Wonder Woman 1984

 

8/10

Wonder Woman 1984, which surprise, surprise takes place in '84, has Diana Prince/Wonder Woman (played by Gal Gadot), finds herself miraculously reunited with the love of her life Steve Trevor (Chris Pine). But, what caused this and other people's wishes to be granted? The answer will propel WW on a mission to save the world. I had a fun time with this. 

The reception online has been VERY bipolar. I can understand those who had issues. The outfit WW wears in this is really shoehorned in, the villain The Cheetah (played by SNL's/Bridesmaids' Kristen Wiig) is given a great beginning and build up but a lousy conclusion and final battle (see more on that later), the manner with which Steve comes back is "problematic" and raises icky questions, there are, perhaps, one too many wishes which stretch out this two hour, thirty-one minute film, and the lighter-hearted and, at times, goofier tone does not match with that of the previous film. 

That all having been said, I came in expecting to be entertained and this delivered. I know I'm not the first person online to make this comparison, but it feels a lot like the original Superman quadrilogy/Supergirl movie. Wonder Woman 1984 is lighthearted, even more so than some Marvel movies. It's trying to just be a pleasurable viewing experience without a focus on a kill count and emphasis on the hero actually saving people.

The wishes gone wrong idea isn't new (mostly relegated to horror), but you've got to admit that they haven't done it in the superhero format. Though the movie does lean a little too heavy on the concept, I do admire the various ways the film takes advantage of the wishes and how out of control some of them get. Antagonist Maxwell Lord (The Mandalorian's Pedro Pascal) actually does some really smart things with them that you haven't seen before.

A strength of this is the four main characters. Gal Gadot once again does a great job as Diana and continues to cement the character as the more passionate superhero. Pine again works well off her. However, I missed the more serious earnestness he had in the last film. Here, he's fed more jokes. 

Cheetah's backstory of a scientist who's disrespected and put upon by society has been done several times already and feels pretty obvious. However, her descent into evil is executed really well and Wiig does a very good job. But, like I said, there wasn't enough payoff. Her full supervillain form didn't jive with me design-wise. The computer graphics weren't the best and the final battle has her move so quickly that you barely get to make her out. Pascal is fun as the main villain Lord. His trajectory is the opposite of Cheetah's. He starts off small but gets more interesting as the story progresses. He's also a change of pace as he's more of an amoral business-guy type who's just trying to grab what he can get unlike someone actively evil. (Admittedly fans of that "big" dark Wonder Woman storyline with ML might be disappointed with how light they went with him here.)

The movie looks nice; it's definitely the most colorful and brightly shot of the DCEU films. The music is excellent.

Overall, the first Wonder Woman movie is definitely the superior film. However, I personally don't think WW84 is a fail. It provides a different viewing experience than other superhero films and is a good time-filler.

Soul

 

10/10

The newest Pixar movie Soul, out on Disney+ and without the $30 charge Mulan had, is about Joe (voiced by Jaimie Foxx), a music teacher whose dream is to become a professional jazz pianist. When he finally gets his big break, he accidentally falls down a manhole and becomes a soul in the afterlife. In my opinion, this is one of the best movies the studio has ever made and that's saying something.

This movie was co-directed by Pete Docter, who was also responsible for Inside Out, and like that film it is surprisingly philosophical and introspective, even more so. This movie looks at what a person's purpose in life is and what drives them. Yet, it is all wrapped up in an entertaining audience-friendly story with a decent cast.

Tina Fey does a good job as the other lead 22, a pre-born soul who isn't interested in becoming alive, but it's Foxx who is the heart and, pun not intended, soul of the movie. He just brings such life to Joe and his hopes and dreams. 

Color me impressed with the sheer amount of creativity put into the appearance of the nonphysical realm. A lot of this truly feels otherworldly, including an emphasis on the blue/purple color scheme that you don't see in other films. And the designs for the beings in charge of this world are equally distinct, going a two-dimensional liney/UPA style. Also, I loved the detail of the textures in the real world. The walls of Joe's classroom looked practically real to me.

If there is any issue with this, it's that this is more likely to entertain adults than the child target audience. The whole film is very talky, plot heavy, and mature in its message. I watched this with my nephews and they both lost interest. (One could also argue that Joe's  difference of opinion with his mom (Phylicia Rashad) who wants him to stop chasing his dream and get a steady job is a little formulaic, but it's handled well.)

Overall, this is highly recommended. This is just one of those rare films that is truly excellent. 

The Mandalorian- Season 2

10/10

In season 2, The Mandalorian (played by Pedro Pascal) continues his quest to bring The Child to the Jedi. This was as good as the first one.

This continues to be an excellent  show with almost cinema-quality appearance and entertaining action, stories, and characters. I appreciate that whereas the first season was sort of one big long tease that didn't answer any of its mysteries or questions, this one is payoff city. Plus, fans will be pleased to see a lot more fan service to the wider Star Wars universe here. But, it doesn't feel shoved in or pulls you out of the story. If you're unfamiliar with various characters or references from the various movies or animated television programs, don't worry. The show manages to introduce them without expecting you to be already familiar. The story is from the Mandalorian's viewpoint, and he's new to much of the people and places he's visited. 

Again, the show consists of stand-alone episodes, but there is a stronger connecting thread between them this time around. There is a greater emphasis on the supporting players. 

The one weak spot here, the same as before, is that this show's homage to westerns and samurai films can at times be a little too obvious. 

Highly recommended. This was another round of great storytelling.   

The Holiday Movies That Made US

 

8/10

This spin-off of The Movies That Made Us, which itself was a spin-off of The Toys That Made Us. looks at the creation of the Christmas films Elf and The Nightmare Before Christmas (sorry, no Christmas Story or Muppets Christmas Carol). It's only two episodes. I wouldn't be surprised if this was a four episode order that got split into two seasons and we'll see the second one around Halloween. 

I liked this. Like MTMU, this provides some interesting factoids about the films, including struggles to get them made, all packaged in a well paced and fun format. 

Just be forewarned, that this doesn't snag a lot of the big names, such as Will Ferrell, Tim Burton, or John Favreau, but we still get a lot of faces behind the films' creation. Also, you do get a heap of Oingo Boingo's Danny Elfman, so there's that. 

Overall, if you liked the previous shows, I think you'll like this. 

Big Mouth- Season 4

8/10

The show continues to follow a bunch of middle schoolers going through puberty. I found this again to be consistently funny with a great run of jokes (and the occasional song). 

There are some interesting new things they try here, including having a several episode arc at summer camp, which has its own specific supporting characters. This season is definitely the darkest, but I mean that in a good way as many of the main characters go through compelling personal struggles.

I'm really enjoying Missy's hormone monstress Mona (voiced by Westworld's Thandie Newton) who was introduced near the end of last season. Newton's casting was surprising as she doesn't have a comedy background, but she kills it as an intense and half-crazed being of passion. Jay (Jason Mantzoukas) and Lola (the show's co-creator Nick Kroll) start dating, which was a great idea since they're both such delightfully weird trainwrecks.   

Unfortunately, several of the show's supporting characters felt pushed to the side. Though considering the wide cast, I guess it can't be helped. Also, Missy (voiced by Jenny Slate and and later replaced by Ayo Edebin due to the bad optics of having a black girl voiced by a white actress) doesn't have enough showtime as the rest of the main cast. Although, she does get some good material as she deals with her racial identity. 

I found that the show's new character Tito the Anxiety Mosquito (Lydia Bamford) feels a little too reminiscent of the role of the Shame Wizard, not to mention that TIto doesn't have as entertaining a personality.

