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JoshuaMercott
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He Went That Way (2023)
Slow-Burn Suspenseful
Between its slow pace and relatively isolated settings, "He Went That Way" didn't at first feel like a movie worth watching. But as time went, this 60s serial-killer story - based on real events - grew thick with suspense and made me want to know how it would all end.
Two men found themselves going in the same direction. A seemingly hapless entrepreneur and animal trainer named Jim - played exceptionally well by Zachary Quinto - ended up accepting a hitchhiker named Bobby - played intriguingly by Jacob Elordi.
And then there was the chimp. Called Spanky, the ape was apparently a TV star, but he and his owner were down on their luck. Neither Jim nor his trained companion initially knew that Bobby was a serial killer and thief who had already (presumably; in this movie) ended the lives of numerous people.
Just these three characters were the main focus of the entire movie. They were on the road and driving to Chicago. But somewhere along the way, truths revealed themselves and the proverbial brown stuff hit the fan.
Disturbed delinquent Bobby held Jim and Spanky hostage and didn't really know what to do with them, especially after spending all that time with the duo on the road. These portions were strangely emotional and portentous.
The script was simple and balanced by natural and nuanced performances from Quinto and Elordi. Their pitstops along the way brought a handful of characters onto the scene, each of whom did good work.
The story was set in the 60s, around the same time Elordi's real-life counterpart was going around killing people in the United States. In actual history, Larry Ranes was the murderer who'd inadvertently ended up meeting and driving with animal trainer Dave Pitts.
Quinto played Pitts and Elordi enlivened Ranes. The contrast between the two characters was elegantly balanced by the chimpanzee - who was played memorably by Phoenix Notary in an animatronic costume. She also happened to be the little girl who was smoking at one of Jim and Bobby's pitstops.
As the story progressed, some strange shade of Stockholm's Syndrome seemed to be unravelling. This only added to the enigma, especially after all those times Jim barely made any serious effort to alert people to Bobby's true nature.
"He Went That Way" was certainly not one of those movies that would've gotten everyone talking. But it managed to deliver decent entertainment and mild suspense, which gradually drove toward a memorable finale that was well worth the wait.
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Special shout-out to Christopher Guyton (as the gas station attendant), Troy Evans (as the motel desk clerk), Patrick J. Adams (as Saul), and Roman Arabia (as a car mechanic).
Dead Boy Detectives (2024)
Equally Engaging & Entertaining - Season 1 Review
Right from the start, this masterpiece from the minds of Neil Gaiman and Matt Wagner set a memorable mark. In keeping with the title, the show portrayed two actual dead boys starting their own supernatural investigation enterprise exclusively for spectral clients, and I was all for it.
George Rexstrew (as Edwin Paine) and Jayden Revri (as Charles Rowland) were the souls (emphasis on the word) of this series. They had great chemistry on-screen and together created a contrasting inter-character friendship and partnership worth watching.
The way they went about solving demonic and ghostly cases on behalf of other-worldly clients while also trying to evade or avoid Death (played by Kirby) was intriguing and entertaining.
Intriguing, because Kirby even played Death in The Sandman series; also from Neil Gaiman. I have a feeling some nice multi-verse action is going on with these stories.
The involvement of a human psychic named Crystal Palace (played superbly by Kassius Nelson) - not to mention a range of interesting supporting characters, both living and otherwise - added to the mystery and fun in the series.
I loved everything the witch Esther Finch brought to the series. Jenn Lyon was brilliant in the role. Her crow-familiar-turned-human Monty also did good work. Joshua Colley was as deceptive as he was sinuous.
The human Briana Cuoco, played exceptionally well by Jenny Green, worked as a butcher but soon served as a friend and liaison to Crystal and Niko.
Speaking of whom, Niko Sasaki was another notable character to watch. Yuyu Kitamura did good work bringing this character - and her heart-breaking innocence - to life.
Ruth Connell (as the night nurse of the after-life's lost and found dept.) was a welcome surprise. I loved her work in the hit TV series "Supernatural" (of which I'm a fan) and to see her pull off a similar yet distinct character in "Dead Boy Detectives" was both nostalgic and entertaining.
Lukas Gage (as the Cat King) was as curious as he was creepy. David Iacono (as David the Demon) was a mysterious character whose charm belied his propensity for evil.
A little Sherlock Holmes and a dash of Hardy Boys defined the style of "Dead Boy Detectives". It had a few familiar tropes, but that's to be expected (and welcome) in such stories, which Neil Gaiman first published in the early 2000s (with other instalments coming into print over the years since).
The extensive promise and potential of "Dead Boy Detectives" can't be stressed enough. Along with The Sandman, it looks like Neil Gaiman and team have another brilliant jewel whose many facets of storytelling deserve to be explored, starting with that satisfying cliffhanger in season one.
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Admirable performances from Michael Beach (as Mick), Caitlin Reilly (as Litty), Max Jenkins (as Kingham), Miguel Castillo (as the ghost with a migraine), Mary Ann Welshans (as the after-life notary), Jason Deline (as Brandon Devlin), BJ Harrison (as Asha), Lindsey Gort (as Maxine), Mya Lowe (as Maren), Harrison Houde (as Richie), Sarah Desjardins (as Shelby), Cheech Manohar (as Kashi), Miranda Edwards (as Iris), Donna Preston (as Despair), Gabriel Drake (as Simon), and Tamlyn Tomita (as the after-life higher-exec).
Monkey Man (2024)
Spectacularly Empathic Work of Action-Art
I would hate comparing this movie to the John Wick or Karate Kid franchises, mainly because I admire the sheer attention to character-motive detail that Dev Patel created in "Monkey Man".
Unlike Wick, Kid was after justice years after a man dishonoured and murdered his mother Neela (played memorably by Adithi Kalkunte). It was a deeply empathic storyline that made his vengeful spree feel like a classic underdog story for modern audiences to root for.
More than this, "Monkey Man" was also about how Kid's actions thwarted the ongoing corruption in high circles, particularly by so-called 'god men' and land-grabbing policemen who oppressed and victimized the under-privileged, abusing their power to gain wealth for themselves. A lot of this is still happening in India.
There was much to appreciate in this movie aside from the action choreography, which itself was sublime.
The illegal wrestling matches were riveting to see. They not only featured Kid as the titular Monkey Man, but there were also popular Indian and desi character references via names like King Kobra, Sher Khan (both played by Brahim Chab) and Bhalu (played by Max Yanto). The auto-rickshaw chase scene was just as intense.
Also, the way Kid fought was not like a professional, just an average guy who was no stranger to fights. His bare-basic wrestling knowledge was all he had, making it seem like Kid could be any one of us, given the circumstances.
Some failures followed by fate and added training led to him becoming a compelling combative force who returned to his mission of seeking justice for his deceased mother. The contrast between Kid's earlier failure and his later triumphant comeback was spectacular.
The money-hungry Tiger, played by Sharlto Copley, was an amazing addition to the roster. His presence and line-deliveries were engaging. Pitobash as Alphonso added to the dastardly elements in this movie. His performance was noteworthy on multiple levels.
Ashwini Kalsekar as Queenie Kapoor was a 'queen' among villains. She was so casually ruthless, and made cruelty seem like an everyday transaction. I loved watching what they did with this character, who was responsible for helping evil men hold on to power, not to forget serving as an enabler to get them what they wanted at the cost of human innocence.
One of Queenie's top-tier clients was police chief Rana Singh, played exceptionally well by Sikandar Kher. Rana was the man whom Kid wanted to kill for what he did to Neela.
But the biggest-bad in this movie was the self-titled 'god man' Baba Shakti. Playing this divisive and at times satirical character was Makrand Deshpande, who lent great weight to all his scenes.
A pleasant surprise in this movie was when Zakir Hussain came on the scene, playing himself, namely the tabla maestro. As for the trans-woman Alpha, Vipin Sharma gave a simple yet significant performance worth appreciating.
One of the most surprising scenes in this movie was when a downtrodden transgender community helped storm the building where Kid was headed to face off against Rana and anyone else who stood in his way. The earlier scenes featuring them giving Kid shelter came full circle in many ways, enriching the gravitas of this plot.
As director, writer, and lead actor, Dev Patel has earned my respect and admiration for his work in "Monkey Man", which at times evoked the principles and power of the Indian god Hanuman/Anjaneyar.
This deity is renowned for not just his strength and will, but also his compassion, devotion, and sense of duty to Lord Ram. In this light, the way Kid went about establishing justice through force of body and mind was a nuanced reminder of the many battles Hanuman fought to ensure good triumphed over evil.
"Monkey Man" was proof that great storytelling can comfortably sit alongside great action. Even with all the hype and praise that has surrounded this movie since its release, I still believe it is under-rated and not celebrated enough.
I sat through two hours of bloody-good entertainment, where noir met cyberpunk topped off with Indian flavours. As inspiring as it was bold, "Monkey Man" contained a wealth of thrills and chills. It was thoroughly enjoyable and, dare I say, flawless.
Sleeping Dogs (2024)
Elegant, With An Unpredictable Twist
I can't imagine what memory loss would feel like to a former cop, and a homicide detective at that. Adapted from E. O. Chirovici's novel "The Book of Mirrors", this movie soon took on a life of its own, breathed in large part by Russell Crowe.
