Doom Patrol- Season 4 (Final)

9/10

In the final season of Doom Patrol on Max (which took forever to release the second half of the show due to the big shakeup in Warner Bros.' regime change), the ill-fated members of the titular Doom Patrol find themselves the targets of a sinister undertaking.

Though I'm sad to see this wonderfully weird and well-characterized and -acted show end, I felt it left at the right point (they were stretching the group's trauma a bit thin by this point; they have to completely grow eventually). The ending, though it may not be what everyone wants is a very emotional affair with the characters we've all grown to love (those that actually watch this criminally underrated show anyway). I especially like how natural the journey of Crazy Jane (Encanto's Diane Guerrero) has been. Out of all the cast, her progression has been the most natural, relying less and less on her other personalities. (If you were disappointed that they really weren't using Crazy Jane's special abilities that come with each personality anymore, prepare to be equally disappointed here. To play devil's advocate, it both conceptually makes sense and showrunner Eric Carver (the American version of Being Human and seasons 8-11 of Supernatural) probably had pressure from the producers to cut down on special effects). Both Robotman/Cliff Steele (played by Riley Shanahan and voiced by Brendan Frasier) and Elasti-Woman/Rita Farr (April Bowlby) have some great moments, but the show continues its nasty habit of leaning too hard on their negative characteristics: Robotman making too many dumb decisions and Elasti-Woman hindered too often by her vanity and stubbornness. The latter's journey feels particularly choppy as her character sorta goes back-and-forth throughout.   

Again, the show earns it's title as the most bonkers superhero show out there. The various scenarios the gang are thrown into are unique and entertaining. I admire how the writers were able to squeeze in most of the  the remaining villains from the original 60's run. One of the more recent Doom Patrol members Casey Brinke/Space Case (Madeline Zima) finally makes it to the show. If you liked the character, you probably won't be disappointed here. She has this pep to her that other cast members don't have. 

Course for a show where the writers throw out one crazy idea after another, don't expect everything to stick. Once again, I felt there was too much emphasis on the amoral government agency The Bureau of Normalcy, which has really worn out its welcome. Remember the killer butts? Well, they're back. Yeah, yeah, it's a funny concept, but again they've worn out their concept (I think the butts are the one part of the show that got TOO weird), and the writers feel way too enamored of their creation. 

Doesn't help that it feels like the writers had trouble fitting in the butt subplot. There's so much going on that things may feel rushed and that not every concept may get its due. Also, be prepared that some of the supporting characters you've grown to know may not get as much time as they should. The writers focus on the main cast almost to a fault.

Recommended. Yeah, they definitely could've cut down on the characters feeling bad about themselves, but this remains a truly unique experience and deserved send off for the show. I shall miss it, but I'll remember the good times. 

Loki- Season 2 (Final?)

9.5/10

In the second and probably final season of Loki on Disney+, Norse god Loki (played by Tom Hiddleston) tries to save the fate of the TVA (The Time Variance Authority).

I mostly liked the first season, which was pretty inventive and the look to the headquarters of the whole TVA was so unique, but I had my criticisms. The story felt a little dragged out, there was too much organizational shadowiness, and though it was fun to see the narcissistic Loki in a situation he didn't have control over, it became exhausting to see him be under the foot of one constant bad situation after another. This season though, it has all the strengths of season one but none of the weak points. (Also, if you were disappointed with the cliffhanger for season 1, it pays off a lot better than you'd suspect.)

This is nothing but great sci-fi creativity, excellent set design (I love the window shots of the massive retro-futuristic world of the TVA so much), and wonderful characterization. The human drama and stakes are so well done here. The finale with the exception of Avengers: Endgame is the best ending in the entire MCU.

Loki continues to be the main strength to this show. Here, the writers have worked most of the redemption stuff out of the way, and for all of those who saw potential for good in Loki, this really paid off. Hiddleston delivers a fantastic performance as a focused and serious-minded Loki trying to do the right thing despite all the odds. His relationship with TVA agent Moebius (Luke Wilson) continues to result in one of the best duos in television history. Wilson delivers one of his best performances, and Moebius' everyday ability to be congenial even alongside someone like Loki works so well. 