The show with its focus on burgeoning sexuality continues to push the envelope on what you can get away with on television. Heck, by now it's ripped the envelope into shreds. Every season the show tries to up what it can get away with, and I kind of felt that this was the season that the show has be told "Just because you can doesn't mean you should." Season 4 discusses finger stuff between middle schoolers, and yeah they're animated and voiced by adults, but we didn't need this. 

This show isn't for the squeamish or those not fan of really R-rated humor, but otherwise I recommend it as it's one of the funniest comedies out there right now.

Nobody Sleeps in the Woods Tonight

7/10

This is a Polish homage (originally titled W lesie dziś nie zaśnie nikt) to classic slasher films. In it, a group of teens at a technology/social media detoxification camp go on a camping trip where they encounter a dangerous killer. This was decent. 

Admittedly, This doesn't do a lot to differentiate itself from other slasher films, but it is a competently handled film. Like I said, this this is an homage. I read that the director Bartosz M. Kowalski created this movie because Poland never had a slasher film. Here, he's created a shrine to the basic tenets of the horror subgenre.

The movie has a sense of humor about itself, particularly the first half. There are a couple good bits. However, this isn't a full comedy. The second half gets dark. When things get violent, things get VIOLENT. Gore hounds will have a lot of fun with this; there are some very creative kills.  

The murderer design is delightfully grotesque. It's partially humorous, being a type that feels like it's parodying 80's horror. (Though this might possibly be due to a low budget than the director's intent.) But, the design is also unsettling as you see it in action as the killer does terrible things. (Sort of like if you saw a Garbage Pail Kid come to life and killing people.)  

Though I found this fun, the movie could've been stronger. The second half feels stretched out. The movie also gives all the teen protagonists backstories and personal struggles. Unfortunately, all of them feel like tropes that have been done before. This should've just stuck to the killing. No one is watching this type of movie for character-driven story. (This isn't Stephen King.)     

I recommend this. Though not great, it's interesting.

Fargo- Season 4

9/10

Whereas season 3 was the most recently set story in the series, this season is set the farthest back in 1950s Kansas City, Missouri. In it, we follow the simmering conflict between Italian and African American crime organizations, which soon draws in a mixed-race family who own a funeral home,  two outlaws, and an odd nurse. Last season had been a letdown, so I was so pleased to see the show return to form for this great season.

What we get is an interesting look inside what it is to pursue the American Dream or the illusion of the American dream and the tragic inability of groups, be they ethnic, racial, or religious, to identify with each other even if they're under the same boot. Given that this is Fargo, this is naturally told with the show's trademark combination of moments of unforgettable dialogue, characters, dark humor, and violence. Though, bare in mind that the show has the same tendency it always had of having some killings feel arbitrary. I found that creator Noah Hawley was able to find the right balance between depicting the racism of the time and being a piece of entertainment. 

This season has the same strength I thought season 2 had: a large cast, which kept things busy and managed to prevent the show from feeling drawn out. That having been said, there are parts where the flow could have been smoother. (The brunt of focus is on the mobsters.) This season's primary protagonist Ethelrida Smutney (played by Emyri Crutchfield) felt like and her family needed more screentime. The nurse Oraetta Mayflower (Jessie Buckley) felt like her story was spread too thin (usually in small bits). What makes this worse is that you could predict several points where her story went an episode or two ahead.

Again, the show looks great, maintaining a film-like auteur-heavy quality. I won't spoil it, but the episode East/West in particular takes an interesting visual choice. The music remains superb. 

The cast, including the likes of Chris Rock, Ben Whishaw, Timothy Olyphant, and Jason Schwatzman, is strong across the board. There are so many fine characters and performances, I don't have time to mention them all.

I highly recommend this. This is just some engrossing stuff. (P.S. When you get to the last episode, make sure you don't immediately turn it off when the credits start.) 

Little Hope

 

7/10

This is the second entry in the Dark Pictures anthology, a series of short horror, interactive story games from Supermassive Games, which themselves are a spiritual successor to the hit Until Dawn. In this story, a group of five passengers in a bus crash find themselves stranded in the abandoned Massachusetts ghost town of Little Hope. Soon, spooky stuff related to the town's witch trial history starts happening. Though I found the game generally fun, I didn't like this as much as its predecessors. 

Gameplay:

To it's credit, the game finally is the first to have completely polished controls. There is no hypersensitive motion sensor like in Until Dawn (many of you may not have had an issue, but I've got slightly shaky hands), or uber-hard and possibly buggy heart rate monitor segment from Dark Pictures' Man of Medan where you've got to press buttons in rhythm with your heart rate. The monitor is back, but now it's fair and beatable. Admittedly, I think Supermassive made several of the QTE segments too easy. I never found those unreasonable in the past games, I just wanted the game to be fair, not to remove the challenge.

One of the biggest complaints about Man of Medan was that you're pottering around an abandoned ship for quite some time. Here the game is better paced with various changes in set pieces. Unfortunately, there is a lot of walking around darkly lit roads and forest areas that aren't that much more exciting than ship corridors. 

Of course, what makes the game is your decisions and how they affect the story and the anticipation of whether you made the right choices. However, one of the ways your characters died felt a little like a cheat. Didn't feel like it was something anyone could figure out or see coming. 

Also,  this is the third game in which the "run" button just makes you walks slightly, and I do mean slightly, quicker. I wished Supermassive either actually let us run or gave up on the button altogether.

Graphics:

Game looks pretty good. (Though I can't say the face work is the best for the PS4). Little Hope is an appropriately creepy-looking place. The cinematic quality is strong with a slick way of panning between characters when the game requires you to immediately switch them. There is some impressively nightmarish creature design.

However, like Man of Medan, this game is too darkly lit. It's such a pain to see where you're going half the time.

Story:

I think the story might be the biggest issue I had with this. I started off really liking it, but my appreciation diminished as the game went on. It has a great opening and the story seemed promising. Though the subject of witch trials has gotten a little predictable in how they play out by now (think The Crucible, kinda), I appreciated that the delivery was well done. However, I soon realized the plot had a very cyclical nature. It'd put you through one type of similar scenario followed by the other type of similar scenario. The ending was kind of disappointing. I felt like it cheated you out of your investment in the story. 

I think Supermassive is starting to suffer from character fatigue, as the characters aren't quite as interesting in the last two games. The couple in the not-yet-defined relationship felt particularly basic.

Cast:

As is the course, the game has a fine cast, who did the motion capture as well as voice acting. My favorite was Alex Ivanovici as a slightly controlling college professor.

I originally wasn't the biggest fan of Dark Pictures' host Pip Torrens (from Preacher). However, his character The Curator has grown on me. I guess I initially wanted someone more sinister, but I grew to appreciate his wry playfulness.

Music:

I really liked the music in this. Sets the mood. No complaints.

Conclusion:

I've seen a lot of people online say this was better than Man of Medan. I guess I'm in the minority. I felt that the game, especially the characters, left more of an impression. (LH has the better gameplay, though, no argument.) I really wanted more out of the story. That having been said, I still recommend this. It's not as strong as the previous games, but it's still an interesting playthrough and still scratches that itch if you need more of these type of games.

Big Sky- Season 1- Pilot episode

 

5/10

This new show from David E. Kelly based on the book The Highway by C.J. Box follows a a rural Montana private detective agency as they search for a couple of missing teenage girls. I felt the pilot was just okay and there wasn't enough to entice me to keep watching.