Subtle performances and attentive characterisation defined the "Sleeping Dogs" movie. It gradually became a nightmarish nostalgia trip for Crowe's character Roy Freeman, who'd retired after suffering from severe memory loss.
But a case from his past and his past itself both came back to torment him. "Sleeping Dogs" contained an arresting story, rife with suspense, betrayal, experimental meds, and well-timed revelations.
Returning to an earlier case meant Roy reconnecting with so much that was lost along with his brain's ability to process memories. He soon found himself working with his old partner Jimmy Remis (played notably by Tommy Flanagan).
Between Roy's inability to recall and the many loose ends he discovered in the 10+ year old case, "Sleeping Dogs" began to live up to the phrase it emulated. Roy ended up not letting sleeping dogs lie.
The plot picked up in earnest and demanded my full attention as I tried to piece together what happened in the case involving death-row inmate Isaac Samuel (played by Pacharo Mzembe) and the detectives who'd gotten his confession to a murder he seemingly hadn't committed.
Richard Finn, later found deceased, became the hub around which a lot of clues revolved. Harry Greenwood did good work bringing this character to life, so to speak, and connecting some clever dots to the murder which sent Isaac away.
The portions that featured Karen Gillan (as Laura Baines / Elizabeth Westlake) were intriguing. Though she only came and went every now and again, she played a potent role in this story. Her interactions with Dr. Joseph Wieder (played with Marton Csokas) raised plenty of suspicions.
But nothing was as it seemed in "Sleeping Dogs". The story was slow-paced but exceedingly clever. As detective movies go, this one had a curious gravitas that made it seem like it followed a typical genre formula but with just the right amount of creative differences to make it come across as deeply suspenseful.
"Sleeping Dogs" was one of those movies where the clues were hidden in plain sight but you'd never really guess the cause-consequence angle until the plot itself revealed them.
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Adding to the engaging performances in the movie were Thomas M. Wright (as Wayne Devereaux), Elizabeth Blackmore (as Dana Finn), Simon Maiden (as Eddie Finn), Kelly Greyson (as Emily Dietz), Lynn Gilmartin (as Diane Lynch), and Paula Arundell (as Susan Avery).
Les Trois Mousquetaires : Milady (2023)
Intense Intricacy
After being highly impressed with the first instalment, I found myself eagerly awaiting "The Three Musketeers - Part II: Milady".
It was far from average. In fact they upped the ante and delivered a plot that, though it took plenty of liberties from Alexandre Dumas' original, still managed to convey the core essence of this outstanding tale which has stood the test of time.
The French-language movie "The Three Musketeers: Milady" contained high-octane action, royal court intrigue, and a stunning twist that I'm still surprised I didn't see coming.
Exceptionally characterised and meticulously dramatized, this story and its timeless characters deserve a third round, but I'm not sure how much further the team can go after already having exhausted so much of the source material.
Set in the 1600s and capturing much of the core essence of that era, the movie made plenty of admirable creative decisions to tell the iconic tale of the titular three musketeers, who were later joined by a fourth.
Vincent Cassel as Athos, Pio Marmaï as Porthos, Romain Duris as Aramis, and François Civil as D'Artagnan gave riveting performances that were natural and compelling. They were real and un-glamourized, which was what made these characters seem credible.
As for Milady de Winter herself, Eva Green did more than simply hide in the shadows this time. She went all in and delivered a handful of laudable action sequences. Her empathy scenes were equally noteworthy.
The movie's fight choreography had a flair for old-school single-takes, which I adored watching in "Part 2: Milady". Everything about a brewing war, horses, vengeance arcs, intense romances... They all screamed France; historically.
A missing lover, a royal coup, dangerous secrets, deceptive politics, old flames, older pains... Intricacy met suspense in "The Three Musketeers - Part II: Milady" and bloomed into captivation.
This second part was somehow better than the first, which I remember thoroughly enjoying. As this movie kept going, the story genuinely felt like it captured an authentic slice of French history when in fact it was all good fiction.
Eagerly do I wait for news of part three. I don't think I'd mind if they went off-book (literally) to finish telling this curiously clever cinematic version featuring the lives and times of four of literature's most famous musketeers, and a certain spy who was also a mother.
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Some remarkable performances by Julien Frison (as Gaston de France), Louis Garrel (as Louis XIII), Jacob Fortune-Lloyd (as Duc de Buckingham), Lyna Khoudri (as Constance Bonacieux), Ivan Franek (as Ardenza), Eric Ruf (as Le cardinal de Richelieu), Marc Barbé (as Le capitaine de Tréville), Patrick Mille (as Le comte de Chalais), Camille Rutherford (as Mathilde), and Ralph Amoussou (as Idris "Hannibal" Aniba).
The Clearing (2023)
Exceptionally Intriguing
A secret cult, missing children, and one woman's attempts to connect the dots before it was too late. These and other intriguing elements defined "The Clearing", which was adapted from J. P. Pomare's novel "In The Clearing" (published, 2019).
Set in the 80s (and spanning the 60s-70s), the story was inspired by true events surrounding a cult known simply as The Family, which operated in secret somewhere in Victoria, Australia.
Their life involved dispensing spiritual practices, a touch of drugs on the side, and an unhealthy manipulation of children's innocence. Suffice to say, none of their decisions aligned with morality and had more to do with profit and influence.
One of the main reasons I wanted to watch this mini-series was because it had three artists whose work I've greatly admired over the years.
Teresa Palmer (as Freya Heywood), Miranda Otto (as Adrienne "Maitreya" Beaufort), and Guy Pearce (as Dr. Bryce Latham) were every bit as amazing as I'd expected them to be. They gave their characters a brilliant blend of intensity and empathy that I thoroughly enjoyed.
The younger talents all did great work in "The Clearing". They brought some old-school nostalgia with a touch of sadness, both of which worked wonderfully for this story.
Set in Australia, and defined by a simple yet unpredictable mystery, "The Clearing" contained a good deal of shock-n-awe value, especially around the children who were either abducted or adopted.
No sexual harm was visited upon them, but the kids did experience something...different. As the story progressed, I learned just how different. The plot twists were captivating and made me want to read Pomare's book.
The children were apparently being handpicked based on how less they'd be missed. Strange hair dyeing and oddly casual activities as part of The Kindred added to the mystery value in the story.
The presence of enablers, couples, and trainers made it all seem like a normal kids' camp or school retreat, but it was anything but. The roots of the cult ran deep and included people in high places.
I kept wondering whether the kids were being trafficked in some capacity. But the truth was not as simple or straightforward. This, more than anything else, kept me glued to the screen.
Some of the beliefs being peddled had ties to Indian spirituality and yogic practices. From life being illusory to the potential of soul transcendence, these and other inherently pure ideas were twisted out of context by some of the cultists. Moreover, the LSD connection added to the intrigue.
The drug was not only used as a potent curative during that era of medicine, it was also grossly misused by those who lost themselves to its ravages and those who used the hallucinogen to convince and control others with the promise of consciousness expansion.
Adrienne Beaufort was one such woman. She wrapped herself in charm and deception, lending the character a beautiful yet sinister presence on screen. As her story unravelled, I appreciated Miranda Otto's performance even more than when I'd hit play on episode one.
The plot shifted between the older versions of some of the characters and what precisely happened to them when they were part of The Kindred. Teresa Palmer's Freya, for instance, was Amy who suffered under the cultists' yoke before the police busted the whole operation years down the line.
Then there was Ada Smith who remade her image and became Adrienne "Maitreya" Beaufort, the leader of said cult. Her origin story was especially interesting.
The final episode brought it all together and delivered some unexpected twists. It was an engaging plotline from beginning to end.
Because it's a mini-series, expecting a second season would be wishful thinking. Be that as it may, "The Clearing" put up a noteworthy show, one based on true events.
There was much worth appreciating and deriding about this story. It was a stark reminder of how easily our delusions can drown us, only for us to call it faith as we relinquish the last bubbles of our existence.
"The Clearing" was as much about crimes that escaped justice as it was about a broken family, most of whom lived in denial about just how badly their souls were damaged.
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Some riveting work by Kate Mulvany (as Tamsin Latham), Anna Lise Phillips (as Hannah Wilczek), and Erroll Shand as (Henrik Wilczek), each of whom amplified the creep factor.
Some of the kids gave compelling performances. Great work Lily LaTorre (as Sara/Asha), Flynn Wandin (as Billy Heywood), Julia Savage as (Amy Beaufort), and Jeremy Blewitt (as Anton Beaufort).
Remarkable performance from Hazem Shammas (as Yusuf Joe Saad), Harry Greenwood (as older Anton Beaufort), Mark Coles Smith (as Wayne Dhurrkay), Miah Madden (as Max Dhurrkay), Xavier Samuel (as Colin Garrison), Ewen Leslie (as Tom Atkins), Anni Finsterer (as Evelyn Smith), Claudia Karvan (as Mariam Herzog), Kristof Kaczmarek (as Ari Herzog), and Jamie Timony as (older Adam).