The writers seemed to like TVA desk jockey Casey (Eugene Cordero, who's one of those comic actors who's popping up more and more) enough that they upped the role, and he works well when given more serious material to work with. There was always something a little suspicious about Miss Minutes (voiced by prolific voice actress Tara Strong), the TVA's holographic AI in the form of a 1950/60's cartoon clock (brilliant idea by the way), who started to seem a bit suspicious as to her motivations last year. Here we understand what makes her tick as she's become an antagonist and makes for a rather interesting character (although they don't spend much time with her.) I also felt they did a better job with the characterization of rogue TVA judge Ravonna Renslayer (Belle's Gugu Mbatha-Raw) and her motivations.

We get a couple new characters. Ke Huy Quan, whose stock has really risen since Everything Everywhere all at Once, is the TVA's science guy Ouroboros. Quan brings his trademark likableness as the guy who is way too easy going with what's going on.  Jonathan Majors plays yet another variant of the multidmensional warlord Kang, scientist Victor Timely. You're curious as to what role he will play in everything as you're sort of charmed by the smart but awkward man, but know that he has the potential of going bad.

The only weak point to this is that sometimes, especially with the last episode, the writers are trying to be a little too clever with the time travel laws. It can be a little confusing.

Highly recommended, this is one of the best recent MCU entries and one of THE best period. This is just six hours of pure entertainment and superb storytelling.

The Marvels

8/10

In this sequel to Captain Marvel (and follow-up to the shows Wandavision and Ms. Marvel), Captain Marvel/Carol Danvers (played by Brie Larsen), Monica Rambeau/Photon (Teyonah Parris), and Ms. Marvel/Kamala Khan (Iman Vellani) find their powers connected as they start switching locations as they use their powers. To further complicate things, they must deal with Supremor Dar-Benn (Zawe Ashton), a member of the Kree Empire who has a vendetta against Captain Marvel.

This is like Ant-Man and the Wasp. It's not the hardest hitting of MCU stories, but it makes for pretty fun viewing and is very watchable. "Breezy." That is what this movie is in a nutshell. Marvel took it to heart that the first Captain Marvel film, while I thought was a good movie, didn't have quite the personality as other Marvel movies, and that Captain Marvel did feel a little wooden. Here, you've got a good sense of humor and world building. I really digged the alien planets the Marvels went to. The visual designs are typical Marvel quality.

Some may accuse this of following the Marvel formula, but it's the Marvel formula done well, and I felt this was the best of the "light" entries in the post-Endgame MCU. Whereas Ant-Man & the Wasp: Quantumania felt like its alien world (although it didn't happen in space, it was basically an alien world) was too derivative of previous Marvel films and its various weird characters felt tacked on just to add new weird characters, here things feel more natural and thought out.

Now there are a few moments where Larsen's delivery is still a little flat, but she's a lot more lively here. The writers, like they did with Chris Hemsworth in the Thor movies, realize Larsen is better when she's given a chance to be funny. She's at her best when she's reacting to the insanity and people around her.

I know everyone else is already saying it, but Ms. Marvel really is the best part of this. Her ernestness, sheer optimism, and constant fangirling over Captain Marvel steals every scene she's in. Vellani outshines her two older, more experienced co-stars. The movie also retains Khan's family from her mini-series, and it's fun to watch regular people deal with space-based insanity.

Editing does feel a little choppy, especially in the first third. The switching places felt a little sloppy in the beginning, like they had trouble wrangling all the multiple scenes. Also, it felt like stuff was definitely cut.

The beginning does rush a little. We're immediately thrown into the big threat, and I would've liked a little breathing time to introduce the characters with. It's easier to get into this if you've seen the three previous projects for the characters. All their powers and backstories are explained, but they're done very quickly.

Though Kamala's brother Aamir (Saagar Shaikh), has some solid one-liners, he is one character too many in this. He didn't need to become involved. (He doesn't live at home with his family. He just happened to be there when things went nuts.)

A lot of people complain about Dar-Benn being a weak adversary. I don't know about that. Sure, she's not Loki or Thanos, but you understand her backstory and reasoning. (She's still better than the Dark World and Dr. Strange villains). I felt Ashton was doing her best in the role, and I'm loving the look they gave Dar-Benn. Admittedly, the character, especially near the end, could've been better utilized.

Recommended. It may be the Marvel formula, but this is a genuinely fun film and worth seeing for Ms. Marvel at least.

Star Trek: Lower Decks- Season 4

8/10

The lower decks gang from the U.S.S. Cerritos face new chapters in their lives and a mysterious new threat and welcome new crew member Vulcan T'Lyn (voiced by Crazy Ex-Girlfriend's Gabrielle Ruiz).