The biggest issue was that the detectives didn't interest me. They are all given immediate personal conflicts, but not enough effort is given to make the characters themselves interesting or relatable. Nor is enough teased to make me want to find out more. It doesn't help that their conflicts feel petty in the grand scheme of things. A lot of other stuff in this is watchable, but it feels like the show is merely fulfilling the basic requirements of a drama.

That having been said, there were a couple interesting twists in a road. Also, John Carroll Lynch, who's usually good, is fun as an oddball sheriff. The show looks great, combining the northern landscape and a fine use of color.

Overall, I wouldn't say I downright disliked this. It's that with so many shows out there, I felt there were better uses of my time. It is possible that some of you could get more out of this.

Animaniacs (2020)- Season 1

 

9/10

Yakko (voiced by Rob Paulsen), Wakko (Jess Harnell), and Dot Warner (Tress Macneille) and Pinky (Paulsen again) and the Brain (Maurice LaMarche) return for more crazy shenanigans. I love this resurrection of the popular 90's cartoon. 

This show is really funny. (I particularly recommend the episode Good Warner Hunting which is comic perfection.) There is a perfect mix of verbal comedy and classic physical slapstick. The writers are miraculously able to capture the basic essence of the original while also giving this iteration it's own jive. Even in its first season, the show is developing it's own new recurring characters during the segments. 

Fans of the original be forewarned that a lot of the supporting cast has been culled with the focus mainly being on the Warners and Pinky and the Brain. I'm actually okay with this as they were the truly funny members of the cast and the main reason I watched as a kid. The others never matched up. However, I can see how fans of Slappy the Squirrel or Buttons and Mindy will be let down. (However, if you're favorite show was the Goodfeathers, then I do not wish to know you sir or ma'm.)

The show does try to maintain the variety feel by offering a handful of quick sketches. One's pretty funny, one's alright, and one just feels derivative. 

Hello Nurse was cut from the Warner sketches, but considering that she was there basically as a lust object, I can see how that wouldn't work in today's climate. They also replaced Plotz, with a new female CEO of Warner Bros. Studios Nora Rita Norita (Stephanie Escajeda). I'm okay with this. Plotz was a basic greedy, rich guy, but Norita leaves more of an impression. She's more of a grandiose openly self-serving character. 

I do worry that adults may like this more than today's kids. I know the original had adult jokes, but I fear this new version might lean a little too much toward them and satire. (There's an entire episode bashing Russia and a reference to Oldboy. Who wants to explain Oldboy to their kids.) There's also a lot of references to this being a reboot and the original show. I fear all that could go over children's heads.

If you're one of those parents, who don't like your kids watching shows like Teen Titans Go, because the characters are jerks and there aren't any good role models for you kids, you might have issue with this. The Warners have always been known to mess with people, but there were a few times in this reboot where they felt too mean. Course, I could've been remembering things wrong. It's been quite some time since I've seen the original. Maybe, it just feels out of place in this climate. Brain physically abusing Pinky feels more uncomfortable from the eyes of an adult, too. The P&B episode The Mousechurian Candidate in general felt too dark. Sure, the Brain has always humorously tried to take over the world, but this time it felt like they took him too far. (Though weirdly, the Brain is depicted as more caring or forgiving of Pinky than in the original.) 

This version also feels like it has more of a political agenda than the original. Conservatives may not be fans. (There's a whole episode that is an allegory for gun control.)

I won't lie that I miss the original cell animation with its brighter colors and greater detail and cleaner linework. That having been said, I'm not knocking the current animation. A lot of effort went into this, which includes a lot of characters, motion, and sets. I appreciate that they tried to stick to the general looks of the characters instead of going with new, simplified redesigns. I also liked the looks of the humans in this, which all have a newspaper satiresque appearance. (Some of the character motion can be a bit messy and the Warners have this odd yellowish-white look to their faces, but those aren't deal-breakers). What I liked about all the new sketches is that they also tried something different with the animation style.

The show retains the type of the songs that made the original fun, too. I can't say any of them are as good as the countries or states song, but they're quality.

The original voice cast is back, however Paulsen can't quite nail Yakko's voice like he did in his prime.

Yeah, I nitpicked some stuff pretty longer than I talked about the stuff I liked, because this was a big part of my childhood and change can be jarring when you've got nostalgia. Plus, a lot of this so well done that it's hard to articulate. Overall, I do highly recommend this. 

High Score

 

7/10

This six-part documentary series on YouTube looks at the the history of the video game industry. It was an interesting watch. You get to learn about such things as programmers dealing with technical restraints for early games and stuff that happened when the industry was still new and the rules were being built.

Visually, High Score makes good use of 8-bit video game-inspired interstitials.

The composition of this can be kinda sloppy. Each episode has a general theme, but the material connections can sometimes be tenuous. The show picks and chooses what it goes with and doesn't necessarily feel substantive. It feels like the creators couldn't decide on a tone either. The third episode is joke heavy, while the others aren't. 

The show focuses on whoever they could get to interview. If you're expecting focus on big name video game creators or producers, they're not mentioned much if the show couldn't get them. A lot of video games are made in Japan, so if you're not a big subtitle fan then be forewarned.

I recommend this. It has a lot of interesting info., just be forewarned that this isn't as comprehensive as you'd think.

The Social Dilemma

9/10

The Social Dilemma, a Netflix documentary, looks at how social media and advertising logarithms have had an unhealthy affect on psychology and politics. I found this interesting. 

This documentary is a really cautionary tale on where the world is headed. And is intriguing in how social media came from a place of good intent and went in a path unintended by its creators.

All the major aspects are addressed and the whole thing is well paced. Has some nice visuals and an engaging group of interviewees.

The documentary also uses some filmed segments about a family's relationship to social media to help get the point across. I'm not hating it, but I'm not loving it. You ever see one of those anti-drug cautionary films in school? It's kinda like that. I think the documentary would be just as effective without these segments. Also, the lead character is played by Santa Clarita Diet's Skyler Gisondo, who while not a household name has been in a decent number of shows and films over the years. The casting of a known actor kind of derails the illusion of a sample family but maybe it's just me.

I recommend this, especially if you're raising kids during this era.

Retrospective Review- Lupin the 3rd: Blood Seal of the Eternal Mermaid

 

8/10

In this, thief Lupin III and his cohorts go in search of two jewels that are the key to a treasure that is not what it appears to be. Pretty much par the course for this guy. I thought this was one of the better Lupin specials/made-for-TV movies.

Blood Seal does follow the general Lupin formula, but it brings a certain amount of creativity that makes it memorable in the vast crowd that of Lupin films that tend to blend together. One of my favorite Lupin movies has always been Mystery of Mamo, because it went with some far-out sci-fi concepts. This may be why I liked Blood Seal, too. The film goes with some weird stuff, though not quite as heavy as Mamo, you don't see in every Lupin film. (If you don't like when Lupin goes sci-fi, this probably won't be for you.) 

The film continues the tradition of frequently paring up Lupin with a new female character. Here its' a young orphan. She stands out a bit more than the rest. I'm not saying she's the most original character ever, but her backstory is more interesting than most.   

The villains in this are in the traditional Lupin mold and not that original or fleshed out, but they are appropriately vile. They offer some some nice fight scenes. The final battle is definitely a standout in the series.

The animation is television quality, but seems to make the most of its budget and has a rather distinctive color scheme. 

Overall, I consider this one of my top ten Lupin films and recommend it for any fan. 

Archer- Season 11

8/10

NOTE: This review could be considered a general spoiler if you haven't seen the last few seasons. However, there are no spoilers for this season. 