Rebel Moon - Part Two: The Scargiver (2024)
An Under-Cooked Sequel
The first part was a thrill-fest (surprisingly so) and became a memorable Sci-Fi intro from the mind of Zack Snyder. Yes, it had its ups and downs but the first "Rebel Moon" movie crossed the finish line on terms of good entertainment.
"Rebel Moon - Part Two: The Scargiver", however, failed to properly continue the treachery, greed, madness, and unity that prevailed in the first part. This time round, most of the characters felt stiff and uncertain. At times, it even felt like they were doing improv to keep the scenes going.
Kora had to cut off the head of the snake this time if she and the people she considered her family were ever to stay safe. Sofia Boutella gave a riveting performance, then and now. Her screen presence was laudable and she took to each action sequence like she was born for it.
The Dreadnought threat was far from over. Kora and her new friends and allies weren't yet safe. The danger was returning, and in just five days' time.
Apparently, nobody can be allowed to live after making a great inter-galactic force seem weak. Admiral Atticus Noble (played by Ed Skrein) was still alive and coming back to put Kora and her people in their so-called place.
I liked the consistent Star-Wars vibes throughout this "Rebel Moon" movie - especially that Nemesis dual-sword fight scene and Jimmy the android's face-off.
But the story was far from compelling. It felt like a recycled mish-mash of themes that were given no creative brushstrokes whatsoever.
More than a few sequences felt contrived, especially in and around Kora's back-story. Those Rome-style elements were done to death; pun intended. It did the story no favours.
Though the emotional scenes held merit, the lack of story-substance made even those heartfelt moments feel shaky and inconsequential.
The performances were on point, but without sufficient scope even they fell on the wayside. "Rebel Moon - Part Two: The Scargiver" left a scar in this fan's heart. The movie only slightly picked up after the first-half, but by that time my mind was already made up.
I expected a lot, a whole lot, going forward. Though people disliked the first part, I found something of worth to look forward to in this sequel, which ended up disappointing me to no end.
Since there's a "Rebel Moon: Part Three", I will watch it purely to see if it can redeem what happened in this one.
Immaculate (2024)
Expertly Explores The Horrors of Delusion
A movie so bold as to step on all kinds of religious toes, "Immaculate" wrapped itself in powerful storytelling that did not shy from subversive themes to communicate a potent message.
Sydney Sweeney as Sister Cecilia gave an unforgettable performance as the pregnant nun at the heart of this script. But aside from her, the religious repression that sourced from various people, not to forget sheer delusion, lent this movie a wealth of subtext and modern-day relevance.
People will be studying "Immaculate" from a filmmaker's lens for some time, I'm sure. The story took a seemingly innocent occurrence and gave it a self-serving spin.
It was fascinating how Sister Cecilia's experiences evoked the relatively unknown one of the original Mother Mary, whose immaculate conception is one of the core defining elements of all Catholicism and Christianity.
The movie still needs to be taken with a pinch of salt. At the end of the day, it belongs to the horror genre. Just as we wouldn't assume all demons or spooks are real simply by watching a scary flick, we shouldn't be quick to judge the perspectives and possibilities that were explored in this movie.
That said, I can't help but state that "Immaculate" is definitely not your average horror movie. It went to some dark places, some of which were surprisingly sacred. In fact, the story took liberties to perform what could best be described as sacrilege, but it did that while colouring within creative genre lines.
I especially liked how they showcased the duties nuns perform. Much of that has been exempted from movies like this, so it was admirable to see the team give us a brief peek into what nuns do for the church and the needy.
In contrast to all this was what Cecilia went through after realizing she was with child. Every observation proved her to be a virgin, making her birth as immaculate as it was suspicious.
There was a conspiracy at the heart of the church Cecilia served. The careful way in which director Michael Mohan and writer Andrew Lobel peeled back its secrets and revealed the horrors within was an ode to masterful filmmaking and meticulous screenplay.
As I stated before, "Immaculate" is not your average horror movie. It proved to be more than the sum of its scares - an immaculate misconception, if you will. For those who have eyes to see, there were truths contained throughout this story, especially truths of the scientific kind.
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Everyone brought their A-game, especially Giulia Heathfield Di Renzi (as Sister Isabelle), Benedetta Porcaroli (as Sister Gwen), and Álvaro Morte (as Father Sal Tedeschi).
La passion de Dodin Bouffant (2023)
Gourmet Perfection, From The Heart!
Glazed with romance and with a generous sprinkling of culinary excellence, "The Taste of Things" proved to be one of those movies that could surprise and enthrall - and it delivered on both.
As rustic as it was charming, this French-language movie set in the late 1800s felt tangible in more ways than words could describe. It not only captured a passion for cooking but also conveyed the heartfelt phases that defined the very act.
In "The Taste of Things", Juliette Binoche and Benoît Magimel gave riveting performances as Eugénie and Dodin Bouffant, resp. The talented chef and his dedicated cook were a genuine treat to watch. Between their beautiful chemistry and natural acting, the story came alive and gained a beating heart of its own.
Special shout-out to Bonnie Chagneau-Ravoire (as Pauline) and Galatéa Bellugi (as Violette). They contributed significant moments to the movie.
The story captured the philosophy of life through food, and the people who make them. It genuinely transported me back in time to when the culinary arts were not seen as something merely avant-garde but also artistic.
Moreover, the concept of marriage came close to being redefined in "The Taste of Things". The relationship between Eugénie and Dodin bloomed gently, but commitment was still far from certain, particularly from Eugénie's side.
This gave rise to intriguing and at times concerning possibilities, especially seeing as how Eugénie often experienced inexplicable fits of dizziness. The movie patiently unfurled the truth and made it compelling, if not a tad heartbreaking.
The script was based on Swiss author Marcel Rouff's 1924 novel "La Vie et la passion de Dodin-Bouffant, gourmet". In fact, the story revolved around Dodin ('The Napoleon of Gastronomy'). The movie expanded where needed to focus as much on Eugénie - a decision worth appreciating.
The sheer food-gasm of this movie! Everything about the year 1889, in which this story was set, felt credible and tasteful.
There was a certain genius in the way writer-director Anh Hung Tran made the kitchen scenes feel captivating, even sacred. As the characters went about living their lives and preparing various recipes, each sequence felt portentous and sizzled with promise.
Eugénie and Dodin were a pair even the biggest chefs would've gone green with envy to see. The sheer empathy that revolved around those two further thickened the plot and made it feel more than just about food.
I am still surprised by how well the movie was taken. I love stories that feature cooking - the foodie in me demands as much. But despite being overly familiar with the theme, "The Taste of Things" made me feel like I was watching something entirely fresh and doubly meaningful.
In the Land of Saints & Sinners (2023)
Intensely Grim & Gripping
Going back to 1974 Northern Ireland, this movie made a strong case for a script that balanced high-octane action with real-world truths. "In the Land of Saints and Sinners" contained a redemption arc, but one that didn't come cheap.
Liam Neeson as the hitman (fictional) Finbar Murphy was intriguing in every way. I was surprised to see them showcase his character as a typical guy going about his hours, when in truth he led a dark life doing grave deeds. The contrast worked wonders for Finbar and the plot certainly benefited as well.
Now, leaving such a life behind is easier said than done. Before long, Finbar Murphy found himself in a situation where he had to step in. Something secret was going on at one of houses in his area, and it didn't look good for the locals.
Finbar was on good terms with the people in the village and refused to let things slide. This dragged him into a web of rebels, some of whom had recently bombed a place in Belfast in their fight for a free Ireland.
The story grew more intense from there on out. Murder, deceit, justice, and the dual-edged sword of vengeance took flight and carried the plot across the finish line.
"In the Land of Saints and Sinners" was not a grand or original tale, but outstanding performances and a sharp focus lent the movie a gripping edge-of-the-seat flair.
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Special shout-out to Kerry Condon (as Doireann McCann), Desmond Eastwood (as Curtis June), Michelle Gleeson (as Moya), Colm Meaney (as Robert McQue), Mark O'Regan (as Bart McGuiness), Ciarán Hinds (as Vincent O'Shea), and Jack Gleeson (as Kevin Lynch).
Dune: Part Two (2024)
A Spectacular Sequel That Transcends Spice
Spice! I'm sure we all know of at least one parallel for that resource in the real world, and that has sent people to war time and time again. These and plenty of other subtext-rich elements prevailed in "Dune: Part Two", an exquisitely thrilling and cinematically admirable follow-up to the 2021 movie, not to forget the 1984 classic.
The sequel saw Denis Villeneuve adapting the second half of Frank Herbert's iconic 1965 novel. It was not an altogether faithful adaptation, but that's to be expected. A visual dramatization needs a different approach to a literary one.
But they stuck to most of the main twists and turns that occurred in the book. From Paul Atreides becoming the Lisan al-Gaib to his riding a Shai-Hulud sandworm, and more besides.
This time round, cries of war were in the Spice-suffused air. It began with House Harkonnen enacting a surprise assassination against House Atreides. They unwittingly ended up leaving Paul and his mother Jessica alive.
Paul Atreides faced great uncertainty as he planned his comeback. This included him and the Fremen not only fighting but also winning a revolution against the rulership of the Harkonnens. What were once the oppressed people of Arrakis soon breathed free air, quite in keeping with their pro-Atreides prophecy.
