THE VAST OF NIGHT (2019)

A nice, simple little scifi thriller with the look and feel of an early Cold War-set episode of STRANGE TALES or THE TWILIGHT ZONE.

Does a great deal with very little, and has some really creative camera work that beautifully describes the distances around a small town somewhere in 1950s America.

Some incredibly long and seamless shots and two extremely charismatic lead performances, but to say anything of the plot would be to ruin the tone and the expectation it so wonderfully builds with steady, thoughtful pace. Could have perhaps gone a little further with some of its more creative reaches to really elevate itself it greatness, but I’m not going to hold that against it since restraint stops it tipping over into gimmicky and helps it feel authentic.

Recommended — don’t read anything up about it!

GOOD OMENS (2019)

While the main thrust of the plot may be about a mixup of the Antichrist at birth and his coming into his power at the cusp of the apocalypse, the real shining heart is the friendship between an angel and a devil who are both terrible at their jobs.

Seldom is casting so fantastically on point as Michael Sheen and David Tennant, so much so that I almost neglected to shoutout the rest of the cast performances. It’s hard not to think of these two as Aziraphale and Crowley, harder still not to believe that they’ve been friends for centuries.

I’ve not read the book but the adaptation has all the hallmarks of a Gaiman/Pratchett collaboration: smartly funny absurdist wit, good pacing and a soundtrack by Queen. So, a quintessential British comedy miniseries.

Recommended.