The show remains consistently entertaining as the episodes remain varied and distinct, and the writers continue doing a great job making use of and paying  homage to Star Trek lore. What I like about this show is that the characters don't remain stagnant and there is actual growth. (They finally tackle a couple plot points that arguably the writers may have been putting off for a little too long.) I especially appreciate the growth in the case of Mariner (Space Force's Tawny Newsome). She was too controlling at the beginning and destructive, but the show has acknowledged she's on a journey and she's gone through so much development. There's a continuing subplot is a mystery. It keeps you guessing as to what's going on and the explanation pays off pretty well.

The character of T'Lynn, who's a bit of a rebel/goes-with-the-gut-type by Vulcan standards was first introduced in season 2. It was hinted she was going to join the crew since then, and it's finally happened. The execution meets expectations. For a new addition, she fits in flawlessly. She's sort of the straight man to the rest, but she's also understanding enough of the characters that she gets along with them pretty well.

Animation remains strong. It continues to be colorful and the action is really fluid this year.

The main voice cast remains great. Newsome is really on her a-game this season. All her lines sound so natural.

Highly recommended. It's another funny season that's a real treat for Star Trek aficionados.

Five Nights at Freddy's

7/10

In this new movie adaptation of the popular video game series that is airing simultaneously in theaters and on Peacock, Mike (played by the Hunger Games films' Josh Hutcherson) gets a job as a security guard at the closed down family restaurant Freddy Fazbear's Pizza where there is more to the dormant animatronic characters than first meets the eye. (I assume this takes place over five nights. I didn't count. I'll take the film's word on this.)

When it's being scary, the film captures what makes the games work. The animatronics, created mostly through practical puppet suits created by the Jim Henson Workshop, are unsettling, feeding on the fact that there is something uncanny about how animatronics move in an uncanny valley way. These characters were originally created on a low budget years ago and their designs were made to be simplistic and something that works in a video game. Some can make the argument that they don't look as close to the classic animatronics of the Show Biz Pizza/Chuck E. Cheese era, and that a game or movie could've been more scary if you had something like one of those. However, Fazbear and friends do have something about their simplicity and blocky appearances that feels imposing even when they're stationary.  

This isn't one of those movies that rely on characters in the shadows and the less-is-more formula. You see the animatronics a lot, and it works in this situation, because the constant hint of menace beneath the character's faces always intimidates. The kills in this are well done, and director Emma Tammi has a nice visual eye. I particularly like how the opening credits are: a solid way of delivering exposition while staying true to the feeling of the games.

The biggest downside of this movie is that the scary parts are few and far apart and there is a LOT of plot and backstory. The movie is fair to the lore of the games. However, the games slowly teased the backstory over several installments. Here, way too much is thrown at you. I think most would've preferred the simplicity of mostly taking place at the restaurant and having Mike just try to survive. Speaking of the guy, Mike has a dark past and present day personal troubles and has way too much on his plate. The movie could've cut down on all the personal issues. There are also a few plot holes.

That having been said, the script mostly works and I wasn't turned off. (You can't accuse this horror film of choosing style over story.) There are also a couple funny bits. 

The backstory to this movie does get dark. If you don't like violence against children, this won't be for you.

Hutcherson is convincing as poor Mike. He isn't in this much, but "why-isn't-this-guy-in-more-things" Matthew Lillard is clearly stealing the show with his delivery as the employment counselor Mike works with. You's Elizabeth Lail plays a cop that befriends Mike. She gets some of the worst dialogue and motivations to work with and while she isn't bad, she just isn't able to fully make it work.

Kinda recommended. The over-exhibition and darkness of the film won't be for everybody, but when it works it works, and I can honestly say that it does a have a bit of a different feel than a lot of other films.

South Park: Joining the Panderverse

8/10

In this new South Park special on Paramount+, the South Park boys face the threat of their universe merging into one where are all the cast are multicultural women. 

This may be one of the show's cleverest satires in the last few years.  It pokes fun at both Disney movie pandering and those who get upset at anything the slightest bit "woke" at the same time and how a lot of franchises are taking advantage of the multiverse craze. Creators Trey Parker and Matt Stone, much how they expressed their dislike of Family Guy and its reliance on cut-away jokes, deliver some probably honestly held beliefs of theirs about the overextension of multiverses through the South Park boys' dialogue. I appreciate that they are nuanced and not 100% one-sided when addressing the topics.