This angle, namely the prophecy, was ideally focused upon. It was important for plenty of reasons, not least among them being the similarities between how such prophecies tie directly into political power and religious authority - both in the story and irl.
Different fans experienced different perspectives concerning "Dune: Part Two", but the fact of the matter was that our hero Paul Atreides - played to outstanding effect by Timothée Chalamet - did indeed become something of a villain near the end.
This was not a Denis-ian decision, but a plot-point which aligned with the original Sci-Fi novelist Frank Herbet's vision for the character. Both the book and the movie captured Paul Atreides' motives in a distinct (and deeply meaningful) light.
In addition to strategically marrying Princess Irulan (played expertly by Florence Pugh), Paul Atreides also prepped his Fremen army to initiate a 'holy war' against the Great Houses who were clearly not willing to accept his ascendancy.
Paul's big win on Arrakis was apparently only the beginning. Remember his terrifying visions? The ones he's been seeing in both "Dune" movies? The "Dune: Part Two" ending promised to make those visions come true.
From deciding to leave Chani, to merging his house with that of Princess Irulan, Paul clearly had his eye on Emperor Shaddam IV's empty throne. This was all thanks to the rebel victory that gave Paul complete control of the spice on Arrakis.
Why did things come to be this way? The book has the answer. In Herbert's novel, Paul's words to Irulan ("There's my key") complemented his exchange with Chani ("We must obey the forms"). Long chapter short, Paul Atreides was not just going to war with the Great Houses, but against the system itself.
There has been a long-standing agenda to put a Bene Gesserit on the throne, after all. Princess Irulan was being groomed (though mostly in secret) for that privilege. In "Dune: Part Two", we saw how Reverend Mother Gaius Helen Mohiam said, "There's one way your family can remain in power. Are you prepared?" to Irulan, thus cementing the fact that this agenda was still in the pipeline.
By marrying her, Paul partially allied with the Bene Gesserit cause without making an enemy of them. Paul was, apparently, aware of their game. His political move was a masterstroke in more ways than one.
Adding to the intrigue was the fact that Paul had powers similar to what the Bene Gesserit sisters wielded. There was much concern around this in "Dune 1", and those concerns only bloomed in earnest in "Part Two".
Chani's heartbreak aside, her real fear was that Paul would proselytize her people, the Fremen. Being viewed as their prophet gave Paul more than sufficient room to stoke their religious propaganda to his benefit. Though he was initially reluctant about it all, something changed after he drank the Water of Life, the blue fluid sourced from a sandworm youngling.
Chani was justifiably upset with where things were headed; the finale proved as much. Moreover, this became one of Villeneuve's major deviations from the book.
We must also bear in mind that the very first conversation Paul and Jessica have in "Dune 2" (after the Fremen took them in) was about swaying 'non-believers', taking control of the Spice on Arrakis, and getting revenge on the Emperor who ordered House Atreides to be killed in cold blood.
So, is Paul "Muad'dib Usul" Atreides the bad guy? We may need to wait for "Dune: Part Three" to find out. In the meantime, I can't help but admire how skilfully Villeneuve wove this reboot using Herbert's complex planet-politico tropes and themes.
"Dune: Part Two" delivered breathtaking visuals, extraordinary Science-Fiction storytelling, and an expertly paced movie that did not feel as long as its three-hour runtime.
This movie is proof that Sci-Fi still holds relevance across the board. In this regard, I (a passionate reader and committed writer) can't help but see Denis Villeneuve as a 'Lisan al-Gaib' of good cinema.
...
"I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain."
Frank Herbert; "Dune" (1965).
...
Zendaya's take on Chani was remarkable. She lent her character a good measure of empathy and self-worth. Rebecca Ferguson's portrayal of Jessica Atreides was outstanding. A lot of Paul's moves would've failed without his mother's fundamental support and meticulous planning.
Léa Seydoux as Lady Margot Fenring was as seductive as she was calculating. Josh Brolin made Gurney Halleck stand out in all the right ways. Though she barely received much screen-time, Anya Taylor-Joy did noteworthy work as Alia Atreides (Paul's unborn sister).
Charlotte Rampling as Reverend Mother Mohiam continued to captivate. Christopher Walken as Emperor Shaddam IV was his classic self, and all the better for it.
Everything about House Harkonnen was fascinating to watch in "Dune 2". They lent their entire race an almost alterna-human presence that deserves adulation. Stellan Skarsgård as Baron Vladimir Harkonnen and Dave Bautista as Beast Rabban were good in all their scenes. But it was Austin Butler (as na-Baron Feyd-Rautha) who wore the Harkonnen crown in this movie.
The Gilded Age: In Terms of Winning and Losing (2023)
An Exciting Blend of Drama & Truth - Season 2 Review
New York high-society saw more than its fair share of politics and drama, as evidenced in "The Gilded Age". The series continued to impress with its extraordinary attention to detail and lush characterisation.
Season 2 picked up with all the main players resuming where things left off, particularly Bertha Russell scheming her way through and up the social ladder. Carrie Coon was amazing in the role. She already proved as much in the first season and didn't disappoint in this one.
New courtships, old rivalries, and industrial deceptions set the tone this season. Unions were in good focus. Those portions of the show truly conveyed the extent - which is still ongoing, in several regards - some companies would go to ensure their labourers didn't get equitable pay and decent working conditions.
I liked how adeptly they covered - nay, reminded us of - the racism angles at play. It was mindfully done. The show also focused a good bit on some non-aristocratic characters, highlighting their hopes and dreams in ways that were worth supporting. Case in point, Jack Trotter's (played by Ben Ahlers) alarm-clock invention.
They also covered some important ahead-of-its-time feminism through characters like Peggy Scott (an African-American journalist) and Emily Warren Roebling (the 'silent' engineer behind NY's Brooklyn Bridge).
Emily's extraordinary contribution to the construction of the Brooklyn Bridge is based on actual events and the historical woman herself. They didn't go into too much detail, but conveyed the essential points we already know about her work in finishing the iconic structure.
They also focused on how easily 'old money' can be stolen - the whole Oscar-Maud debacle was exceptionally thrilling. I especially liked the twist where Agnes Van Rhijn (played by Christine Baranski) lost her wealth thanks to her son Oscar's (played by Blake Ritson) investment blunder, and how her sister Ada Brook (played by Cynthia Nixon) came into money of her own.
The roots of The Metropolitan were duly dramatized too, including its in-parallel competition with the Academy of Music. Both Bertha Russell (played by Carrie Coon) and Mrs. Lena Astor (played by Donna Murphy) put on quite the show.
From rivalries to romances, ambitions to accusations, season 2 contained a little bit of everything fans of this series have come to appreciate. If "The Gilded Age" wasn't American TV's answer to "Downton Abbey" before, it most definitely made a case for that in the second season.
I await the third innings of "The Gilded Age" with much enthusiasm and not a small amount of expectation.
Kung Fu Panda 4 (2024)
Predictable Twists with Over-Used Formulas
The martial-arts comedy continued in "Kung Fu Panda 4", only this time riveting action sequences were replaced with predictable comedy and the barest minimum laugh-out-loud moments.
By this time, Po was left with little choice but to become the Spiritual Leader of the Valley of Peace - like Oogway was before him. To this end, Shifu tasked him with finding the next Dragon Warrior, i.e., his successor. But that was easier said than done, especially where Po was concerned.
The villains whom Po banished to the spirit realm made a sorcerous comeback in "Kung Fu Panda 4". In addition to some sweet nostalgia - especially with Tai Lung's re-entry - the other baddies unwittingly gave Po and his heroic buddies a run for their dumplings.
The shape-shifting sorceress who performed the dastardly deed was a creature known simply as The Chameleon. Viola Davis breathed life into this intriguing character. The Staff of Wisdom which Oogway once gave Po became the tool The Chameleon manipulated to access the spirit realm and unleash villainous chaos.
Being denied the chance to attain kung-fu greatness, she turned to dark powers to absorb the king-fu greatness of others. Though this plot-element was riveting, it also felt recycled and un-compelling.
As for Po, Jack Black didn't fail to impress and entertain. At this point, I'd be hard-pressed to hear anyone else take on the role of the titular kung-fu panda. But even with his outstanding talent, there was surprisingly little 'skidoosh' in "Kung Fu Panda 4".
Mr. Beast as Panda Pig was a pleasant surprise; but he was barely given any screen-space. Ian McShane still had it as Tai Lung. Awkwafina as Zhen was outstanding. Bryan Cranston as Li was notable. Dustin Hoffman as Shifu was good. Ke Huy Quan as Han was fun. James Hong as Mr. Ping was evocative.
The glaring absentees in this movie were Tigress, Mantis, Monkey, Crane, and Viper. They were apparently off on major missions of their own. I didn't like how easily they side-stepped such important characters, but I could understand the creative decision this far into the franchise. They gave a nice cameo near the end, though.
New locations like Juniper City added to the captivation in this movie. The animation was great but the storyline fell short of the mark, making this fourth part worth watching just once.
The movie was not only formulaic, it also didn't touch the fun-funny standards set in previous "Kung Fu Panda" movies.
