bear on season 1, though.
Aaron Moten (as Maximus) brought several notable elements to the script. His emphatic acting blended well with his more idiotic moments and lucky turns, making Maximus feel like a true survivor.
Michael Emerson (as Wilzig) was amazing. I adored his work in "Lost" (TV series, 2004-2010). His subtle yet portentous performance was great to see in this one. The Belgian Shepherd dog he'd saved, CX404 (real name Lana 5), was a memorable addition.
Michael Rapaport as Knight Titus was great, despite his brief screentime. His casual cruelty left an impression. I remember seeing Rapaport's online videos and sundry commentaries. He brought a lot of that wit and penchant for sarcasm to his limited role in season 1 of "Fallout".
The Ghoul was my favourite character in the game and Walton Goggins didn't make me change my mind in the latest "Fallout" series when he expertly tackled the role of Cooper Howard. The man became one of the mutant humans called ghouls, with incredibly extended lifespans. He gave a riveting performance, blessed with swagger and suave, that made me enjoy every scene in which he showed up.
"Fallout" season 1 made me admire the game even more, especially how ahead of its time it was. I liked how they sustained a vintage-American playlist, which again was similar to the game in which we could play such songs over the radio on those wrist-bound Pip-Boys.
Despite a few rushed and contrived moments, "Fallout" lived up to its hype and delivered some amazing, and consistently nostalgic, entertainment. All the characters were regaling. The ending of season 1 set the stage for extraordinary things to come.
"Fallout" succeeded in capturing a cinematic vibe and bottled some essential truths, particularly the one that we are all facing today, namely the consequences of war and potential nuclear fallout.
--- --- ---
Noteworthy performances from Sarita Choudhury (as Lee Moldaver), Annabel O'Hagan (as Stephanie Harper), Leslie Uggams (as Betty Pearson), Cameron Cowperthwaite (as Monty), Xelia Mendes-Jones (as Dane), Jacinto Taras Riddick (as Cleric Felix), Michael Cristofer (as Elder Cleric Quintus), Mykelti Williamson (as Honcho), Joel Marsh Garland (as Biggie), Michael Abbott Jr. (as a farmer), Jon Daly (as a snake-oil salesman), Bari Hyman (as a Filly vendor), Frances Turner (as Barb Howard), Johnny Pemberton (as Thaddeus), Dave Register (as Chet), Matt Berry (as Mr. Handy / Sebastian Leslie / Snip Snip), Leer Leary (as Davey), Michael Esper (as Bud Askins / Roomba-Brain), Cherien Dabis (as Birdie), Chris Parnell (as Overseer Benjamin), Dallas Goldtooth (as Charles Whiteknife), Glenn Fleshler (as Sorrel Booker), Russell Ewing (as Sheriff Troy), Erik Estrada (as Adam), and Charlie Besso (as Tommy).
The Woman in the Wall (2023)
Both Heartwarming & Heartbreaking
Creepy Catholic secrets and sleepwalking-related twists kept me on the edge of this thrilling Irish TV series set in Kilkinure (Ireland).
With the immensely talented Ruth Wilson in the lead, playing Lorna Brady, the show established a high note from the get-go. Wilson's performance made the script in the mini-series "The Woman in the Wall" feel doubly compelling.
Daryl McCormack as Detective Colman Akande contributed plenty of noteworthy moments to the plot. His calm demeanour belied a sharp cunning. They also wove in some interesting empathy angles for his character that were worth watching.
He himself was an adopted kid, with ties to a Catholic-run adoption agency that was secretly connected to the goings-on at a certain convent (secretly a laundry) where a pregnant Lorna Brady suffered in her younger years under the Sisters Of The Seven Joys.
With Lorna going about committing crimes, apparently, though she never intended to, the early portion of the story took on a glaze of suspense. Her sleepwalking tendencies were rooted in similar challenges faced by actual people, but given a sinister twist in the show.
However, they barely explored the actual origins of Lorna's sleepwalking tendencies. A large portion of the plot was directly entwined with that habit, so to simply imply as to what that chapter in her life was all about felt a tad unusual.
Long-term abuse in the Magdalene Laundries and Lorna's youthful memories of the time she was pregnant and forced to 'hide' her shame in that establishment connected some riveting and heart-breaking dots in the script.
As the story progressed, Lorna was getting no closer to finding her daughter, Agnes, whom the nuns at the Magdalene Laundries had stolen from her. This suspenseful and empathic element grew into crisper focus in the final few episodes.
