Howe's World of Film and TV

Barb and Star Go to Vista Del Mar (2021) – Review

A Lionsgate Picture, Written by Kristen Wiig, Annie Mumolo, Directed by Josh Greenbaum.

Lifelong friends Barb (Annie Mumolo) and Star (Kristen Wiig) embark on the adventure of a lifetime when they decide to leave their small Midwestern town for the first time ever. When they are in Vista Del Mar, the friends are swept up in romance, adventure, and a villainous plot to destroy the entire resort. It is Wiig and Mumolo’s first co-writing credit together since the Oscar nominated Bridesmaids (2011), and they star in the film together too, alongside Jamie Dornan. It is from director Josh Greenbaum and due to the Covid-19 pandemic, is skipping theatres and going directly to PVOD.

For the first 40 or so minutes of this film, it feels like an extended and very bizarre SNL sketch, with Wiig and Mumolo doing some really specific character work and the plot being so all over the place, that despite a few laughs, it isn’t overly clear if the film will come together and work. This all changes however, when Barb and Star meet Edgar (Jamie Dornan), in a hotel bar and go on a wild drug fuelled night of dancing and sex. The montage that they use to portray this is really effective and entertaining, and from this point on, the film and its absolutely ridiculous plot, all click into place and it never looks back.

The moment that is currently taking the internet by storm, and quite rightly so, is sudden sequence where Jamie Dornan’s Edgar breaks out into song and dance to express his feelings, leading him on an epic, music video style sequence on the beach. Dornan completely commits to the ridiculous lyrics and actions, and the song itself is actually very catchy so it does not leave your head. It is a scene of such unbridled joy and strangeness, exactly the sort of thing we need to see right now, and the song itself should’ve been submitted for Oscar consideration, and in my opinion, been a real contender to win.

Speaking of Jamie Dornan, a man who went from terrifying serial killer on the small screen to mocked heartthrob on the big screen, this feels like exactly the change of pace his career needs. It gets him back in the mainstream public eye, but with a much more positive and fun perception that could really open the door for different types of roles. It is understandable that he seems to be taking the limelight in terms of internet attention, mainly because this type of campy and committed performance is not something we have seen from him much, and he really shines.

However, it is important to remember that the only reason he is able to shine like that is Wiig and Mumolo. From a simply acting point of view, the pair are both great and do some very specific character work in order to create ‘Barb and Star’. Mumolo has a great ability for physical comedy, which they really use as much as they can here, and she is a great foil for Wiig. As for Kristen Wiig, who is the biggest name here and also the most talented actor, she really comes into her own as the film goes on, with her comedic timing remaining as perfect as ever and her ability to play a scene naturally one minute and then incredibly campy the next making her perfect for the dual roles she takes on.

On their writing, this is a huge departure in tone from Bridesmaids, but it still has the same feeling that this is entirely their voice and exactly the project they wanted to make. The world is so unique and flashy, full of ridiculous characters and dialogue, that only two incredibly confident writers would create it and not be intimidated by a potential backlash. It feels very much like a spiritual sequel to the Austin Powers movies in many ways, some of those I won’t give away so that Barb and Star can keep its secrets intact, and while those films are not for everyone, it is nice to have some more variation in the currently struggling genre of studio programmer comedies.

Overall, Barb and Star Go to Vista Del Mar is far from a masterpiece and is unlikely to be for everyone, but it features some great performances, a memorable music number, and some real hearty escapism in a time when we need that more than ever, so it is a roaring success for what it sets out to do.

Rating = 3.5/5

Judas and the Black Messiah (2021) – Review

A Warner Bros Picture, Written by Will Berson, Shaka King, Kenny Lucas, Keith Lucas, Directed by Shaka King.

“You can murder a liberator, but you can’t murder liberation. You can murder a revolutionary, but you can’t murder revolution. And you can murder a freedom fighter, but you can’t murder freedom!”

Judas and the Black Messiah (2021) tells the story of Bill O’Neal (Lakeith Stanfield), who following an arrest is offered a plea deal by the FBI, to infiltrate the Illinois chapter of the Black Panther Party and gather intelligence on Chairman Fred Hampton (Daniel Kaluuya), who the FBI fear has the potential to become a ‘Black Messiah’ that could unite an uprising. As O’Neal and Hampton grow closer, the net closes in on both men as events begin to come to a boiling point, and the authorities tighten their stranglehold on society. It is produced by Ryan Coogler and directed by Shaka King. It also co-stars Dominique Fishback, Jesse Plemons, Dominique Thorne, Ashton Sanders, and Martin Sheen, among others.

The film is very tightly made, getting straight into the action with no unnecessary baggage and the characters and plot dynamics are established quickly and effectively, so that we waste no time getting into the real meat of the story, which is showing the work of the Black Panther Party, and in particular, the build up and reasons for Fred Hampton’s assassination at the hands of the FBI.