In season eleven, Archer (voiced by H. Jon Benjamin) has finally woken up from his coma and finds himself readjusting to life back at the agency. After three seasons of coma dream alternate world scenarios, I'm pleased to say that this is a pleasant return to form. 

Although the coma seasons had some neat ideas, I, like many viewers, was frustrated that these didn't involve the actual characters and didn't affect the canon of the show at all. So, I was glad that Archer was finally conscious. However, especially with the showrunner leaving, I was worried that this could be a case of the writers relying on the traditional Archer formula and just going through the motions. Everyone was just magically back at the spy agency after losing their license several seasons ago, which had me worried that the show would be too reactionary and wouldn't try anything new. However, I'm happy to say that the story does go to new places (without breaking from formula), and takes into account Archer having to deal with changes while he was gone. He hasn't fully recuperated and has to rely on a cane, which leads to some fun visual gags. Even when you think the show is falling back into old habits, like Archer searching for new valets to abuse when he'd manage to survive without one for a couple seasons before the coma, the story goes to a different place. There is some actually good character work in this anarchist comedy.

However, this season did lean way too heavily on Archer picking on Cyril (SNL alumni Chris Parnell). I mean okay, we get it. For a while, it felt the like we were getting away from that but then the private detective season came, and the show felt like it needed to double down on that. At least in the earlier seasons, Cyril got to talk back a little.

The humor is also refreshingly back to peak Archer, There are just a lot of good plot setups. The finale is the only weak point as it felt like it was trying to do too much in only thirty minutes. (Should've been a two-parter and the second-to-the-last episode just felt more like the right spot to end on.)

Overall if you've been disappointed with the later years of this show, this may get you back on board. 

Come Play

 

7/10

In Come Play, based on a short film from a couple years back, autistic child Oliver (Azhy Robertson) becomes the target of a monster named Larry who wants him to be his friend... forever! Bum, bum, bum! But yeah, it's decent.

The biggest strength here is that the movie looks at what it is like to have more severe autism (Oliver barely speaks in this) and what it is like for a parent raising one. The movie does a great job making you feel for Oliver and his mother Sarah (Community's Gillian Jacobs). There is also a part with a group of bullies that could've been really predictable, but I was pleased that it went in a different direction.

Larry, who's invisible for most of the time if he isn't seen, is a fun skeletal design, though the budget on his computer animation didn't feel particularly high, so it's probably a good thing they keep him to the shadows. I like that the character gives off this dark fairy tale vibe.

Nice lighting scheme in this; it managed to be eerie without being darkly shot enough that there's no color or you can't make things out.

Acting is good, especially from Robertson. (Heck, all the child actors in this are good.) After what I thought was a disappointing performance in Magic Camp, I'm glad to say Jacobs has bounced back and is believable as a worried and stressed-out mother. 

That all having been said, this is a competently handled movie, but it didn't "wow" me that much. Too many of the scares lack something or went by too quickly to register. In general, a lot of parts of this feel too similar to other works. The dramatic/real world parts also could've been trimmed down a bit. All complaints aside, the final confrontation is pretty good with strong visuals and tension.

 I can't say this is a particularly original or standout film, but I think most horror fans will have a good time with it.

Books of Blood

 

6/10

In this anthology on Hulu based on the short story collection from Clive Barker, we get three horror stories es based around a book containing the tales of the dead. Didn't hate it, didn't love it.   

First off, if you were a fan of the original Books of Blood then be prepared to be disappointed. One of the tales is original and the others are based on the wraparounds in the first volume which had already been adapted into a film. So if you've been waiting for one of these tales to be adapted, you'll have to keep waiting. I wouldn't have minded more stories in this myself.

The Achilles heel here is the first story after the wraparound, about a college-aged woman (played by Britt Robertson) on the run from her own life who ends up renting a room from a couple that are almost too friendly. Half the short suffers from being being a little predictable in the set up. It's missing a certain "oomph." The other half of the content does get creative, and I wouldn't have predicted it. But, I found the big reveal in this to be a little too messed up for my tastes. Now if you like it when horror gets dark, dark, this'll be right up your alley. But if you like horror, but you have your limits then be forewarned. 

The wraparound, about two enforcers in search of the Book of Blood, and the other short, about a skeptical professor (Pushing Daisies' Anna Friel) investigating a man's claims that he can communicate with the dead, I rather liked. They are both nicely paced with well executed scares. The second story has a really striking ending, and Friel delivers the best performance in the film. I appreciate that this has a substantive wraparound, not a vague one like with VHS or no connections at all for the segments. More importantly, this movie has one of the strongest finales I've seen in an anthology. It's been bugging me lately how predictable these have become. (I mean you can only see the characters realize they're dead or that they've been talking to Death/the Devil only so many times.) 

I appreciate that director/screenwriter Brannon Braga and other writer Adam Simon had a clear vision and they do a very competent job with setting up and telling the story. The look of the whole thing is well done, too. However, as good as parts of this are, they weren't enough to negate how the first story left me a bit empty and was too disturbing. However, this feels like one of those movies that will be very subjective across the populace. I can see some getting a lot more out of this.

The Haunting of Bly Manor

 

9/10

The Haunting of Bly Manor on Netflix is the sequel show to The Haunting of Hill House and based on Henry James' novella The Turn of the Screw. In it, Dani Clayton (played Victoria Pedretti from the last show) is hired on as a nanny for two kids at solitary Bly Manor which has born witness to recent tragedies. Also, it's haunted, hence the title. The show has a slow start, but I ended up being so impressed at where this goes.  

First off, let me make it clear that this isn't the fright fest that Hill House was. Bly Manor has its creepy parts, but there isn't as much emphasis on the scares. This is more of a gothic tale like Crimson Peak was. The show does retain Hill House's focus on the human condition and relationships, which is its best strength. Things do start slow. I was initially going to rank this a notch lower, but when all the pieces connect and everything is revealed it is done so well. The ending becomes a gut punch of emotions. I found the payoff entirely worth it. 

The heart and soul of is the excellent character work. The cast really pulls it off. Pedretti gets more screen time and just does a really emotional job as the lead. Oliver Jackson-Cohen returns and plays a truly multifaceted role as a former employee of the manor's owner. He can be both intimidating and sympathetic. The two biggest newcomers here are T'Nia Miller and Rahul Kohli as the housekeeper and cook, who also steal their scenes.

A couple last criticisms: there is some great dialogue, but there can be a few moments where it feels too verbose and manufactured. This is especially obvious when it is done with the child actors. Now, they both do an excellent job, especially considering how difficult some of what they were required to say was. However, I think it is unfair to have expected so much from any kids. This is a backstory flashback heavy show. I did find that they all could've been skimmed down a bit. Nothing that breaks the show, I just think the pacing could've been improved.

I'd say Hill House was the stronger effort, but this show is definitely worth your time. At least try to make it to the halfway point when things start getting juicy. The show is only nine episodes long.

Olaf's Frozen Adventure

7/10

Olaf's Frozen Adventure is a short film on Disney+ that shows what the titular snowman (voiced by Josh Gad) did during the first Frozen film between his coming alive and meeting up with Kristoff and Anna. Ever heard of or see Lion King 1 1/2? It's basically the same concept, a series of humorous scenarios linked to the events of a popular movie. It's okay.

This is the definition of innocuousness; there's nothing wrong with it, but it doesn't register much with you either. It's mostly just Olaf wandering around and nothing big enough happens.

Olaf's naivety- and positivity-natured humor and Gad's performance remain true-to-form. There are a couple heartwarming moments. Also the Disney animation remains strong, especially the last scene which looks really, really good.  

