Reviews

Haven't read the book, but was able to follow most of the story except towards the very end, where some context from the book from those who read it helped.

"Where the Crawdads Sing" is a lengthy film at about two hours, but from what I understand it was originally three hours and then cut for time. Most of the film felt like it progressed at a good, even pace, except the ending did feel choppy and slightly unfinished. I do think some extra explanations could help the film, especially at the end which to me felt like it was missing an important scene.

Some additional character dimension from the character Chase would've also helped, as I did not understand the attraction the protagonist Kya had for him. Why did Kya feel driven towards him? Perhaps it would've helped to emphasize her loneliness and the antagonism of the town, and also her lack of experience regarding relationships. The main actress did a good job conveying intelligence and poise, like the character, which was somewhat at odds with the naivety or desperation her character needed to have as well. A more sympathetic Chase would've helped sell the relationship as well.

Another issue I had was difficulty understanding the time period and the cultural context. The year is displayed once and then it's hard to place the time period beyond that, since I forgot the date.

Overall however, a good story, good writing, good characters and acting. Recommended.

As far as sequels go, The Woman in Black 2: Angel of Death has a lot going for it. The setting of 40 years after the events of the first film The Woman in Black is a great move. New time period (wartime 1940s vs turn of the century), new cast. Just a whole new dynamic to explore.

The director of this sequel, Tom Harper, is skilled at period products going by his new classic tv series War and Peace. The lead actress looks and sounds the part with a vintage inflection voice. The costume and set pieces look the part.

The plot has a lot going for it as well, with character arcs and a fitting resolution.

However, there's failure points too. The romance between the lead actress and the pilot is idealistic. There's a number of shortcuts taken catching the audience up with the events of season 1 that doesn't seem consistent (there was a wax recording? Why wasn't it in the first film?). And also there's a vague quality about whether or not the woman in black ghost is put to rest-both if she is or isn't seems unsatisfying.

A last part is the boy Edward. Some of his actions are problematic. Not sure his ending fits.

The overall message is a good one though-don't let guilt fester or be manipulated by other people for their own malicious ends.

Overall a decent film with weak spots.

I'm not a horror enthusiast-I can say the suspense and tense moments got my adrenaline pumping. Almost had to turn the movie off!

Great production values: dark and shadowy Victorian era. Thrilling percussion at points. Daniel Radcliffe does a good job as an unusual, persistent protagonist. Cairan Hinds also plays good supporting role as the spouse of a woman broken by her child's death.

Perhaps the movie plays on some horror movie tropes like the child's jingle. But overall quite an original ending I thought, not comic in the least as some reviewers suggest.

The movie doesn't preach any sort of values but instead makes one reflect on the damage caused by a grudge taken past the grave. I thought it makes a good ghost story and cautionary tale. Actually looking forward to watching part 2!

Many shows include queer characters like ticking off diversity checkmarks. The poor writing of such shows tend to put me off queer centric media by association, as they are typically unfunny comedies.

But the opposite occurs here. Not only is Deadloch queer-centric, it's one of the funniest shows I've come across. Doesn't try too hard, doesn't rely on forced jokes. Tells a proper crime mystery, and just happens to nail comedic timing when you least expect it.

Glad that Deadloch goes beyond rainbow flag waving and tells a story of a lesbian couple with complexity and depth. Also has many layers, twists and turns, and social commentary that isn't preachy. Or acceptably so within limits.

If you're a heterosexual who is slightly uncomfortable with queerness like me, give Deadloch a chance. It's a good story.

Superb soundtrack from the creepy ominous to teenage hip hop to devilish classical. The music adds a tense whiplash to the film, yet is absent in some areas where I'd expect it to be, such as the concerts.

This horror film has a thought provoking ending that is more visceral than it is logical or message imparting. But nonetheless the ending was impactful enough that I have the sense of some meaning.

Otherwise not sure there's a big message going on. I don't know if I found many of the characters ultimately sympathetic. Some horror films give a sense of empowerment or strength, and this one doesn't have that aim. It's more the story of the price of high ambition without ability, and the cutthroat world of music, which leaves no dignity for the lesser than.

I knew of War and Peace as an epic tale, but I've never watched or read any adaptation of it, or really knew the story of it. I do believe the story lives up to its hype as an important classic, with its lengthy intertwining stories of love, betrayal, and the war that acts as a cleanser and a destroyer. And this adaptation also distills its essential message to a fine point.