"The Woman in the Wall" was an interesting exploration of real-life cruelties and the struggles mothers who are put in this kind of position experience.
Missing children, falsified records, odd 'private donations', simple yet elegant twists, and great performances kept the entire mini-series going steady and finishing on a high note.
--- --- ---
Great performances from Simon Delaney (as Sgt. Aidan Massey), Cillian Lenaghan (as Conor Skelly), Philippa Dunne (as Niamh), Hilda Fay (as Amy Kane), Abby Fitz (as younger Lorna Brady), Aoife Fitzpatrick (as Tabitha), Ciara Stell (as younger Clemence), Caoimhe Farren (as Clemence), Frances Tomelty (as Sister Eileen), Aoibhinn McGinnity (as younger Sister Eileen), Ardal O'Hanlon (as Dara), Mark Huberman (as Michael Kearney), Alexandra Moloney (as Leslie / Olivia), Chizzy Akudolu (as Lola), Aoife McAtamney (as Brida), Brian Doherty (as Thomas Cochlan), Fiona Bell (as Aoife Cassidy), Barry McGovern (as Dr. Gabriel), and Dominic Anglim (as the 'cruelty man').
Ghostbusters: Frozen Empire (2024)
Ice, Ice, Spooky!
Supernatural nostalgia and haunting-good spooks defined this latest instalment in a most beloved franchise. "Ghostbusters: Frozen Empire" soared in more places than it dipped, delivering appreciable moments especially for fans (like myself) who've been with these characters and stories for a long time.
This time too, the discovery of an ancient artefact ended up unleashing a great evil onto the world. The entity in question aimed to freeze all of New York, and then some.
The supernatural ice that gradually took over the city threatened more than just a chill, it promised extinction. This demon was apparently capable of unleashing a second Ice Age.
The latest "Ghostbusters" movies already established the entry of young players to take over from the old guard. But it came as an enormously pleasant surprise to see that old guard return to action in "Frozen Empire".
It was all I could do not to leap for joy when I saw Dan Aykroyd (as Ray Stantz), Bill Murray as (Peter Venkman), Ernie Hudson (as Winston Zeddemore), and Annie Potts (as Janine Melnitz) come on the scene.
They brought back a bucketload of memories and goosebumpy moments in "Ghostbusters: Frozen Empire". Part of me wished Sigourney Weaver would've been a secret cameo surprise, but alas, that was not to be.
However, Slimer's presence was much appreciated. Seeing the New York City firehouse again gave me an intense burst of nostalgia, too. And rest in peace, Harold Ramis (the OG Egon Spengler), you're still being missed.
The other Spenglers suited up and got into the fray. I enjoyed everything the youngbloods brought to the mix, especially Finn Wolfhard (as Trevor Spengler) and Mckenna Grace (as Phoebe Spengler). Both Paul Rudd (as Gary Grooberson) and Carrie Coon (as Callie Spengler) were engaging in every way.
Emily Alyn Lind (as Melody), James Acaster (as Lars), Patton Oswalt (as Dr. Hubert Wartzki), and Kumail Nanjiani (as Nadeem Razmaadi) were amazing in their respective roles.
The early 1900s 'Manhattan Adventurers Society' flashback was well-detailed. It set an interesting tone in "Frozen Empire" and tied in nicely with how far back the evil in this script went. The prehistoric entity was called Garraka. He soon became a fascinating puzzle-piece in "Frozen Empire".
The ghost-containment tank at the Ghostbusters' iconic Manhattan firehouse was full to the brim. This created an unstable rift to the 'other side', opening the way for all sorts of spooky-scary possibilities.
The existence of a new paranormal research station - thank you, Winston - added to the thrill factor. I loved everything about it. It blended supernatural academia and ghost-hunting passion in a bigger well-equipped place where other Ghostbusters were making multifarious progress.
Spectacular ghost-busting sequences, intense nostalgia, desirable spectre-hunting gadgets, and spooky objects (starting with that inscribed brass sphere) added to the memorable value of this latest instalment in the "Ghostbusters" franchise.
By this point, I'm certain everyone knows who to call in case of spooky spectral supernatural sightings. In my case, though, I'd have called and asked to go with! If this story was anything to go by, the Ghostbusters seem open to new recruits.
The 'For Ivan' gratitude note at the end followed by that expected post-credits scene further enriched this movie. Ivan, for those who don't know, refers to Ivan Reitman, the director of the original 1984 "Ghostbusters" movie that started it all.