This is the weakest of the three Frozen shorts, but if your kids like Olaf, then they'll like this. Running at only eight minutes, this is a quick watch anyway.

Ted Lasso- Season 1

10/10

In this comedy on Apple+, Rebecca (Hannah Waddingham), the new owner of a mediocre English soccer/football team, hires Ted Lasso (Jason Sudeikis), an upbeat American football coach with very little knowledge of soccer. I loved this show.  

The character of Ted Lasso started off as a few commercials where the dimwitted Lasso tried his hand at commenting on English sports. Compared to how the character started out, it's impressive how they elevated him. The character was wisely changed from a dummy who's completely out of his depth (there are plenty of those in comedy) to a Columbo-type who hides his wisdom behind the appearance of simplicity. Instead of being a base level comedy like the commercials, the show is more of a borderline dramedy.

I know I'm not saying much that anyone else hasn't already said, but this is a real feel-good show with so much heart. All the main characters are end up being extremely likable. Many of them have hopes or dreams and personal issues that are engrossing. 

I appreciate the optimistic tone and avoiding more obviously cynical routes things could've gone. For instance, Rebecca starts off being hard on her underling Higgins (Jeremy Swift). So, I expected the show to go the basic Burns/Smithers route of the boss who is constantly mean to an employee, but this show is far more nuanced and ultimately goes a different route.

The backbone to this is definitely Lasso himself. After SNL and Horrible Bosses, Sudeikis kind of disappeared for a while. I'm glad this show gave him a shot in a role that might very well have an Emmy nomination sometime in the future. His Lasso is just a really nice guy, immediately trying to help with his team and making friends with whoever crosses his path. He's got a simple enthusiasm that is just infectious. Rebecca is also a very interesting character. She's the opposite of Lasso, coming from a place of cynicism, but she has a strong background that makes her quite sympathetic and her emotional journey is one of the best parts. 

It doesn't hurt the show that the entire thing is pretty funny. Strong distinctive humorous voices for most of the characters.  

I have one nitpick for the show. The writers appeared to have done their research when it comes to English soccer/football, however not so much when it comes to English pop culture. There are a lot of references to American films and shows, but being in England you'd expect someone to reference their own entertainment. Again, just a minor quibble.

Overall, I highly recommend this.

The Trial of the Chicago 7

 

9/10

The Trial of the Chicago 7, Netflix's new Oscar grab, follows the real life trial of eight leaders in the protest against the Vietnam War. When the cops started using force, riots broke out. The eight were put on a politically motivated trial (the title Chicago 7 makes sense if you watch) for charges of intentionally planning the riots with hostile judge Julius Hoffman (Frank Langella) presiding. This was a really good film.

This is just a well executed courtroom piece. The thought-provoking serious stuff (how the judge treats Black Panther Bobby Seale (Yahya Abdul-Mateen II) is especially shocking) is balanced with humor managing to make this both a film with something to say that also entertains.  The various historical/political aspects to this is pretty interesting. (And yeah, there are obvious connotations to today's climate). The protest leaders come from different factions with different views on and ways of protesting, and one of the driving forces is seeing the characters work off of one another.     

If the movie has any weaknesses is that it can be a little too obvious at at getting those big emotional Holywood moments. In particular, there area lot of scenes of prosecutor Richard Schultz (Joseph Gordon-Levitt) having multiple crises of conscious which doesn't seem like that is how that played in real life. 

The acting is top notch in this with an array of big or experienced names. The two best performers are Langella and Mark Rylance as defense attorney William Kunstler. Langella does an excellent job of characterization with these little facial, physical touches that sell it. (I guess when if you have a very distinctive voice you'd try extra hard too make sure people see the character and not the actor.) Rylance brings a really different energy than the soft-spoken roles I've seen him do in the past. 

Overall, I highly recommend this. 

Lupin III: The First

7/10

The Lupin III franchise, about a clever devil-may-care, talented thief and his crew, has been around for a long time, spanning multiple television shows, movies, including a couple live-action, and television specials. (It's kind of like the Japanese equivalent of Scooby-Doo in terms of longevity and main character count.) However, this is the first time Lupin has ever gone computer animation. This time Lupin is searching for a diary leading to the one treasure his famous grandfather thief couldn't steal. Also, he's going up against Nazis, not Neo-Nazis, old school Nazis. I liked it but didn't love it.

The movie does a great job of maintaining the ol' Lupin feel: Action and adventure combined with slapstick comedy. There are several bits that are genuinely fun and interesting traps and clues.   

The animation looks great. The Lupin characters are known for their distinctive style and the movie does a great job of recreating that in 3D. The movie is colorful, lively, and has a nostalgic 70's feel to it. There are some impressive chase and fight scenes in this. The opening scene also has this really cinematic feel to it.

The music is retro. Longtime Lupin composer Yuji Ohno brings a 70's jazz feel.

Although there's a lot about this movie I liked, it's not the strongest entry in the franchise. It does suffer a little from basic Lupin plot fatigue. It also has one of its most worn out subplots: guest female with her own backstory that takes up a good part of the film. This one's name is Laetitia. Her story and that of the two main villains in this should've been more compelling. They've all got solid motivations, some interesting twists and the antagonists have more personality than in many other Lupin films. But, their story is too drawn out, you can tell what's going to happen long before it happens, and it takes too much time away from Lupin and his gang. Also, I felt that the darker tones of Laetitia's story contrasted with the upbeat aspects of Lupin's parts. Don't get me wrong, there are several darker or more serious Lupin stories, but those stuck with a tone.    

I can't say this is one of the best entries, but it does manage to stand out in a series whose proclivity causes many of the stories to blend together. The movie has style and some well executed scenes. If you like Lupin, you'll like this, and it's a decent watch for a general viewer, which they can enter without having to see the rest of the series.    

Scooby-Doo and Guess Who?- Season 3

7/10

I found this season, currently on Boomerang, stronger than the first and weaker than the second. 

Whereas the latter half of season 1 and season 2 took the basic Scooby-Doo concept and took it to some creative places, the stories here with the exception of one episode felt more basic. That having been said, they're decent enough stories with decent humor, just not inspired.

The one highlight is The Last Inmate. It's a feather in the show's cap that it was able to get THE Morgan Freeman to be in this. The episode does a great job of parodying his narrating career as he leads a documentary about the Scooby gang. The entire thing is a hoot as a Freeman calmly  reacts to every situation and the basic elements of a Scooby-Doo mystery.

Surprisingly, there weren't a lot of actor guest stars this time around, and fictional characters were dropped entirely. (Fun fact: this season includes original Scooby-Doo at the Movies guest star Faye Dunaway.) With no actors or voice actors, there are a lot of personalities whose performances are just okay. Also, besides Freeman and Macklemore, there aren't a lot of really high profile names. Arguably, I mean. No disrespect to any fans of the guests here. Though why is food network personality Alton Brown here? Nothing against him, but what kid is a big fan of Alton Brown? I'll give you professional eater Joey Chestnut, because that seems like something a kid may be into, but a general food presenter I don't get.

Also, most of the character attention still goes to Shaggy and Scooby. The rest of Mystery Inc. still don't quite pop.

I know I've been pretty critical, but I still mean in it when I say the show alright. I feel that it has more potential to fulfill is all. This will probably be a lot of fun for kids and adult Scoob fans won't have any issues. Seriously, see the Morgan Freeman episode.

