Sure, the CGI is distracting, the cast is a mix of flat and overused or charismatic and underused, and the mystery is eminently guessable from the first few scenes, but…
…well, there is no “but”. Much as I like Branagh, his Poirot is at his best in the opening flashback before being largely set aside until it comes time to start throwing around accusations in the final act.
Honestly, I worked out the guilty before the murder had even taken place, and was only briefly diverted from my confidence by thinking maybe there was a meta-twist that I wasn’t considering. Solving the mystery early isn’t in itself problematic—it’s arguably the point of a mystery thriller—but unfortunately there isn’t any real sort of tension or curiosity drawn out.
Passable light entertainment, but there are far, far better whodunnits out there.
The writing is terrible, the direction is terrible, the characters are terrible, the vfx are terrible, the acting is terrible, the adaptation is TERRIBLE.
And worst of all, it doesn’t even have the decency to be fun. Just excruciatingly boring from start to finish, with the worst creative decisions made at every conceivable turn.
I couldn’t even be bothered painting anything for the review, so enjoy my warning scrawled with my left hand.
Another cracking season from one of the best shows on television.
It’s surreal, hilarious, meandering, thoughtful, unexpected, harsh and subtle, often all at once. Whenever you think you have a handle on things, it just zags around you in really wonderful and creative ways.
This season has the primary cast (Donald Glover, Brian Tyree Henry, Lakieth Stanfield, Zazie Beetz) on tour in Europe — this time tackling new success and the same old bizarre tics of humanity. There seems to be even less of a focus on Glover’s Earn this time around, which only gives the rest of the cast more time to shine.
Every episode is its own self-contained story, every one of them is a strange little gem. There’s no real moral lessons: it’s just odd and messy and human.
Oh, and there are some fantastic unexpected cameos throughout.
Really, the worst part about this show is that there’s only one season left.
Every once in a while a film comes along that works as a perfect distillation of a bygone era, and X is just that.
Lean, economical horror executed in perfect reverence of 70’s exploitation horror movies, while putting its own spin on audience expectations and overworn tropes on sex in horror.
Camerawork, production design, SFX and performances are all exceptional — exactly hitting the tone and style of a forgotten slasher flick, but with all the benefit of decades of hindsight.
Gory, titillating, hilarious and fun. If you’re a genre fan then you won’t want to miss it.
Unsettling A24 folk-horror, with fantastic production value and a third act that will split audiences entirely in half with how little it decides to explain itself.
Thematically, it’s very plainly about the abuses that men visit upon women and how they trap them, but it’s how it refracts this idea into vague abstractions and the supernatural that make it symbolic, creepy and grotesque.
There’s a good deal of confronting imagery, a bunch of body horror, plus depictions of stalking, gaslighting and psychological/emotional abuse that will turn a lot of people off immediately.
It’s confusing and oblique, while also being very direct and almost literal. An extremely subjective movie that I enjoyed a lot, and will spend a while trying to entangle exactly what the fuck happened.
More of an archeological adventure with superhero elements than a straight superhero show.
Definitely draws some influence from the 90s version of The Mummy, and the globe-trotting adventures of National Treasure and Indiana Jones. As such, it feels very disconnected from the rest of the MCU, but this only works to its own benefit.
Oscar Isaac is really giving everything to his performance, split between two distinct personalities at odds with one another while in the service of the Egyptian god of vengeance.
It’s this focus on character, while using the capes and magic stuff as set dressing, that puts this a cut above the rest. It’s short too, coming in at just six episodes, so it packs everything in without overstaying its welcome.
No prior knowledge of any other Marvel stuff required, just a fun standalone little adventure. Hopefully more of the Disney+ shows work to this kind of structure.
Messy and weird, with Sam Raimi’s fingerprints all over it.
Yep, Marvel finally actually let a director push out against the edges of its age rating. It’s got weird camera angles, honest-to-goodness horror, and actual gore! This is absolutey the least kid-friendly of any MCU—at times genuinely disturbing and frightening.
At its best when it’s at its most Raimi. Some really fun and creative sequences, mostly packed into the back half. Suffers from some pretty blunt exposition and clunky dialogue, but it’s aiming right for that sweet spot of hammy and cheesy, and mostly lands. It’s kinda schlocky!
As a multiverse film it’s… surprisingly underwhelming? But coming off the back of the absolutely exceptional masterpiece that is Everything Everywhere All At Once, any multiverse film is going to feel lacking. There’s the usual rollout of Marvel cameos and teases, but here it doesn’t feel so much like an obligatory setup for the next set of films as it does an excuse for some ridiculously violent action sequences spiced up with fan service. Honestly, I wasn’t blown away by the four or five big cameo appearances (beware spoilers online!), but it also didn’t feel like it was trying to drop them as gotchas so I kind of appreciated that. Ends up meaning far less for the MCU going forward than I was expecting, but that’s actually good?
Overall, a big fun carnival ride. It’s different enough from standard superhero fare, while also feeling like a distinctly superhero film. Danny Elfman’s score really elevates it into this too, and there’s a few sequences with really fun use of music in the action.
Deviation from MCU norms mean that it won’t be for everyone, but those out-there moments are when it really shines. I’m curious to know how successful it’ll be, given the focus on horror elements, and I’m glad they actually took a chance in this direction for once.
Unfocused but nonetheless enjoyable followup to a stellar first season.
Natasha Lyonne puts in an absolutely killer effort to a strange, meandering season of an overall great show. She’s a treasure.
The emotional through-line resolves itself much later and less clearly than the first season, choosing instead to reach for a broader scope and losing some of it’s razor edge as a result.
Still, it’s quick and punchy and all the performances are excellent at holding up a messy time-travel concept.
Loved it, even if it didn’t have the same kick of the first season. Third season welcome.
Strap in boys, new hypermasculine ideal just dropped.
A bloody, visually stunning Nordic revenge epic.
As much as Eggers’ previous masterpiece (2019’s The Lighthouse) was a thesis on masculinity, this is all of that dialled up past eleven. This particular time and place in the world is more brutal and cruel, and so the protagonist must match it on all fronts in order to exact his revenge.
Alexander Skarsgård is a terrifying presence throughout; absolutely enormous, animalistic and violent—not so much a human as he is an archetype, an icon.
While it’s mythic and blunt, there is still an elegance and economy to The Northman that sets it above and beyond a standard action flick. It feels incredibly tangible and authentic, even when dabbling in mysticism and legend.
Astoundingly well shot, brilliantly performed, exceptional worldbuilding. A definitive modern “historical” epic.
NERVE.SQUID.PILOT 