--- --- ---
Special shout-out to Vinnie Coppola (as an NYC cop), William Atherton (as Mayor Walter Peck), Logan Kim (as a podcaster), and Celeste O'Connor (as Lucky)
Godzilla x Kong: The New Empire (2024)
Krazy Kaiju Extravaganza!
Let me get one thing out of the way... Pink is the highest energy wavelength, meaning Godzilla was at his most powerful in that scene with Kong.
Now for the review... "Godzilla x Kong: The New Empire" took great liberties to tell a story that felt like a typical take on what this captivating franchise is known for.
If you believed, at any point, that something looked non-credible or felt silly, then you haven't seen some of the classic-era movies featuring Godzilla.
This mutated radioactive lizard has had his good, bad, and crazy days in movie-land, so watching him pull a few weird moves in "Godzilla x Kong" didn't come across as altogether strange.
Much the same could be said of Kong who was essentially a smart kaiju-gorilla who managed to survive in conditions that no human ever could. With all we know so far about his journey, Kong has a bizarrely balanced intellect. Just short of speaking, he seems capable of higher thought, something I saw a lot of in this movie as well.
Not only did "New Empire" live up to its name, it captured iconic kaiju-grade team-ups between Godzilla and Kong. And it didn't stop there! Even Mothra came on the scene and delivered some goosebumpy thrills.
A prophecy connecting Skull Island manifested through Jia, the last of the tribe that once lived there. She reawakened kaiju-Mothra who was key to helping Kong and Godzilla realize their joint-guardianship potential.
The Sci-Fi plot next saw Godzilla and Kong teaming up to take on a ruthless foe, the ape-chief known as the Scar King. He was part of Kong's species but not as keen on co-existence. The back-stories were engaging in this regard.
Some hitherto unknown secrets cropped up in the story. There were some intriguing connections that linked the Scar King, Godzilla, and Kong in ways that were primal and memorable.
They also went a step beyond Hollow Earth and showcased a previously uncharted sub-subterranean realm. The Iwi Tribe (an unknown prehistoric human civilization) soon became another thrilling addon to the script, not to forget other apes similar to Kong - who, up to this point, was the last of his kind.
Monarch too played a vital role in the movie, one that made me see them in a new light. They continued to monitor all things anomalous, especially in regard to keeping Kong and Godzilla's paths from crossing. Then there was that outstanding freeze-powered Shimo titan!
Territorial battles were still in focus, implying how the kaijus in question were more attuned to their animal instincts than anything genuinely evolutionary.
I loved all the creature designs in the movie. They deserve their own bestiary - book merch recommendation. Speaking of books, John Scalzi's 2022 novel "The Kaiju Preservation Society" contained so many unforgettable moments, similarities to which I enjoyed watching in "Godzilla x Kong".
The movie retained the idea of using Kong to go up against various monsters that threatened human existence. This was not new in "The New Empire", but a trope that has been covered before in the franchise.
Like I stated before, this monster-verse took plenty of liberties to create a pop-culture mashup for the fans. They also catered to the conspiracy nerds in the crowd when they explored a variety of Hollow Earth sequences.
In a lot of ways, "Godzilla x Kong: The New Empire" was both an extinction warning and an origin story. Ironically, it took two giant monsters that could've ended us all and made them save us instead.
Plenty of other noteworthy moments, glazed with extraordinary CGI and garnished with generous action sequences, made "Godzilla x Kong: The New Empire" a triumph in Fantasy-SciFi entertainment.
Nobody in their right minds can call this a strictly credible plotline, but credibility is not why we root for a giant radioactive reptile that once had a fondness for destroying half of Tokyo but has since taken his travel plans global.
As for Kong, even he'd have been surprised if someone told him he'd finally leave that dang island and go see the world - only to end up inside it.
"Godzilla x Kong: The New Empire" was an anthropomorphized crossover-style extravaganza that captured numerous nuanced bits and bobs that have rendered its iconic kaijus famous among fandoms all over the world.
In this monster-verse, they took a super-intense duo and let them indulge in a super-insane duet, with other dancers contributing their own jigs in a show that was literally too big for Broadway.
--- --- ---
Noteworthy performances and contributions by the humans: Rebecca Hall (as Ilene Andrews), Ron Smyck (as Harris), Rachel House (as Hampton), Kaylee Hottle (as Jia), Brian Tyree Henry (as Bernie Hayes; timely hilarity), and Dan Stevens (as Trapper; weird heroics).