Doctor Who- The Faceless Ones

8/10

The Faceless Ones is one of the lost Doctor Who serials. The original footage for all but two of its episodes was eliminated by the BBC sometime between the late Sixties and late Seventies. However, the audio still exists and so the story was created for this fully animated release. The adventure has the Second Doctor (Patrick Troughton)  investigating the sinister Chameleon Airlines at Gatwick Airport. This was an interesting entry.

What separates The Faceless Ones from other serials is that it has kind of a Cold War spy-like feel as the Doctor has to outwit and outmaneuver a group of aliens pretending to be humans. The villains feel a little different than your regular extraterrestrial foes. They're motivations are more nuanced and there is more individuality amongst their ranks.

The cast is fine in this. The airport commandant (Colin Gordon) might be up there with some of the best authority figures who don't trust the Doctor at first. He has such a huffy manner.   

It's a good story but like many DW six-parters the long length is to its disadvantage as, especially in the first third, things can feel too stretched out. 

This is a change from previous DW restorations. In the past, they'd just animate the lost parts. This one has two existing live-action episodes, but they chose to animate those too. From what I understand, it was done to not confuse those unfamiliar with the situation. I see the argument, but I'm disappointed I don't get to see the original episodes as they truly were. All the episodes are in color (the original was black-and-white), and I'm also disappointed we don't get the original Sixties feel.

The character design is like if Archer was a lot sketchier. Not the biggest fans of them, but I appreciate how fluid the movement is in this. Gives a lifelike feel. I guess you have to sacrifice one element for another. Compared to photos of how the aliens originally looked, I was disappointed how they were animated. The designs don't quite match and loses some of the eeriness.

I'm not saying this is the best Doctor Who episode, but it is an enjoyable one. Highly recommended to any fan. 

Hubie Halloween

5/10

In the Netflix movie Hubie Halloween, Adam Sandler plays Hubie Dubois, a simple but well meaning man and his town's self-appointed safety monitor who isn't much liked by his town. This Halloween people start disappearing and it's up to Hubie to figure out what's going on. Yeah... This is a flawed movie which is more disappointing in that it had potential.

The big issue with this movie is that a large portion of the cast is so intensely, inexplicably cruel to the character. And THERE IS A LOT OF THIS! It's not entertaining and not particularly well written. Some times these moments just feel surreal and off. Plus, you've got some big names, such as Michael Chiklis and Ray Liotta, performing these really lousy scenes.

The character of Hubie feels like recycled material as Sandler meshes the lead from The Waterboy with Whitey from Eight Crazy Nights.

Also, Hubie Halloween has this weird mentioning of character connections. The police chief (Kevin James) is the ex of Hubie's love interest (Julie Bowen) and Hubie was the childhood friend of another person I can't go into detail on. However,  the two sets of characters never really interact with each other. So, what was the point? (In fairness, it could be a deleted scenes situation.)  

Going back to the casting, this movie has a large batch of familiar faces, but with the exception of Kenan Thompson and Steve Buscemi, they're given comedic material that doesn't work for them and feels like a waste of their talent and time. 

Thing is I wanted this movie to succeed. It had potential but couldn't stick the landing. The mystery of what is going on is solid and the reveals payoff. Most of the jokes fail, but there a few good ones, including two moments that steal the film. Also, Hubie has a modified thermos that is like a swiss army knife, and it's pretty fun seeing all the fantastic weird things it can do. 

The film looks nice. I appreciate that they took the time to make the town look busy and populated and that there is a huge selection of Halloween costumes in this.

If you're a die-hard Sandler fan, then you know what you're getting and will probably be satisfied. Everyone else though, I can't recommend this except if you want to see how ill advised and odd this goes.

Star Trek: Lower Decks- Season 1

9/10

This new animated comedy on CBS All Access  follows the lives of low ranking crew members on the USS Cerritos. This turned out to be very entertaining.

This show is pretty funny. The writers do a surprisingly strong job mining the Star Trek universe and science fiction concepts. Any Star Trek fan will get a kick out of the show as it makes some valid satire of the universe. There are also a few pretty creative ideas. The subplots to the episodes "Moist Vessel" and "Terminal Provocations" are works of mad genius. 

Though this is a comedy, Lower Decks at its core still adheres to the spirit of Star Trek and the positive outlook of Starfleet. (If you're one of those people who feel Picard or Discovery were cynical and drifted from the Trekkie spirit, you may be pleasantly surprised with this.) Basically Lower Decks is a combination of anarchic humor and more sentimental, upbeat stuff and it all meshes so well. The two supporting cast members Tendi (voiced by Noel Wells) and Rutherford (Eugene Cordero) are a rare breed in an adult animated cartoon: nice guys and total optimists whose characters don't exist to just get punished for their upbeatness.   

I advise you to stick through at least the third episode. The two leads Mariner (Tawny Newsome), the noncomformist rebel with the heart of gold, and Boimler (Jack Quaid), the one who follows all the rules and wants to rise up the ranks, suffer in the first two stories by leaning too hard into their personalities. The later episodes find a nice pacing for them. 

The animation is kind of like Rick and Morty with cleaner linework. Though the character designs are simple, the animation can be ambitious. Stuff like fights and starship and galaxy design can be pretty impressive at moments. The show especially goes all out for the final episode. The animation is really colorful and I'm happy they went with strong color-coded outfits of Star Treks past.

Overall, I highly recommend this for Star Trek fans or casual viewers. I definitely liked this better than CBS All Access' other ST entries. 

Carmen Sandiego- Season 3

 

8/10

The third season of Carmen Sandiego has the title character (voiced by Jane the Virgin's Gina Rodriguez) continuing her fight against the criminal organization VILE and unlocking her past. The cartoon remains entertaining.

Unfortunately, this season is only five episodes long. (Probably continuing Netflix's occasional habit of splitting a full animated season into two parts.) It lacks the build to the big finale that the last two seasons had, but the individual episodes are all still fun adventures.

After his being mostly absent from last season, Inspector Devineaux (Rafael Petardi) returns. I was worried we were going to get more of his constantly misinterpreting Carmen's actions and taking too much time being with his obsession with her. But the show goes in a refreshingly new direction with him. 

The writers have really settled in with writing the various members of VILE's faculty. They get more casual and a little silly but in a fun way, and they work so well with each other.

The animation remains distinctive with its stylish, painterly-type style. The finale has a fairly impressive fight scene at the end.

Though not as substantive as it should have been, Carmen Sandiego is still a good time for your kids and recommend.

  

South Park- The Pandemic Special

 

8/10

In this new special, the citizens of South Park deal with the various burdens of the coronavirus pandemic. This was enjoyable.

The Pandemic Special is classic South Park: funny, crazy satire. The one hour length allowed director/writer Trey Parker tackle all the aspects of the pandemic. (Not to mention a jab at the police situation.) As outrageous as things get, Parker is clearly trying to help people blow off steam from this horrible mess. The ending is probably one of the most poignant moments the show has ever gotten.

Now, this is also "typical" South Park. I wouldn't say this episode is considered one of the show's standouts.

Also, if you like South Park but sometimes it goes too far for you, this is one of those episodes that gets messed up.

Overall, I recommend this.  

Happy Halloween Scooby-Doo

8/10

Happy Halloween Scooby-Doo has the Mystery Inc. crew on the run from a horde of man-eating Jack-O-Lanterns. This was fun and definitely one of the stronger Scooby-Doo films. 