In a move that is refreshing for this type of film, it makes it very clear that the FBI and the authorities are the real criminals here and does not try to make it a ‘both sides’ issue, and even though for decades in American filmmaking the FBI has been instantly seen as the good guys, here as soon as you see them, your heart drops for what will happen at their hand. It is very openly anti-cop and makes it clear that the FBI feared Fred Hampton and the way in which he could unite people from all backgrounds and beliefs, behind one unified cause, and that is why they assassinated him.

On a filmmaking level, the film is very impressively crafted, and all of that starts with director Shaka King. He has a very clear vision for the film he is making and what he wants to say with it, and that comes through on the screen. The script isn’t perfect, in some spots it adds unnecessary subplots at the expense of time spent with the main characters, but in general it is some good work, feeling very polished and always pushing the story forward, never just standing still. The film also features impressive cinematography, and while it isn’t the flashy style that usually wins awards, it is very strong all the same. Another key aspect of the film, and one which helps ratchet up the tension throughout the film, is the sound design, and it is some of the best work in this field of the year.

One aspect of the film that does in many ways feel like a missed opportunity, despite how brilliant the cast was, is that the actors portraying Hampton and O’Neal are around a decade older than the real people. O’Neal was only a teenager when he was recruited by the FBI and sent in to the Black Panther’s as a mole, and Fred Hampton was only 21 years old when he was killed. It is often the case in biopics like this that the actors are significantly older or younger than the real-life people they are portraying, and that is the case here too. The effect that it has is how we see the characters, Hampton in particular. He is shown as a seasoned and thoughtful man who has seemingly been fighting and leading this struggle for years already. In reality, he was a remarkable revolutionary, a young man that still managed to create a rainbow alliance that threatened the very core of the establishment, meanwhile still forging his way through a transformative time in anyone’s life, and also having a young family on the way. By taking away the youth of these people, the story does slightly lose something that it can’t quite regain, even if it tries to keep calling them “kids”.

However, despite raising that point, it doesn’t take away from the fact that some of the performances here are the finest you will find in any film this year. The supporting ensemble often do not have too much to do, but especially the likes of Dominique Fishback, Jesse Plemons, and Dominque Thorne, all really make the most of their roles and do exactly what they film and story requires them to.

This is very much a two-hander, even if it is told from the perspective of O’Neal, and both leads do amazing work. Lakeith Stanfield has the less flashy of the two roles, but it is no less important, and he absolutely delivers. It is key that he can make us engaged with the internal struggle of this man who we know is about to commit the ultimate betrayal, and he manages to do that with ease, showing again how he is one of the most versatile character actors of his generation.

As for Daniel Kaluuya in the role of Fred Hampton, it is hard to praise him enough. In what is very much a co-lead performance, not supporting like he is being campaigned, Kaluuya completely transforms into Hampton, down to the voice and mannerisms, and disappears into the role. When he delivers some of Hampton’s iconic speeches, you cannot take your eyes off the screen, and the audience is as gripped to Kaluuya as the crowds were to Hampton in them moments. As well as this, he also manages to add a human side to him outside of just being a ‘figure’, and in the more-quiet moments, we see him as just a young man trying to care for his family and make a difference in this world. One of the performances of the year.

Overall, Judas and the Black Messiah establishes itself as one of this Oscar seasons best movies, and one of the finest biopics in recent years. There are small nit-picks with the film that I have expressed, but on the whole, I was incredibly impressed with most elements of this film and how it was executed. The text that comes up at the end is some of the most chilling information delivered on screen in a long time. It never backs down from what it is saying about society or specific organisations, and it tells an important story that sadly still far few people actually know about.

“I’m going to die for the people, because I live for the people! I live for the people, because I love the people!” – Chairman Fred Hampton

Rating = 4.5/5

Fleabag Season 2 (2019) – TV Review

“This is a love story.”

After adapting her one woman play Fleabag into a hugely successful series for the BBC and then also creating the smash-hit Killing Eve, Phoebe Waller-Bridge seemed to have the world at her feet, and she was persuaded to come back to write a second and final season of ‘Fleabag’. The pressure was on, but she not only lived up to season one, but massively surpassed it and created one of British TVs finest ever seasons of Television.

‘Fleabag’ is quite rightly classed as a comedy, as it features some of the funniest one-liners and comic situations you will find on TV, but the reason that it has always risen above the rest is that perfect ability to balance comedy with deeply emotional and human moments, full of grief and pain. The show is as much about the drama and the slow unravelling of the psyche of Fleabag (Phoebe Waller-Bridge) as it is delivering jokes, and that is why people connected so much with the first season. It felt very much like a clear arc through the six episodes and that we had reached a natural conclusion to the story Waller-Bridge wanted to tell, and that was why there was confusion and slightly mixed feelings when she announced that she would be returning for a second and final season of the show. Obviously, there was huge anticipation because of the quality of the first season and of Waller-Bridge’s other work, but there was also some worry that it could be just a cash-in and that it would tarnish what was achieved with the first season.