The writers were clearly having fun with the "woke" South Park universe idea. It's particularly funny seeing all the kids being played by adults who speak the exact same way the kids would. Stuntwoman Janeshia Adams-Ginyard, who also plays one of the Dora Milaje in the Black Panther movies, voices Diverse Cartman. Her delivery of Cartman's lines is pretty funny. She's not mimicking his unique cranky voice, but she gets all the nuance of his selfishness down flat. Kenny's muffled voice usually hides the fact that his dialogue is the dirtiest of the main quartet. Diverse Kenny (Diana Lauren Jones) has no coat covering her mouth, and seeing a woman sincerely delivering all of Kenny's dirty, hormonal boy dialogue makes for a fun time. Montana Jacobowitz completely nails Butters' gullibility and anxiety. Cartman (Parker) is sorta the main lead and again one of the funniest aspects of the show. He's best when he's his most paranoid and obsessive. Cartman's crazed, racist over-the-top fears of being replaced by diverse women are pretty entertaining as we see how increasingly desperate he gets.

The only downside to this is that the show really should've dipped its toe into the whole multiverse thing a lot more, and it felt like a lot of jokes and potential was left on the table. Thing is there's a B-plot. (It's not really mentioned in the promotional material, so I won't spoil the surprise of what it's about.) The satire of it is sound but just isn't as funny as the a-plot. It could've been its own half-hour episode. Plus, it stars Stan's dad Randy (Trey Parker), who I feel is really overexposed recently.

Recommended. Another prime example of the show's satire and both-sides, Libertarian-esque humor.

The Fall of the House of Usher

9/10

In Mike Flanagan's third limited Netflix horror series based on a popular house-based work of fiction (and probably his last since he has signed a deal with Amazon), we get an adaptation of Edgar Allan Poe's short story The Fall of the House of Usher as well as several other of the author's other works. After suffering a great tragedy, CEO of the powerful pharmaceuticals company Fortunato Roderick Usher (played by Thirteen Days' Bruce Greenwood) invites his nemesis district attorney Auguste Dupin (Alias' Carl Lumbly), who's been trying to get him charged for various criminal activities for decades, for a confession. In it, Usher recounts what befell him and his family and why.

This is an interesting departure from the last two house shows. Whereas those were more typical haunting shows with low body counts, this one's rather different. Body count's high here and the show is far more violent. (Perhaps this is Flanagan's reaction to criticisms about his previous show The Haunting of Bly Manor which is more psychological and the least with straight scares.) There is one kill in particular that is EXTREME and not for everyone.

Whereas the previous shows were about basically good people in bad situations, the Usher family, which are obvious parallels for the Sackler family, the ones responsible for the opioid epidemic, are mostly the opposite. This is one of those morality tales where bad people have things happen to them that are equivalent to their trespasses. Flanagan has always been big on characterization, and he does a solid job of making ourselves understand how the Ushers turned out the way they are. The two major strengths to FotH are getting to know the rich, diverse cast of characters and predicting how the next over-the-top death will happen.  One may argue that it's a bit lazy of Flanagan to focus most of the episodes around specific Poe stories, but he does a superb job of updating them to modern times.

Most of the dialogue works in this. However, there are a few speeches given by characters where it does not feel natural and is just Flanagan trying to too hard to get a message across.

As with most Flanagan productions, we get a great cast, including many of the the director's regulars. Originally, Frank Langella was cast to play the Usher Patriarch but got fired for repeated inappropriate comments. I won't lie that I would've liked to see what could've been with Langella's trademark bold voice and performance. (Not to defend him. He was warned to stop, and he still kept on.) However, Greenwood is a veteran actor and he does an awards-worthy performance as a complex, nuanced character. The man's expressions can say so much with so little effort. One of the best parts of this show is the framing device of Greenwood's conversation with Lumbly: two talented men working off of each.

Best performance probably goes to Carla Gugino as the mysterious woman involved with the Ushers' misfortunes. She utilizes multiple disguises in this and its impressive how the actress slips into various personalities.

A surprise casting for this was Mark Hamill as the Ushers' lawyer/fixer Arthur Pym. The actor has been popping up in live-action more often these days, but it still feels like the movie/TV world often still doesn't know how to properly utilize the guy. I think this will be considered alongside The Big Red as one of his best works outside Star Wars. He plays the guy who knows where the bodies are buried; the one employee the spoiled Usher children know you don't mess with. Hamill brings to life a no-nonsense, smart character but who also has a bit of humor and personality to when he is faced with the unexpected. There's a discussion in this that is arguably one of the best performances he has ever given.

Highly recommended. I'd say this is the second best of the trilogy. Hill House has the better scares but the difference between the quality of these two is not by much.