Though I like the recent run (2010-) of Scooby made-for-DVD movies, which was a definite improvement over the frequently mediocre run (2003-2009) before it. However, it feels like the series has been losing a little steam as some of the more recent titles have felt a little paint-by-the-numbers. This was a breath of fresh air. Happy Halloween is a lot more action heavy than most Scoob films. Rather than having the characters wander around looking for clues, they have to make do with figuring things out while being constantly chased. Think of this as a sort of zombies meet Mad Max scenario. It definitely feels like the stakes were higher. (If you're worried about this breaking the spirit of Scooby-Doo, yeah it's edgier but it never crosses the line.)   

Innovative part is that the big reveal at the end is a little bit different than usual.

This appears to be the third of the loosely connected trilogy that I believe was created in honor of Scooby's 50th anniversary. While I thought the last two (13th Ghost and Return to Zombie Island) were decent and disappointing respectively, Happy Halloween justifies the setup and is a great finale.

This is also one of the funnier entries. Happy Halloween is written, directed, and produced by Maxwell Atoms, creator of The Grim Adventures of Billy and Mandy and the Bunnicula series, given his preference for the humorously spooky, he was a good choice. (The threat is very similar to the killer pumpkins from the Halloween episode of GAoBaM, but I'll give him a pass.) He took a page from the recent show Be Cool Scooby-Doo and decided to make Daphne (voiced by Grey Griffin) quirkier, and she has a string of great lines.

In the past, Mystery Inc. has had movie team-ups with Kiss, the WWE, and celebrity chefs, but this one has got to be the weirdest: horror movie host Elvira, Bill Nye the Science Guy, and Batman villain the Scarecrow (voiced by Dwight Schultz, who was Barclay on Star Trek the Next Generation). It strangely works. Bill Nye is pretty funny as an eccentric version of himself. Scarecrow serves as a Hannibal Lecter-type, serving as an intellectual rival for Velma (Kate Micucci). Elvira is the only one who doesn't pan out. Yeah, the actress herself is game, but her lines often don't work. We also get one of the better guest Scooby characters in the form of a dad who gets wrapped up in the chase and definitely wishes he was elsewhere.

The tone is a little rougher by Scooby standards as there are some mild insults thrown by characters. Unusual for the series, but again, nothing breaks the spirit of SD, and it's not like the film is mean-spirited. Happy Halloween  does carry the same issue of the last few films of Velma being so logic obsessed that she's become a bit of a pill. She does something at the beginning that definitely feels a bit too far. However, after that she does have a pretty good character journey. She's practically the star of this.   

The animation doesn't feel on the same level of the previous films. Not an extreme stepdown, but something feels off. There are too many basic camera angles and backgrounds. It might be because of interference due to COVID-19 (the second Phineas and Ferb movie had the same issues). It also may be because Atoms' experience is mostly in the more hectic output of television. (There are definitely some more cartoony eye movements that are definitely the director's stylistic choice.)   

I strongly recommend this for kids or Scooby fans.

Chester Gould's Dick Tracy (The Complete Dick Tracy) Volume 28

8/10

This collection covers Dick Tracy from 1974-1975, this being the second-to-the-last volume of Gould's original run. I'm happy to say that though the end is coming, the title remains entertaining.

What I like about the 70's strips is how they became a bit of a return to form story wise: plots run smoother and quicker than in parts of the 50's and 60's and their is a lot more focus on Tracy and the supporting cast.

Gould brings a good batch of stories here. Not a stinker or a slow one in the bunch. We also get one of the strongest post-40's succession of bad guys. Though, I felt the imposing extortionist Bulky is sadly underused.

The artwork remains strong.

Once again, Gould frequently uses the strip as a soapbox against any laws that support the rights of the accused or criminal rights, which he felt were shackles for the cops. He has already been pretty rightwing, but just when you thought he was at his most extreme, he kicks things up a notch. Now if you're a conservative and/or a big supporter of the police, especially in this current climate, who has never read this strip, these viewpoints may seem like their up your alley. However, Gould is faaaaar right and makes things weird. He is a proponent of a world without bail, habeas corpus, warrants, parole boards, defense lawyers, the right to remain silent, etc. 

Gould lets other unhealthy views appear here, too, including a shockingly unsympathetic view of the suicidal. There are also a couple kinda misogynistic moments. This is surprising considering that, especially compared to other comics writers from his era, Gould had been a rather feminist writer. He usually didn't fall into stereotypes, frequently used strong women, and added a female cop during the 1950's.

Overall, this can be recommended to any Tracy fan. Just understand that things can get odd.    

Muppets Now- Season 1

 

7/10

After the failure of the more older audience-leaning The Muppets on ABC, the popular puppets are being returned to format for a more typical tone and variety format. In this, the Muppets are hosting a bunch of viral videos with the framing device of Scooter (performed by David Rudman) editing and downloading them. It's no original Muppet Show, but it's generally entertaining.

On average, the segments are fun. The Swedish Chef (Bill Barretta) in particular remains as funny as he ever was. Doctor Bunsen Honeydew (Dave Goelz, the last OG Muppet performer) and Beaker (Rudman) have become modern day Bill Nyes. Rather than do the regular made-up science experiment gags, here they're infotaining as they perform actual science experiments. They're surprisingly engaging as things are set on fire, launched, etc..  This show carries over the one element from The Muppets: Uncle Deadly (Matt Vogel) as Miss Piggy's sarcastic personal assistant. He works wonderfully off of her; the one Muppet who understands her enough that he can push buttons without evoking her wrath. Scooter also serves as a great straight man having to deal with everyone else's eccentricities. 

There's also a pretty healthy heaping of guest star appearances throughout.     

However, this show could've been stronger. Unlike the Muppet Show or even Muppets Tonight, which constantly came up with new material, Muppets Now basically uses the same limited number of sketches. Plus, there are very few attempts at new Muppet characters, preferring to coast with what they've got. Going back to Muppets Tonight, they may not have quite nailed the Muppet Show formula, but at least they experimented with new faces. Also, you barely see some of the more popular Muppets, such as Kermit (Vogel), Fozzie (Eric Jacobson), Animal (Jacobson), and Gonzo (Goelz). Rizzo's not even in this. First they ditch him in the recent Muppet films and now this. What's with the Rizzo hate?!    

Though this doesn't go far as the The Muppets, there is a negativity. Sure, in the Muppet Show, characters would get hit, blown up, eaten, etc., but they mostly felt like a good group. Here, a lot of characters feel more selfish. Honeydew has always been self-involved in his pursuit of science, but here he seems intentionally cruel to Beaker. Miss Piggy (Jacobson) gets more skits than any other character, which was a mistake. She works better when she's not the one in charge. When she is, it's just a bunch of poorly written ego jokes. She's not quite as toxic as in The Muppets, but she can still be unbearable. Also, the sidelined Muppets all seem to be the nicer ones. 

At six episodes, this is a quick watch. I think your kids will have a good time. As for adult Muppet fans, I can't say this this is required viewing. I'd rank this above The Muppets but a little below Muppets Tonight, which left more of an impression and at least gave us Pepe the Prawn.        

The Babysitter: Killer Queen

8/10

The Babysitter: Killer Queen on Netflix is a horror comedy and the sequel to 2017's original, in which a young Cole (played by Judah Lewis) finds out his babysitter Bee (Samara Weaver) is part of a Satanic cult. In this, Cole's now a teenager (the original was filmed in 2015 and the actor has grown some) and must face the resurrected members of the cult. I liked this a lot better than the first.

The first film was a mixed bag in my opinion. It felt a little all-over-the-place. This one feels a lot more streamlined and straight-to-the-point. The last movie also tried to be a coming-of-age story, which didn't gel with me. This one dumps a lot of that and focuses more on the action and comedy to its benefit. (Not to say that Cole doesn't have an arc.)