As with historical dramas, it does start dry. Not the most exciting appearing. But some clever editing soon piqued my interest, and the interesting casting of Pierre, who is plain looking and outspoken in a room of too elegant people. I soon got into the show. Was also nice to peer into a war and two countries and a time period that isn't covered as much in American media

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Is it two well-intentioned but ill-equipped near relations, a state psychologist, or a space-time phenomenon?

The film plays on childlike sensibilities meets extraordinary circumstances. Children take kindly to their protectors, however much it brings them trouble in the end. The film explores many facets of this, and like dark fairytales of the past takes its cut from the very young.

Mama is a unique film that does a great job in many respects. The children do look terrifying at times and they also act naturally, sometimes brattish and difficult, other times doting.

Some themes provoke thought. But the ending stretches a bit long. I am not sure this film nails all it's important themes (such as what "wrong" did the ghost want to fix?) or beats, but it is certainly a worthy film if you like Pan's Labyrinth (same director) as well as horror films set in modern times.

Dave McKean, illustrator, continues to push his bounds as a filmmaker, this time incorporating his surreal fairytale aesthetic into a drama between middle-aged friends, over one weekend at a getaway by the sea. The film explores themes of loss of children, starting new families, and the comfort of fantasy art versus the reality of the world's problems, biological clocks, and unspoken issues.

Some of the surreal aspects did not quite resolve in the alternate reality I thought they would, but were more representations of one character's inner world and struggles, and then another character's, and another's. This film has elements of the fantastic, lush CGI sequences of children in makeup and origami birds, but is still at heart a drama between friends, and resolves with them driving off to normal lives, while saying they will never forget the weekend for the catharsis it brought.

I did enjoy the film beyond its aesthetic, and thought the dialogue was sharp and didn't lose touch with ordinary speech. The music was exotic and middle eastern sounding, which suited one character's wardrobe choices but I'm not sure quite tied in otherwise. I did find the catharsis the characters experienced to be genuine. A rather pleasant film, that flirts with the pretentious but in the end dispenses with its own "whiffle," as one character calls it.

With horror films, the hope is that a protagonist can take on a hopeless situation, and meet extreme obstacles with the tenacious will to survive. In "The Black Phone," this protagonist is a scrawny, bullied boy with an alcoholic father, and a sister gifted with second vision. His obstacle is a kidnapper and a basement.

With this context, you wouldn't expect the outcome to be what it is, or the story to be as gripping with a fairly simple setting of a dingy basement and late 1970s small town setting. But I'll say that as a viewer, I came away impressed with not just the characters, but the storytelling as the right nods to realism are there. The protagonist often doesn't succeed, and his sister's second sight isn't pitch perfect.

Sure there's a few headscratchers, aspects I don't know are quite explained. Like why didn't the other victims survive, with the fighting spirit they had? But it also adds to the sense of challenge the protagonist has. And as a viewer I'm willing to look past some things for the amount of replay value I had poring over scenes again for new details as well as increased satisfaction.

Will also add, great cast. The young kids sound like real kids-brutal, cursing, happy. The young actor who plays the protagonist (Finney) has a quiet gravity from the start as well.

As someone who spends time on their phone a lot, this movie did have me rethinking dependency on electronics. As new caregiver Gemma says to orphaned Cady, dolls and technology like Megan are "distraction, not solution."

The horror movie aspect of "M3GAN" is satisfying though predictable, with some fun moments thrown in like a ghoulish doll murder dance to a pop song. I didn't quite follow why Megan became so violent. Some aspects did feel contrived for the sake of better fight scenes. Like how could a rushed prototype be that well built to do the stunts it does.

Anyway, as a movie on the subject of technology dependency, it is much more interesting. A therapist character in the movie talks about emotional attachments to toys, and a coworker talks about the difference of using technology to assist parents or to replace them.

While I did feel struck by the movie's theme, the lead character Gemma is somewhat hard to like. And even though Gemma does have the best speech in the movie, towards Cady, I wondered if the movie showed how her realization was earned. Even so, kudos to the writing there.

Beautifully shot, and a great cast. An intriguing web of interpersonal stories, coming down to the way generational trauma plays out, such as in inherited strengths and weaknesses.

Wasn't surprised to see in the ending credits the story was based off a book, as books can afford to be endlessly detailed and meandering. While the character studies had depth and struck home, and wasn't sentimental schtick as other dramas can be, the pacing still did feel glacial at times.

Ultimately though, a thought-provoking, contemplative art piece, pulling in folklore, flower symbolism and messages, and some 70s hippie anthems. What I appreciated was the message that trauma doesn't wrap up neatly or make people kind or wise, as is the trope. It mangles, but as it plays out, through mistakes and experiences, can drive important lessons home... or not. The uncertainty there is quite respectable.