I believe the only good thing that came from "Kung Fu Panda 4"was Jack Black's extraordinary cover of Britney Spears' "Baby One More Time".
Bastarden (2023)
Heartwrenching Excellence
Set in the 18th century and based on a true story, "The Promised Land" enlivened the life and trials of an impoverished war veteran (of the Silesian wars) named Ludvig Kahlen. The story was adapted from one of Ida Jessen's books.
I didn't expect there to be so much meaning and emotion in a plot covering what a poor soldier aimed to do with the heath (or land) he received from the king - rather, his cunning council members.
The way Director Nikolaj Arcel and team dramatized Ludvig's tribulations as he attempted to breathe life into that barren piece of land was astounding, to say the least. The fact that this movie is a loosely based biopic made it even more inspiring.
Mads Mikkelsen's performance as Ludvig Kahlen was remarkable. He gave the man an intense aura of will and determination without going overboard where his emotions and expressions were concerned. Some fine acting right there.
As expected, he unwittingly made an enemy. Enter, Frederik De Schinkel the landowner. Simon Bennebjerg was particularly despicable in the role. His ruthless nature made a great case for just how heartless some aristocrats can be.
Frederik's concerns lay with the self-appointed fact that the land Ludvig aimed to modify could never be done, and that when the time was right Frederik himself would buy it all from the king.
War made for strange neighbours, so to speak, because Ludvig refused to back down. As for Frederik, he refused to take the soldier's goals lightly.
Moreover, the king didn't give away land from the kindness of his heart. The Jutland peninsula at the time had profit potential, meaning if the king settled various portions of the land he could reap good taxes down the line.
Suffice to say, plenty of silent deception lay buried in the moors. The mid-1700s were a dangerous time and the land was not exactly lawful. Most of the intrigue in "The Promised Land" revolved around this setting and made the story feel compelling and eye-opening.
Special shout-out to Amanda Collin (as Ann Barbara), Morten Hee Andersen (as Johannes Eriksen), Thomas W. Gabrielsson (as Bondo), Melina Hagberg (as kid Anmai Mus), Laura Bilgrau Eskild-Jensen (as teen Anmai Mus), Gustav Lindh (as Anton Eklund), Kristine Kujath Thorp (as Edel Helene Leising), Lasse Steen (as Uldrich).
Revenge, danger, and a distinct thread of empathy defined what unfurled in "The Promised Land". This Danish- and German-language movie was surprisingly riveting and held my attention till the very end despite it having no overly grand action sequences or unpredictable shock-twists.
The simple yet seamless way in which "The Promised Land" progressed made me enjoy every frame and moment, leaving me eager to know the fate of Ludvig Kahlen and his nemesis Frederik De Schinkel.
Lessons in Chemistry (2023)
A Strong Blend of Emotion & Experience - Series Review
Capturing a story about a brilliant scientist who fell victim to misogyny and industry politics, "Lessons in Chemistry" took what should've been a simple feminist script and gave it a genuinely truthful twist.
The 1950s setting worked marvels for this mini-series. Brie Larson's performance as Elizabeth Zott (the scientist in question) enriched the story to no end. Her character was apparently conducting experiments after-hours in pursuit of research goals that weren't officially authorized.
If you're wondering, 'oh, that's normal, isn't it?' you'll be starting to see just how the oppression of women has long since applied even to scientists and the field of discovery.
The way Elizabeth Zott had to maneuver gender bias in the 50s was a stark testament (made up though it was) as to how those traits have not yet left society.
How she adapted and found a way not to plummet into obscurity further enriched the plot and character arc of the fictional chemist Elizabeth Zott.
Lewis Pullman as the arrogant and self-centred chemist Calvin Evans left a memorable impression. His line deliveries were perfectly timed and he made every scene in which he featured (brief though they were) count. His later emotional sequences were a tour de force.
Special shout-out to Aja Naomi King (as Harriet Sloane), Paul James (as Charlie Sloane), Stephanie Koenig (as Fran Frask), Derek Cecil (as Dr. Robert Donatti), Alice Halsey (as Madeline Zott), Rainn Wilson (as Phil Lebensmal), Kevin Sussman (as Walter Pine), Jackson Kelly (as John Zott), Jon Fletcher (as Ezra Zott), Patrick Walker (as Reverend Wakely), Rosemarie DeWitt (as Avery Barker).
From sickening sexism to ambitious aptitudes, the show presented a good helping of provocative and informative storytelling. It also gave due attention to the plot's inherent intrigue.
Though a handful of dialogues were somewhat unoriginal, great performances and carefully chosen period-piece tropes enriched "Lessons in Chemistry" and made it a visual concoction worth watching, and admiring.
So many scenes were deep, often crossing over into the realm of intense empathy. The culinary chemistry angles were amazing to watch. They instilled a kitchen-based authenticity that anyone familiar with cooking (myself included) will appreciate.
The way Elizabeth Zott used her cooking prowess and chemistry skills to keep the lights on and put food on her table made wholesome sense. It showed that you didn't have to be ashamed of one thing in order to achieve acclaim in another. This, more than anything else, made "Lessons in Chemistry" feel like a parable for personal success.
Also, the natural ways in which they connected scenes that led up to her joining a cooking show were as valid as they were compelling. I still think the series' entire credibility hinged on those particular plot-twists, and they made it work.
After getting pregnant and getting fired, Elizabeth ended up hosting that cooking show where she intentionally twisted the 'women should focus solely on domestic duties' expectations of society and added a generous helping of scientific inquiry and relentless self-confidence.
Those portions of the series could easily have seemed derogatory or convenient, but Brie Larson made them work in more ways than one.
By the time I finished, "Lessons in Chemistry" became a truly empathic and inspiring story. It was packed with the right amount of emotion and some of the most interesting plot-provocations I've seen in a mini-series.
The Crowded Room (2023)
As Bold As It Was Impressive
Most psychological thrillers are pretty cut-n-dry, but "The Crowded Room" took me by surprise in that regard. Between Tom Holland's nuanced performance and Amanda Seyfried's engaging acting, the story gradually took on a life of its own, and accrued layers of subtext. Moreover, the script was based on a true story.
This mini-series patiently unfurled the truth that good intentions don't always turn out for the better. Suspected of a shooting he didn't directly commit, and acting strangely suspect in his own way, Danny Sullivan created decisional chaos for the authorities trying to prove his guilt.
Tom Holland was extraordinary as Danny Sullivan. He went to some surprising places with his characters (plural intended). I'm referring to the bold ways in which he tackled Danny's split-personas.
His alter-ego sequences contained a blend of nuance and empathy. However, the reveal of his personalities weren't as secretive (plot-wise) as I'd expected them to be.
Amanda Seyfried as Rya Goodwin, a psychology professor, was intriguing in her own right. As astute as she was relentless, Rya slowly but surely zeroed in on the finer points of Danny's case.
Her aims weren't altogether altruistic - she wanted to gain academic recognition with her unique work - but her willingness to help Danny felt sincere.
One of the factors that made "The Crowded Room" even more amazing was its timeline. Set in New York City in the late 80s (1979, to be exact), the plot packed a nostalgic punch that was detailed enough to be compelling.
The script was adapted from Daniel Keyes' book "The Minds of Billy Milligan", which I have not read. But this show made a great case for me to pick up a copy.
Special shout-out to Zachary Golinger (as kid Danny Sullivan), Sasha Lane (as Ariana; Danny's alter-ego), Lior Raz (as Yitzhak Safdie; Danny's alter-ego), Emmy Rossum (as Candy; Danny's mum), Will Chase (as Marlin Reid; Danny's step-dad), Levon Hawke (as Jonny; Danny's alter-ego), Sam Vartholomeos (as Mike; Danny's alter-ego), Emma Laird (as Annabelle; Danny's high-school crush), Stephen Barrington (as Angelo; Danny's tormentor), Jason Isaacs (as Jack Lamb; Danny's alter-ego), Elijah Jones (as Jerome; Danny's alter-ego boyfriend), Laila Robins (as Susie; Rya's mum), Thomas Sadoski (as Matty Dunne; Rya's colleague), Carmen Ejogo (as Patricia Richards; the DDA in Danny's case), and Christopher Abbott (as Stan Camisa; Danny's attorney).
Rya - and all the viewers, am sure - wasn't ready for the revelations that followed as the episodes rolled on. Danny unfurled his life history in ways that dragged me in and showed me a shockingly poignant picture involving abuse, cruelty, and rape.
The split-personality angle didn't come as a surprise (though it should have), but was captivating nonetheless. The story was set in the early 80s during which time this mental condition was relatively new. When seen from that perspective, nearly all the scenes featuring the disorder felt intriguing and saddening.
The story was brave enough to frame dark truths about the human mind, especially that of an innocent young man. It didn't shy from going to some shadowy places.
Through Danny Sullivan, "The Crowded Room" felt like a wake-up call and a provocative peek into the mind of a seemingly ordinary person.
Danny Sullivan's truth or lie was open to interpretation, but one thing was clear - the legal system, as we know it, does not believe in keeping an open mind.
Because if it did, they'd have invested their attention on debunking the split-personality disorder they so diligently refused to accept was real. And they'd have gone about doing it by rallying more external scientific support as opposed to searching for that needle exclusively in Danny's haystack.