There are some creative, madcap, bloody kills in this. Returning director McG (who did the Charlie's Angels movies) brings back his distinctive visual choices. It doesn't always land but is fun when it does. The new location, a rocky area surrounding a lake, is pretty scenic and also serves as a nice treacherous location for the characters to scramble through. 

Thing is that for a movie called The Babysitter, it has very little of the actual sitter in this. Weaving's stock has risen recently, and she's had a busy schedule these last couple of years, so apparently she was available for a limited period of time. I know that there are people who feel that Bee's relationship with Cole was one if not the biggest parts of the first film, but I'm okay with this. More time for the jokes and carnage.   

On the plus side, we get the rest of what is probably the most oddball group of Satanists one ever did see. Robbie Amell still steals the show as Max, the shirt-hating psychopath with a fondness for Cole who'll compliment him even as he's trying to kill him. Pitch Perfect's Hana Mae Lee's Sonya is still fun as the most Satan-loving and hardcore members of the group. Sadly like the last film, she is underutilized. The two more comical members Allison (Bella Thorne) and John (Andrew Bachelor), who I felt were the weak links last time, are better written, especially John. 

Melanie (Emily Alyn Lind), Cole's love interest from the last film gets a lot more to do here. I loved Lind's performance and how her character is made more interesting. We also get some new faces who fit right in.

There is one really frustrating part of this film. Everyone thinks Cole made up the events from last time. I'm sorry, even if they couldn't find any bodies, there were still so many loose threads that this doesn't make any sense. Also, the high school scenes run too hard on "high school sucks" cliches. However, most of these issues are just in the introduction and quickly fade away.  

Overall, I recommend this. This was just a lot of crazy fun. (It does help to see the first one to understand what is going on.)

Superman: Man of Tomorrow

7/10

Superman: Man of Tomorrow is about Clark Kent/Superman (voiced by Glee/American Crime Story season 2's Darren Criss), brand new in Metropolis and trying to figure out whether he should reveal his abilities to the world. I found this to be one of DC's better animated movies.

Yeah, this isn't the first Superman origin story ever told or him feeling like an outsider and trying to find his place in the world, but to its credit, this is the first time I've seen it done as feature animation. The script does a decent job of exploring the character of Clark and his fears of the world distrusting an outsider. In fact, this includes one of the best gosh-darn-likable Clark's. Heck, this includes some of the better depictions of Lois Lane (Percy Jackson's Alexandra Daddario), Ma and Pa Kent (Bellamy Young and Scrubs/The Middle's Neil Flynn), Lex Luthor (Stare Trek/Heroes' Zachary Quinto), and other Superman/DC characters. 

There are reasons I didn't rate this higher. Not every story decision worked for me. Some things seemed to happen just because the writer wanted them to happen regardless of whether they were natural. Superman has a big speech in this that is supposed to be persuasive but comes off as schmaltzy. Also, the movie felt a little too tragic and morbid with the villain Parasite (Agent of Shield's Brett Dalton). His depressing, dark storyline seemed to be at odds with the more hopeful, upbeat feel of Superman's.   

The whole things looks great. I felt that a lot of DC animated character designs, especially recently, have been so-so. Here, some sort of new process is used giving the characters a more rotoscope-type appearance. They just feel a little more detailed than a lot of character designs today. Although I miss the old-school original humanoid appearance of the Parasite and haven't been a big fan of the comics making him look more like a parasitic creature these days, I admit that this particular monstrous design is pretty good, especially his weird feet.   

Overall, I think any DC animation or Superman fan will like this.

Rogue

5/10

Rogue is about a gang of mercenaries who rescue hostages from a group of African rebels. Their exit plan falls through and end up having to protect themselves from not just the rebels but also a rogue lioness. This is one of those movies that is just there. Not particularly bad nor particularly memorable.  

I do feel a little guilty that this film wasn't doing it for me. Director and co-writer M.J. Bassett (who helmed Solomon Kane, which I feel is underrated) was definitely making an effort. This was a competently written script that generally flowed well. All the characters had clear personalities and backgrounds, even the lioness had motivations for why she isn't killing just for food. There are a couple scenes that feature some pretty good visual ideas. 

Buuutttt, nothing is knocked out of the park. The script and dialogue is adequate but doesn't stand out. 

The action doesn't stand out. The fight scenes often have way too many quick jumps to close-ups; cinematography is lackluster. This was a low-budget movie and the lioness is fairly cheap-looking. On the plus side, they do manage incorporate an actual lioness for a few shots when practical.

The acting, that's right you guessed it!, doesn't stand out. These are mostly decent actors, but they won't stay with you. It doesn't help that the mercenaries feel a little repetitive of other films about a rag tag team. When I say the actors are "mostly" decent, I am referring to a weak point: lead Megan Fox as the head of the mercenaries. She does alright at times, but falters at the more emotional parts. Also, I just can't buy her as veteran soldier.  

I'm not recommending this as there are so many stronger films out there. Although if you like those low-budget monster/killer animal movies on Sy-Fy, this is up your alley. The script is stronger than a lot of them.

Tenet

7/10

Christopher Nolan's Tenet is about a spy simply called The Protagonist (John David Washington) in the credits. He's promoted to a secret assignment in which he has to go after a villain who has access to time manipulation. This is an interesting film with distinct concepts. A combination of a spy and sci-fi film isn't something you see every day. (I mean other than spy films involving lasers, robotics, and, that one time, going into space. I mean stuff that James Bond wouldn't even touch as it would be going too far.) However, the movie can be overindulgent, I think this could've been a leaner, stronger film.

I'll get to the good points about this first. The spy stuff is done well. (There is a lot more of that in this than the trailer lets on.) Seeing the Protagonist and his associate Neil (Robert Pattison) having to cleverly break into places is one of the best parts.  

The sci-fi stuff is really, really interesting. Let me be clear that this isn't a typical "time travel" sort of movie. It's about time inversion, leading to some legit innovative concepts. The action scenes really take full advantage of this.

Tone wise think of this as kind of being the infiltration scenes from Inception matched with the action parts of Nolan's Batman movies. 

Though a lot of the script takes itself seriously, there are occasional light lines from Washington or between him and Pattison that lend a bit of personality.

The standout actor here is probably Kenneth Brannagh as the antagonist. Brannagh delivers the best performance I've seen him do. (Bare in mind I haven't seen a lot of his earlier works including his Shakespeare films and Dead Again.) He completely loses himself in this truly despicable, dangerous man.

Okay, now for the film's issues. Considering that the lead is called The Protagonist and that title of this film about time inversion happens to be spelled out the same way forward and backward, you can tell that Nolan is be trying too hard to be clever. Way, way, way too much exposition is thrown at you; I mean a crazy amount. Almost every line is a plot point. If you don't pay attention you could become lost. I got the general gist of everything, but there were moments where I had to fill-in-the-blanks and play catch up.

Sometimes the sound effects or music are too loud or the actors are speaking too quietly, making it harder to understand what is going on.

The final action scene looks nice but is far too complicated. I couldn't even tell where the bad guys were coming from.

Besides the complexity of the story, the other major issue is the length. This didn't need to be two-and-a-half hours. The middle act in particular, could've been cut down.

When this movie is good, it is good, but it could've so much more entertaining if it was shorter and some plot points whittled down. I recommend this, especially if you're a Nolan fan, as it is a unique experience. But it's something you can sit on till it is something you can sit on till a rainy day or it is more the price is cheaper.