Even still, the ending speech was a bit lackluster and didn't encompass what a piece of work Sigourney Weaver's character actually was. I wish there was a bit more there. Luckily, there was a bigger message to contemplate anyway in the story itself n.

What "Des" ends up being about is the man who writes serial killer Dennis Nilsen's biography, Brian Masters, as well as the police force and legal system that try to bring the baffling and contradictory Des to justice. And in this angle, three part mini series "Des" is a unique, unsentimental biography, that still ends up unsettling the viewer with the horrors of the criminal acts in as off-hand, unremarkable manner as the killer tells himself.

"Des" succeeds in being a cautionary tale, without making much of a statement of being one. There are many details that could've been added that probably would've spelled out why Brian Masters chose the title "Killing for Company," and didn't. Perhaps for the sake of not being sensationalist.

Some other threads are also not completely followed through. The character who plays Brian Masters says that he takes on the story of Dennis Nilsen because anyone not part of the gay community is likely to make a mistake of it. But does Brian get it right?

There's this theme introduced by Brian Masters of leaving the learnings up to the viewer. Maybe that is what Des attempts to do. In a way "Des" does not say much on its own. Perhaps this approach will appeal to some viewers, and perhaps for others it may not be enough.

The bonus materials for the DVD also doesn't really answer questions about why the production was made or why the cast agreed to make the mini series. What was their intrigue with this serial killer?

"Des" does have impact, but in an understated way. I do think it's a more genuine undertaking than Netflix's Dahmer series, another serial killer Dennis Nilsen is compared to.

The Escape Artist is a three part PBS mini series that truly does have three distinct arcs, which takes the characters in much different directions than you saw any of them initially.

The feel of the story is like American genre of court drama, like the screenwriter David Wolstencroft says in the bonus feature interview, except it takes place in the British court system, and later, the Scottish one. The screenwriter said he wanted to expand the regular court drama though, and even the main actor David Tennant says the story took him pack his own expectations of the genre of the piece. At first court drama, and later thriller, The Escape Artist combines the inventiveness of pulp fiction and an air of reality.

If you watch David Wolstonecroft's interview, it makes sense the way he did as he says he first wrote the script from a place of emotion and honesty, then consulted with legal experts to try to achieve those same emotional honesty goals in a way that can be possible. If there are legal errors as reviews might suggest, as a layperson viewer I find them forgivable because the emotionality of the film achieves what the writer wanted it to. There is a portrait of a family in this film, and it's believable and the trauma that happens with it is cutting as a result. David Tennant in particular who I know has a son in real life has a strong bond with the actor who plays his eight year old son in this film. And giving Tennant, a Scottish actor, a Scottish wife, was also a nice touch.

All in all a great watching experience.

Make no mistake, this is a violent, curse-y Christmas film. Imagine "Home Alone," except the booby traps worked, and spurted blood. But there's a similar feel good resolution, such as perhaps the sequel ("Home Alone 2"?).

What I like about this film it is a family coming together movie, it is Old Saint Nick getting his mojo back, and it is the most creative, gruesome moments with Christmas ornaments, candy cane, presents, tinsel, etc. The violence is cheerfully gratuitous, but the message about the Christmas spirit does also come through. And feels fresher, because the message of the importance of family actually comes at some high stakes risk.

Sure there's some moments where I wondered where the urgency was-how can Santa spare the time to have an in depth conversation with a little girl with hooligans chasing him? It's not a perfectly constructed film. As well as the little girl seems a bit too old to believe in Santa like she does.

But I think the holiday message is there, and even made me reflective of my own consumerism habits of mind.

Not a perfect film, but vivid, colorful, magical, and has crisp sound design and creative special effects. Reminds me of the whimsical film "Amelie" meets the rambling storytelling of Arabian Nights. A romantic film, and somewhat predictable, but satisfying nonetheless. The ending is a bit thin, and probably has an easy fix.

Even so, I enjoyed the sprawling and epic ride, which is contrasted by Tilda Swinton playing the most ordinary, tepid character she ever has. This contrast is what makes the film fresh, as I don't think there has ever been such a disinterested person reluctant to make a wish in any genie story I've come across.

"Rookie Cops" has a good cast, and some decent plot turns. It would be a good series to watch, except it's very long (twelve episodes which are an hour long each) and has a lot of filler. No reason why episodes should be an hour long!

I also found some main plot story lines predictable (the guy gets the girl) and not well thought out (what villain doesn't check for wires). Still, the smaller moments have some charm due to good actors, like the janitor's antics, the female lead's proud parents.