"The Crowded Room" presented smart proof that the easy way out is often disguised as a legal pursuit of seemingly hard facts. After all, the very notion and nature of split-personalities have since been proven to exist.
What else do we refuse to believe today that could someday be proven? How many lives will be too late to reclaim the broken pieces of their past? These and other queries found a clear echo in "The Crowded Room", not to forget just how many innocent people are currently serving unjust sentences behind bars for crimes that were overly simplified to align with the laws of a broken system.
Sometimes I Think About Dying (2023)
Unexpectedly Intimate
From the title, you may have surmised this to be a suicide story. You'll be wrong, because its lead character does not secretly wish to die. All of us have thought about what we'd probably look like dead. That's pretty much the essence of the character's brief thoughts about it.
More to the point, the story packed a generous helping of emotive elements and romance. These tropes transformed the plot and made it feel rife with meaning and possibility.
"Sometimes I Think About Dying" is based on a stage-play titled "The Killers" by Kevin Armento. I've not seen the play in any form or fashion, so I can't attest to whether the movie was better or negligent. But from what I saw in this adaptation, the story was slow but neat, and filled with promise.
Daisy Ridley did noteworthy work as Fran, the girl in question who casually thought about dying. Her acting was subtle, soft, and empathic without any fluff or excess. It was hard to avert my eyes each time she came on the scene. Ridley exuded a rare captivation that deserves appreciation.
Special shout-out to Sean Tarjyoto (as Sean), Jeb Berrier (as Doug), Megan Stalter (as Isobel), Marcia DeBonis (as Carol), Brittany O'Grady (as Sophie), Parvesh Cheena (as Garrett), Bree Elrod (as Amelia), and Treasure Lunan (as Bennie).
Falling in love, especially with someone from work, has always been a no-go for good reason. In "Sometimes I Think About Dying", the benefits and consequences of one such incident were elegantly portrayed.
What truly spoke to me was how the rather introverted Fran tackled the new bloom of love in her life. Her leanings - toward Robert (played by Dave Merheje) - spoke volumes without saying too much. In this regard, I believe the movie held a lot more worth than similar titles from the same genre.
The manner in which Fran went about fantasizing (for lack of a better word) about the many ways she could die made the story feel like a dark comedy at times, but one that was humanly relatable.
All this only added to the script's captivation. I liked how cleverly it captured the inner workings of a lonely mind without making it feel criminal or depressing.
In addition to showcasing an all-too-relatable feeling - dare I say sentiment - about one's own death, "Sometimes I Think About Dying" also bottled some interesting interactive acting worth watching. It relied on a slow-burn style of filmmaking, but a keenly engaging one at that.
Warrior: A Window of F*cking Opportunity (2023)
Well-Aimed Punches, Better-Aimed Kicks - "Season 3 Review
The ups and downs this show has faced, and still does, makes me wonder just who the real warriors are. Season 3 continued to deliver high-octane action, brilliant martial-arts choreo, and some of the most unpredictable twists from this genre.
The plot picked up with the forging of new alliances and the coming of new official terrors courtesy the SFPD. All the core characters whose lives fans (like myself) have been part of faced fresh challenges to their lives and livelihoods.
This season of "Warrior" also amplified the romance angles, which lent the story a glaze of heart-warmed affection worth appreciating.
What Andrew Koji (as Ah Sahm) brought to this story has to go down in TV history as one of the finest and balanced martial arts performances in recent years. He grazed the likes of Bruce Lee in more than a few scenes, and that's saying something.
Hoon Lee (as Wang Chao), Jason Tobin (as Young Jun), Joe Taslim (as Li Yong), and Dean Jagger (as Dylan Leary) continued to captivate. They each had such extraordinary screen presence.
Olivia Cheng (as Ah Toy) and Dianne Doan (as Mai Ling) delivered superb performances that made a solid case for season 3 of "Warrior" progressing into a fourth innings.
Speaking of which, the show and its players certainly held the fort. What exactly might have happened BTS, fans remain unsure. But it looks like there won't be a "Warrior" season 4 anytime soon; all the sadder for it.
Netflix seems to have taken over from HBO Max, so there's a small chance the new party may greenlight round four, but things remains doubtful.
Be that as it may, "Warrior" went out with a bang in season 3. I loved every moment of this show and am both surprised and saddened to watch it go (probably, at least).
Special shout-out to Kieran Bew (as Bill O'Hara), Langley Kirkwood (as Walter Buckley), Chen Tang (as Hong), Tom Weston-Jones (as Richard Lee), Miranda Raison (as Nellie Davenport), Nick Cordileone (as Agent Moseley), Chelsea Muirhead (as Yan Mi), Jazzara Jaslyn (as Eliza Pendleton), Dominique Maher (as Catherine Archer). This season wouldn't have been the same without them in it.
Late 1800s San Francisco came alive once more, with tongs and territories being the name of the game. Corruption, greed, and a good bit of racism and casteism added to the stunning blend of inhumanity the show capably balanced.
Counterfeiting rackets, railroad sabotages, fresh-blooming romances, surprising deaths, and even more surprising survivals enriched this final (potentially) season of "Warrior".
On the other side of the coin, empathy, family, choices, challenges, fate, and destiny all danced in captivating quick-step, rendering the "Warrior" TV series charming to a fault.
There are still so many angles and arcs left for them to explore. But if this is the end, then they made it seem like such an end as to be remembered and emulated. The show has certainly set a gilded benchmark for long-form Chinese martial arts storytelling for the small screen.
Let me close this review with quotes from the series creator and a key partner.
Jonathan Tropper (series creator): "Warrior is a show that simply refuses to die. Through platform and regime changes, the writers, producers, cast, crew, and our stunt team continued to make something powerful, relevant, and wildly unique. And now, thanks to Netflix, we've been given yet another lease on life, and I'm thrilled for everyone involved that millions more viewers around the world will discover it."
Shannon Lee (series executive producer and daughter of Bruce Lee): "If anything can be said about Warrior, with Bruce Lee in our corner, our indomitable spirit is REAL! And so, my wish is that the huge global Netflix audience LOVES Warrior and from that Love more goodness flows - in the form of greater recognition for our talented cast and crew who deserve all the things, in the form of passionate fandom for this relevant kick ass show and, if I dare to dream, in the form of an opportunity to continue our story for our amazing fans who, thanks to Netflix, will have grown in number and enthusiasm!"
Origin (2023)
Admirably Astute Portrayal Of Caste
An under-rated and exceptionally empathic take on the super-sensitive subject of caste, "Origin" was a movie that delivered a meaningful story which quite literally went to the root of the problem.
The movie was adapted from Isabel Wilkerson's non-fiction book "Caste: The Origins of Our Discontents". In fact, the movie featured Aunjanue Ellis-Taylor portraying the author herself.
Aunjanue did noteworthy work highlighting Isabel's struggles and beliefs, especially after she became a Pulitzer-prize-winning writer.
As Isabel's mother, Emily Yancy as Ruby Wilkerson briefly captured a different kind of origin story aside from birthing the woman who would later write the book on which this movie is based.
Aunjanue's performance was later beautifully complemented by Niecy Nash as Marion Wilkerson, the sister. She went on to inspire Isabel to pursue the role of a writer seeking the intricate connections that comprise caste, which has come to occupy hollow relevance in human society.
What began with an injustice that struck a young African-American man soon delved into an unnervingly intricate peek at what caste essentially is, how it determines social order, and how the core concept of caste is still prevalent around the world.
Special shout-out to Jon Bernthal (as Brett Hamilton), Victoria Pedretti (as Irma Eckler), Finn Wittrock (as August Landmesser), Myles Frost (as Trayvon Martin), Blair Underwood (as Amari Selvan), Emily Yancy (as Ruby Wilkerson), Connie Nielsen (as Sabine), Audra McDonald (as Miss Hale), Suraj Yengde (as a Dalit professor), and Gaurav J. Pathania (as Dr. Bhimrao Ambedkar). They each did good work to help tell this important dramatization.
What I especially admired about "Origin" 2023 was that it not only delved into caste discrimination in the United States of America, but also duly explored its shockingly ongoing 'culture' in India, particularly in regard to Dalits.
From studying how society is often divided into a hierarchy, to exploring how caste exploits society itself and the people in it, "Origin" went the extra mile to unearth and showcase a vital message.
It also established the truth that caste does not make our lives easier or more efficient, it actually destroys any chance of that even happening. Case in point: Nazism (focused upon in this movie adaptation).
Plenty of remarkable women and men in India have fought against the caste system for decades, and the fight still goes on. In "Origin", Ava DuVernay became one of the first non-Indian individuals to take bold strides toward understanding the nature of caste, and what a plague it is proving to be for millions of people.
The movie soon became a testament to sharp storytelling, one based on hard facts and harsh truths. It captured a secretive interconnectedness among region-specific caste systems. Not racism per se, but casteism.
The latter is a hierarchical deference-based system which does not see skin colour but instead prioritizes social or genetic superiority. India remains an excellent case for this, as covered in the movie.
I can delve into a few self-thought conspiracy theories as to why the 2023 movie "Origin" did not become as big as it should have. But for now, let me just say that this is one of the most important movies you will see in your life.
True Detective: Night Country: Part 6 (2024)
Meaning Met Madness - Season 4 Review
Having been incredibly impressed at season 1, but then not so much at seasons 2 and 3, I entered "True Detective" season 4 "Night Country" with much hope and anticipation. It had better be good, I thought to myself, or I'm never going to watch another season.
Must be my luck or the show's brilliance, or a combination of the two, because season 4 delivered big time on all the elements and tropes needed to make it an unforgettable crime thriller.
So far, each season covered a standalone case with a pair of different detectives attempting to solve it. Only the barest connection existed among the seasons, a trope that S04 emulated.
The plot this time took a pair of female officers (a reassigned detective and a demoted trooper) to a research station called Tsalal near Ennis, in Alaska (hence the name 'night country' coz the sun never rises above the horizon there), where a group of men who kept the place running vanished without an explanation.
The story picked up from there and delivered chills and thrills in good measure, especially after the part where they ingeniously used the town's Silver Sky Mining company - an already controversial sore-thumb in this story - to connect dots to the disappearance of the scientists at Tsalal Arctic Research Station.
Jodie Foster (as Det. Elizabeth "Liz" Danvers) was outstanding. Her natural acting and intense deliveries made every frame in which she featured riveting. Playing both detective and mother, she gave her character dual gravitas and made every scene feel compelling.
Kali Reis (as Trooper Evangeline Navarro) gave a bold and empowered performance that went on to capture essential bits of her character's fierce pursuit of justice on one side and her need to connect with her heritage on the other.
John Hawkes (as Officer Hank Prior) and Finn Bennett (as Officer Peter Prior) gave engaging and captivating performances that lent outstanding support to the protagonists of "True Detective: Night Country".
Fiona Shaw (as Rose Aguineau) took on a surprising role and delivered results. I liked what she brought to the plot. Isabella LaBlanc (as Leah Danvers) did interesting work - her empathic acting was minimal but memorable.
Special-shout-out to Niviâna (as Julia "Jules" Navarro), Ólafía Hrönn Jónsdóttir (as Stacy Chalmers), Joel Montgrand (as Eddie Qavvik), Erling Eliasson (as Travis), Donnie Keshawarz (as Adam Bryce), Dervla Kirwan (as Kate McKitterick), Eloise Thomas (as Sheri Gillard), Christopher Eccleston (as Ted Connelly), Lance Karmer (as Oliver Tagaq), Klaus Tange (as Otis Heiss), Owen McDonnell (as Raymond Clark), Diane E. Benson (as Beatrice Lee), and Kathryn Wilder (as Blair Hartman).
Eight male scientists disappeared without a trace or explanation at Ennis. Ralph Emerson (geology), Anton Kotov (geophysics), Li Jie (geobiology), Raymond Clark (paleo-microbiology), Lucas Merens (environmental chemistry), Facundo Molina (biophysics), Veer Mehta (biophysics), and Anders Lund (structural biology; also founding director).
After finding them all in a most horrifying fashion and location, Liz Danvers, Evangeline Navarro, and Peter Prior got down to the unenviable task of solving the case. Also, one of the missing scientists was apparently still alive and at large.
The presence of a ritualistic spiral motif added to the fascinating supernatural angle contained in this story. It tied in with the pattern discovered on a female victim in "True Detective" season 1. The mystery lingered, and added to its own suspense.
Dark truths complemented eerie ghost-killer vibes. The plot skillfully surfed the waves of haunted suspense, with some of the scenes evoking moments from the 1982 movie "The Thing". The ending of "True Detective" season 4 stoked my appreciation and eased a small cartload of anxiety.
In this season, I especially liked how they gave some of the women roles that would've typically been played by men. Such a thing is not new - not in life nor in art. I just admired how well they showcased it by connecting key players to a human truth.
"Night Country" delivered a stunning detective story, one told with all the aplomb of a seasoned storyteller. Intricate interconnections and unforeseeable reveals defined the plot till the very end. Season 4 "True Detective" gave nothing away until the last minute, and then left me yearning for more.
It was outstanding to see a series where they made everything seem so complex when in truth everything was so simple. The finale went on to reiterate how women united were women empowered. It established the truth that women sometimes need to take matters into their own hands if they ever want to find justice.
Stopmotion (2023)
The Art Haunts The Artist
A clever combination of stop-motion animation and classic interpretative horror defined this extraordinary movie in which the de-facto animator herself became the target of her creation.
Grief and conflicting emotions warred with what she experienced, which might have just been all in her head but then again might have been as real as the air she breathed.
"Stopmotion" thus captured a beautifully multi-layered story that contained more than one distinct message. The plot was arresting and delivered on the suspense.
As for the horror itself, the stop-motion creature in question had everything needed to haunt people's dreams, and feature in some waking nightmares too.
Special shout-out to Stella Gonet who, as Suzanne Blake, had such potent screen presence. Her acting was truly underrated in this movie. I admired how she incorporated the nuanced movements of stop-motion in her own body language.
It was a brilliant foreshadowing of what would become of her daughter. Between Suzanne's controlling nature and perfectionist tendencies, Stella Gonet also wove in an unmistakeable empathy that can't go ignored.
The acclaimed stop-motion animator was afflicted by arthritis and wanted nothing more than to finish her final movie before death claimed her.
Suzanne's daughter Ella Blake, played wonderfully by Aisling Franciosi, gave a testifying performance about care, duty, and the unrelenting need to find one's own voice in an atmosphere of oppression.
So much subtext revolved around her character that it was hard to wrest my eyes away each time she came on the scene.
As a subtext-rich tale, "Stopmotion" evoked concepts of psychological repression. At times I felt the mother, Suzanne Blake, was fearing for her daughter's future whilst in her coma.
At other times, I had the distinct feeling that her words - though merely imagined by Ella - to her daughter, namely that she was a puppet caught in her own strings and that others always directed her choices, hinted at the possibility that Ella really was a poppet. In which case, the subtext started to revolve around consciousness and creativity from an Artificial Intelligence perspective.
The pace picked up after Suzanne fell into a coma and Ella decided to finish her mother's work. The new place she found with her boyfriend Tom's (played by Tom York) help gave her a mentally clear space in which to ply her craft.
But strange new ideas soon landed in her head, especially after a nosy little girl (played by Caoilinn Springall) entered her makeshift studio and provided fresh perspectives.
Caoilinn Springall's macabre maturity, despite her age, added great intensity to the story. Her character's motives and presence itself were unclear, which only enhanced the intrigue.
"Stopmotion" was captivating in all the ways a movie from this genre should be. It was one of those rare stories where humanity and horror struck a balance. It felt like a hallucination and a haunting rolled into one.
Gen V (2023)
Not Dark Enough, But Entertaining Anyway (Season 1 Review)
A riveting spin-off based on the hit comic book and later TV series "The Boys", there was a world of action-entertainment packed into "Gen V" that cannot go unappreciated.
Though some scenes were a little contrived to help further the plot and improve pacing, I nonetheless liked what they did with this one.
In addition to covering the lives of some first-generation super-powered heroes and heroines, to capturing social corruption and corporate depravity, season 1 of "Gen V" lived up to its hype and didn't disappoint.
I wish they explored the origins of Compound V, which lent so many heroes, particularly those from the later-established Vought Industries, their power. But little to nothing was broached on that topic.
The plot in this "Boys" spin-off series saw a bunch of young girls and boys learning to control their powers and vying for the top-dog spot at Godolkin University in the hopes of becoming one of Vought's The Seven. As expected, the competition was ruthless and the scenes in this series conveyed as much.
Morality was tossed out the proverbial window and power was dragged into sharp focus. All the artists did great work bringing their respective characters to life. There was enough deceit and drama to make every episode engaging.
Each artist contributed to not only the legacy of the original comic books written by Garth Ennis and illustrated by Darick Robertson, but also the mega-hit TV series "The Boys". Speaking of which, there were some thrilling cameos in season 1 of "Gen V".
Another interesting twist in this show was the existence of a lab where they locked up unruly or uncontrollable young superheroes. It was located just under the university and was nicknamed The Woods. There was plenty of real-life subtext here, for anyone with eyes to see. Also, I noticed some "X-Men" vibes in this and other places.
Engineering a virus that could kill all superheroes was another simple but impactful element which made the story feel portentous. They only grazed this idea, though, and are probably saving the best bits for season 2 of "Gen V".
The idea of superpowers not being miraculous but a consequence of genetic capabilities triggered randomly over time by the drugs sold by Vought - and which parents bought in earnest - continued to fascinate. This idea made more sense when seen from the "Gen V" perspective.
As subversive as it was explicit, "Gen V" season 1 was entertaining, not to mention intriguing. There was a literal plot at the heart of this story and it involved corporate greed and youth exploitation. The subtext wasn't too hidden, making the whole season feel compelling and relevant.
They could've taken the party-culture vibe down a few notches and increased the dark side of the story; classic "Watchmen" style. The characters sometimes felt like glorified high-schoolers instead of super-powered university kids with a literal illegal supe-testing lab underneath their school.