It's a shame because there's a good cast here and at times decent writing. I stuck through some episodes then skipped forward, and confirmed for myself the series is a bit of a sprawling mess.

The should really blend it's A and B plot lines better as it seems like two different seasons even though it's only just one. What starts out as entry to a police academy and orientation story segues into major conspiracy land, and it's up to our trainees to solve it-except they don't have much of a challenge.

And of course there's a death, and we meet everyone's parents and hear back stories, and it's just too much for my capacity to care for six or seven families and their hopes and dreams, when there's not a compelling, unifying plot.

My review may not be fair as I skipped a lot. I don't think this is a bad show, but it's overly long and thin on plot.

Excellent, sensitive exploration of mental illness (schizophrenia) vs science fiction time travel, exploring doubt, obsession, trauma and healing.

Watched Undone when it came out in 2019, and now in 2023 finally have the completed second season. Both seasons are great, and naturally build on each other exploring two sides of the same coin: in the first season, what if Alma the main character is actually just schizophrenic? And in the second season, what if Alma is actually a time traveler, and could fix everything in her life, and if she could, would that fix herself?

Very good series, great writing, as expected from a writer of Bojack Horseman animated tv series, which also covers mental health grounds. In the ways of mental health characters, sometimes they do become overbearing and exhausting as Alma does in season 2, which can be hard on the viewer but perhaps better than over-sentimentality.

Full of adrenaline, fight scenes, psychological horror and some dark humor, "Midnight" is a thrilling roller coaster ride of one night in Korea, as killer and victim outwit each other. There's lots of running, mind games, and evil trickery as the killer indulges getting himself out of impossible scenarios with acting.

It's a clever villain who nonetheless is also hard to believe, as he doesn't seem to have much motivation for killing. It's also hard to believe he wouldn't get caught by various cameras and everyone's smartphones etc. There's certain missteps he does that is more plot convenience than anything as well.

Perhaps while the killer's end game or ultimate escape plan isn't clear, I did enjoy his character in general as a mirror to show a bleak view of apathetic society. And more so because the other characters fall into this apathetic selfishness while also complicating it in a way that's ultimately easier to bear.

I found it funny after a while how the killer missed killing his prey. I think there's a dark humor to the film that lightens the tension at times, which is a good thing for those like me who typically don't enjoy scary movies. I both started to feel for the frustration of the killer (can't he catch a break?) while also enjoying his getting beat down, as he meets his match with an ex marine character, who somehow does not call the cops even though he is one.

Despite flaws, "Midnight" is a fun scary thriller if such a genre exists. I will be recommending it!

Apparently, the director of the film was fired after the movie was shot. And there's trivia of Peter Dinklage saying whoever edited the film afterwards ruined the film.

I can't agree the film is ruined, but either the ending is totally out of place, or the film is missing some third act as it doesn't really drive any particular point or character arc home.

As well as that the film doesn't really know if it's supposed to be a comedy or a serious film, and veers a lot into drama, so then Peter Dinklage's caricature French Marxist lover characters doesn't quite fit.

However, Matthew Mchaougney, Kate Beckinsale, Gary Oldman and Peter Dinklage are all good enough actors that they make the film engaging, even though the tone is all over the place and doesn't end satisfactorily. It's not enough to make a great film, but it does have great moments, and an intention to treat having a dwarf baby as not sketch comedy material. The problem is that the marketing in Amazon's description of the movie and their chosen still images does create expectations for a more goofball film, which the film really is not. At least Matthew McCaughnohey's portrayal tried his best to take the subject seriously. And I appreciated the nuances there.

In reality "Tiptoes" is an interesting and original drama about a couple deciding on whether or not to have a potentially dwarf baby. It has some heartwarming and some explosive acting moments.

But there are four different movies here, which is the one the director who was fired wanted to tell, the one the editors told, the one the marketing team shows, and the ones the actors were telling. The best one is the one Matthew McCaughnohey was telling. But his character didn't get the ending he deserved. The next best character was Peter Dinklage, who had dreads midway in the film because of his spiritual and violent girlfriend. Again I don't think their story was completed either, but I enjoyed the foil they provided.

Wish there was more harmony between all the different sectors of the production team, as there's a good movie here that suffered in the absence of a singular vision.

"Harmony" has many elements working for it, such as a decent soundtrack, a good cast, and believable if not totally smooth acting. The special effects also add to the good production quality.

The supernatural plot is intriguing but also where the film fails hardest, as well as other plot elements that just don't make sense. Very evident at the exact point where the mysterious elements are explained to the secondary lead male character, and his questions were not answered at all. In fact the explanation is contradicted by the end with the reveal of a third character with powers, who negates the reason the character Harmony is supposed to exist.

"Harmony" is very watchable, but only if you enjoy a mix of young adult fantasy romance novel and the vibes of a Christian film. This is not a Christian film, yet follows similar themes such as charity, miracles, absolution, etc.

Have not seen the original this film "Mirrors" was adapted from. But I can say it's pretty scary. It draws on the innate eeriness of mirrors, and makes every shiny surface cause for fear. The build of intensity and violence is good, and due in large part to the sharp editing, or whatever is responsible for the sense of duality and reversal in most scenes.

High points for suspense, and artistic qualities. Acting is decent. The visuals and fear factor do make up for some thin story areas. Such as the cop, Larry, helping the protagonist for little established reason. And why exactly the protagonist's job exists in the first place, or why the protagonist feels the need to have a night only job. Also what explained the former janitor's omniscience? Or did the tortured souls really have a thought out purpose.

The ending is bleak but also refreshing and original-again, not having seen the source material. But I am not sure it much makes sense either.

While "Mirrors" does not satisfy all questions, it makes up for it by putting you on the edge of your seat. I wish that there was more catharsis for the protagonist, and we got to see the real cure for his drinking other than a pill. His family was brought back together, but by necessity rather than compatibility. I'm not sure the sense of character arc completion is there, but the film does ask interesting questions about conscious and subconscious selves.

Directed by Lisa Joy, who is responsible for "Westworld" to large degree, and derivative of similar themes of nostalgia and stasis, except with a more hopeful bent.

"Reminiscence" shares the grand scope and high concept of Westworld, as it presents a future with the world under flood, and everyone indulging in the new tech of immersive memory to the point of addiction.

However, Reminiscence doesn't have a whole season of long episodes to unpack this new future, so we get exposition that can't really do anywhere in the feature length film. The most the context gives us is large doses of watery metaphor-at times epic and surreal, other times overstated.

Reminiscence most likely should have been a mini series of some sort, as it doesn't quite seem made for its two hour length. What we get is uneven detail where we don't need it, and not enough where we do. I still don't get baron character.

What Reminiscence also shares with Westworld is the same kind of 1800s American cowboy speech. Some dialogue just sounds old West meets film noir. What worked for the specific story of Westworld, where there were characters actually enacting the past, seems more like a style choice here, where the characters are meant to live in a similar universe as ours.

The old West vibes are a poor fit for Hugh Jackman's character as well. He has an unexplained heroic physique (why is he so buff?), yes, but hardly any survival instinct and is not any quick draw.

The film noir protagonist fits Jackman's character better. He wears the same trench coat as one, and has the same love for a femme fatale. Yet the film noir cadences of his speech don't quite fit. He's a combat veteran like film noir heroes were, but he's not a cynic like postwar heroes were. He's not an antihero so much as painfully lovestruck, and we don't know why his romance hit him so deep. If his character or the world had more background, perhaps we could understand his obsession better.

There's a lot about Jackman's character that never really quite fits. I did not understand his choices by the ending at all. There was a missing detail that should've been said a lot earlier, having to do with law penalties. In light of this detail, the character's action made no sense. I think some of the character's intelligence was sacrificed for a neater ending.

I can grudgingly appreciate Reminiscence for its ideas. And there were some character moments that were quite extraordinary. The dirty cop's acting for example. I think there's a brilliance to some of the structure of this film, but it was overly ambitious as well, and a bit hollow if you look at it different.

I have a similar problem with Westworld and don't rate it as highly as others. I like this film better though as at least it tries to be something other than shiny and bleak.

Still, I did find myself skipping sections of Reminisence. I found some elements too pretentious (the overused water imagery and kitsch dialogue). Sure in retrospect it makes sense but while watching i was eye rolling.

This film is a mixed bag, but still has some high grade acting and a good cast.

Very atmospheric horror film with sharp, artistic editing. Decent overall acting. Creepy contortions, some jump scares.

Perhaps there is not much groundbreaking or unexpected, but not much glaring to criticize either. Except for some loose ends, some threads that intrigued but never went anywhere (the father? The other little boy?). And one climatic scene that was hard to see (literally in a pitch black cave) what was going on so i felt a bit lost, and the scene lasted a while.

While this horror film is fairly obvious and familiar, despite being in Ireland, I still found myself immersed and a bit creeped out. I wish the climax was stronger and pulled all the threads together. The ending subsequently lost impact but was not bad.