Be that as it may, "Gen V" managed to check most boxes and cover important loose ends before the finale, which left plenty of room for exploring a second season. This show may have had "X-Men" overtones but simply wasn't dark enough, not even compared to "The Boys". So here's hoping they up the ante in season 2 "Gen V".
The End We Start From (2023)
Impactful Climate-Uncertainty Message
The Climate Crisis paid a fictional visit to London, and "The End We Start From" was the result. Adapted from the novel by Megan Hunter, the movie captured a realistic slice of the chaos and confusion that might follow in the event of extreme climactic events in Britain's capital city.
A woman (whose name is never quite revealed throughout the movie) and her hubby struggle to survive a Climate-Emergency event - a flood, to be precise - with their newborn son Zeb.
Jodie Comer did notable work as this woman. Her uncertainty and anxiety complemented the portions where she had to be strong for the sake of her baby. Her survivor's guilt added to a captivating performance.
Her husband and new-father Joel Fry had an empathic and engaging screen presence. It was amazing to see him act out a father's fears; he was so raw and candid.
Every other character, just as nameless as them, contributed something of value to the plot in "The End We Start From". Some of the most memorable names I observed in the movie included Benedict Cumberbatch (as a survivor), Mark Strong (as Zeb's grandpa), Gina McKee (as a commune member), and Katherine Waterston (as a shelter-mom).
The idea that large cities don't necessarily suffer the worst of the Climate Crisis has been a long-dead myth. Real-life events and reliable news outlets have covered the ravages of our changing climate on not just outlying or rural areas but also metropolitan hubs like London; among others.
Floods have affected so many major cities - Indian ones like Chennai, Mumbai, and Calcutta, as well as numerous other global locations - that to remain in denial is to accept defeat.
"The End We Start From" was smart enough not to take the easy route or offer convenient movie-style solutions. This is, after all, a complex global issue that needs a united and urgent effort to see positive change.
In this plot, the lack of such effort - or worse, indifference toward it - led to a flood in London. Not that it was a far-fetched idea, either. Flooding in London has been ongoing in the real world for some time now.
This movie brought it all back full circle, further emphasizing the message conveyed by Climate Action protestors about lazy politicians who don't seem interested to risk their oil-and-gas investments so they can, well, save lives that are being directly affected by their fossil-fuel induced greed.
I liked how they didn't shy from showing some of the more challenging sides of being pregnant, that too during a flood situation.
It was equally admirable to watch how they didn't sugarcoat the extent of the damage and danger that unmitigated Climate Change can wreak in the lives of everyday people, especially how disaster-driven starvation and fear can make people uncertain and doubly dangerous.
From unmitigated pollution, which is still changing various warming and cooling conditions on Earth, to how little is being done to stop or stave off some of the serious negative impacts of Climate Change, "The End We Start From" presented a tiny peek into a future that is already upon us.
In real life and in this movie, the Climate Crisis has proven that it has the power to make people refugees in their own land. They are left facing uncertainty and peril, particularly from their own people.
This, in itself, should be a wakeup call to us all, that if those in power don't do something and fast, we are one step away from becoming beasts and barbarians.
Damsel (2024)
Daringly Brilliant Fairy-Tale Twist!
A story about sheer bravery and heartfelt choices, "Damsel" soon proved to be more than a typical fairy tale. It was a bold and empowered take on the 'damsel in distress' stereotype. I loved everything they did with this one, especially...
Millie Bobby Brown as Princess Elodie, who was equally empathic, intelligent, strong, and fierce in the role. Suffice to say, this is the kind of princess I would want my own daughter (if I had one) to emulate.
The story was essentially a walking cliché. There were kings and queens, lords and ladies, princes and princesses, and of course a Dragon. Some curious "Game Of Thrones" similarities as well.
But the way they took apart all these elements and put them back together into something new was a testament to clever storytelling.
Elodie was a princess who had to marry as all princesses do, namely for inter-realm alliances. Hers was an impoverished kingdom in desperate need of help.
But the princess soon discovered that the kingdom she was marrying into was sacrificing each newlywed to a Dragon in order to propitiate it so the land would be left unravaged and allowed to thrive.
The will for survival was redefined as Elodie went about giving some action heroes a run for their money. Her flight from the Dragon and later truth-telling reconciliation with it were mesmerizing, not to mention inspiring.
Robin Wright as Queen Isabelle was a villainess worth admiring. She made her cruelty seem like duty, a deadly combo and a tricky one to enact.
Shohreh Aghdashloo as the Dragon's voice was the cherry on this movie-cake. Her unmistakeable tone lent the creature such gravitas that it genuinely felt like the voice of a Dragon (if such majestic entities ever had one).
I didn't think the beast would speak at all, but was glad when it did. When it eventually revealed itself in full, I found its creature-design extraordinary as well.
From the proudly medieval settings to the lushly detailed costumes, "Damsel" 2024 movie was a treat in every aspect and should not be underestimated, much like its princess-protagonist.
The VFX, stunts, and diabolically detailed decorations and ornamentations were all on point, further enriching this script and making it seem credible and compelling.
They also added an empathic layer to the mix, which made me admire "Damsel" even more. In this story, they weren't out to murder the Dragon but instead make an ally of it. The movie thus became outstanding, to say the least.
The real beauty behind this story was how they portrayed the power of women united. The cave map drawn by past princesses who didn't survive the Dragon helped Elodie find her way (almost, anyway) out of the mountain.
Moreover, the glow worms that could heal Draconian fire burns added to the wonder and mystery of "Damsel", further embellishing the subtext of two prominent phrases... Where there is a will, there is a way. And no woman is an island.
Lastly, I loved the reveal where they showed the Dragon herself was a mother whose three daughters were killed by the first royal line, and that was why she demanded three women of royal blood be sacrificed to her every generation to stave off her rage.
The Dragon's harsh punishment seemed fair, and further proof that evil is not always born but more often made to exist because of human depravity.
When Elodie's father (Lord Bayford, played by Ray Winstone) showed up with a search party, the Dragon didn't quite catch wind of the fact that she had been bamboozled all these centuries. That the pain the original king caused her by ending her children was not being met by the fair price she'd demanded of him.
When Elodie's little sister Floria (played by Brooke Carter) became a target, their step-mother Lady Bayford's (played by Angela Bassett) warning made sense to Elodie, and she knew the Dragon - despite its righteous demand - had to know the truth, for everyone's sake.
There was much worth appreciating in "Damsel". The movie was definitely one of the most notable titles to grace 2024, and we're only three months in.
I admired the messages they packed into what should've been a simple and entertaining story, but which soon adopted a golden glaze of meaning, one that fantastically highlighted the twisted version of the adage 'hell hath no fury like a mother scorned'.
When Elodie chose to fight anger with understanding, it was one of the most unpredictable twists I've seen in movies from this genre. After outwitting the Dragon, she chose to heal the creature instead of kill it.
Spaceman (2024)
Deeply Empathic Creepy Captivation
Jaroslav Kalfar's Sci-Fi novel "Spaceman of Bohemia" seems to have received a captivating adaptation. I'm unsure how the book and movie differ, but from what I saw in "Spaceman" I can honestly say the story was creepy-cool and suspenseful till the end.
I was often left wondering whether the alien spider was playing with its food - poor Sandler. But what actually happened took me by surprise; pleasantly so.
Adam Sandler as the titular spaceman Jakub Prochazka was outstanding. I've never seen him take on a role like this before. This script was a major win for him in more ways than one. As acting goes, he did a phenomenal job in "Spaceman".
As for Paul Dano's voiceover as Hanush, the alien spider, it was remarkable in every way. Some of us dreamed up weird things like meeting speech-blessed entities from Outer Space. This movie gave Dano plenty of room to manifest that dream again on all our behalf.
Special shout-out to Carey Mulligan (as Lenka Prochazka), Kunal Nayyar (as Peter), and Isabella Rossellini (as Commissioner Tuma). They each brought noteworthy moments to the movie.
It was thoroughly captivating to see what they did adapting Kalfar's book into a properly structured story. "Spaceman" was intriguing from start to finish and didn't de-escalate the rising anxiety and tension Jakub Prochazka faced with the incredibly human-ish spider.
The creature's motives gradually grew clear as the plot progressed. But what took me most by surprise was the amount of empathy they managed to squeeze into this story, which essentially featured a lone astronaut and an ancient psychic spider-ET interested in knowing more about the "skinny human."
I wish they showed us a flashback of Hanush losing his home-planet and then wandering Outer Space before ending up learning the ways of humankind from wherever he was. As you can (or can't) imagine, this was a pivotal credibility moment in the movie, one that was surprisingly absent. Hanush simply spoke about his situation and left it at that.
The next thing I disliked about "Spaceman" was how Jakub was made to feel guilty for wanting to do more with his life and talent than simply be a husband and partner to Lenka. If he were a woman, they'd have called that out by now.
The purple space-dust galaxy, aka The Beginning, was similar to what we Hindus call the Akashic Records - a library of everything, past, present, and future included. This was a fascinating addition to the movie, in fact it was the cynosure of it.
When all was said and done, "Spaceman" proved to be a nifty addition to the Sci-Fi genre. Although I have a feeling the book is probably better, this adaptation conveyed the intended message and did it more than adequately.