However, there should never have been any doubt, as what we get not only lives up to the previous season, but builds on it and surpasses it in many ways, and ends up being one of the finest seasons of TV ever made. We start the season a year after the events of season one, and the family is reunited at a dinner party in a restaurant to celebrate the engagement of Father (Bill Paterson) and Godmother (Olivia Colman), and the whole episode is pure perfection. Like a stage play on steroids, it continually ramps up the tension and the comedy, with a huge development in the relationship between Fleabag and Claire (Sian Clifford), and the key introduction of Priest (Andrew Scott), who will have a huge impact on the season. There is unlikely to have ever been a first episode of a new season of TV that is this good, so tightly wound and ready to explode at any moment, working as a perfect standalone piece of entertainment and also as a perfect launching pad for the season.

I could talk for hours about all the individual plot points, performances, and character developments, but it would be much more beneficial in that case for the reader to just watch the show, without knowing everything. Instead, what I want to look at are some of the particular themes Waller-Bridge pursues with her writing here, and why they are so impressive, and brilliantly wound together. There are many different characters and plotlines, but the two big through lines of the season are Fleabag’s relationships with two people, her sister Claire and with the Priest.

Andrew Scott arrives in season 2 as the ‘Hot Priest’ and completely changes the dynamic of Fleabag’s current situation, and of the show. The pair of them have an instant sexual chemistry, a simmering tension that leaps off the screen and once they are no longer on screen, it leaves the audience almost breathless. A scene in a church confessional in particular is one of the most tense and sexual scenes on tv in many years. Both Fleabag and Priest are facing internal battles throughout, and their desire and love for each other only further complicates that for each other, but it is also obvious how perfect they are for each other. In a move that shook fans to their core, Priest actually notices Fleabag talking to the camera at times and questions her on it, becoming the only person throughout the show to do that. It creates some memorable jump moments for the audience, and is also another brilliant layer to their relationship. The reason he is able to see this is up for people to debate and interpret their own way, whether it is his religion, or something else, but I interpreted it as him being the only person who saw every side of her and actually took notice. Their relationship is full of pain and sadness, but it is also exactly what they both had to go through at that specific time.

The relationship between Claire and Fleabag was explored quite a lot in season one, but much more in order to create comedic value, placing the highly strung and organised Claire with a sister who is wild and unpredictable, and seeing how long it takes for her to crack. This season however, the relationship is explored on a much deeper level, as they are both going through big life changes, specifically within their relationships and also with witnessing their dad getting married again after the death of their mother, and they find solace in each other. It quickly emerges that despite all the sex and romantic relationships that take up the focus of the show, the real love story at the heart of the show is the one between Claire and Fleabag. Claire’s line to Fleabag in the finale, “You are the only person I would run through an airport for”, is one of the most openly earnest moments in the show and perfectly emblematic of the relationship between the two, and how it is actually the emotional through line that runs between both seasons.

The cast are all extraordinary, every member, including the more supporting cast like Olivia Colman, Bill Paterson, and Brett Gelman, who are all brilliant when required. Clifford deserves all the awards and praise in the world for her deadpan line-deliveries and genius facial expressions. She makes Claire into a fully rounded and deeply engaging character, who at times really threatens to steal the entire show. Andrew Scott arrives on this show like a bolt of lightning, bringing a unique energy into every scene and challenging the very core dynamic of the show. However, despite all the star power and great performances, this show belongs very much to Phoebe Waller-Bridge and she remains the stand out. Whether it is her pitch perfect line-deliveries, her sharp glances to the camera, the deep and conflicting emotions evident at all times. Waller-Bridge is clearly so close to this character in every way, her writing so perfect and her delivery of it so precise. The role of a lifetime and it was one she made for herself.

There have been many much more in-depth and impressive essays written about this show, and many of which are really worth a read because they offer more detailed examinations of the themes and decisions that go into this season. I think it is unquestionably one of the most effecting and simply best seasons of Television produced in a long time, and despite all the hype that has built up around it in the years since it premiered, it still lives up to each and every one. For people who love this, an even more recent piece of work that is equally as fresh, personal, and evocative is Michaela Coel’s I May Destroy You (2020). Very rarely does a show like Fleabag come around, and I think it should be treasured. The final scene is far from a happy ending, it is actually an emotional gut punch, but it is also very much the clear ending, Fleabag has reached a new stage in her life, she is able to walk away and no longer needs to audience anymore. She is at peace.

“I think you know how to love better than any of us, that’s why you find it all so painful”

Rating = 5/5

SXSW 2021 Line-Up – 10 Initial Standouts

Yesterday, the line-up for 2021s SXSW festival was announced, and I have searched through the great array of content to select 10 of the initial standouts to look out for. The festival, due to the Covid-19 pandemic, will be online this year and I will be providing in-depth coverage throughout March. As usual with SXSW, the festival will present a wide variety of genre fare and content from across the mediums, and it will be fascinating to see it come together. Many of the standouts this year are either music documentaries, or TV content, but there are also some really fascinating narrative features too.

Demi Lovato: Dancing with the Devil (Opening Night Film) (Documentary)

“Demi Lovato: Dancing with the Devil is a powerful YouTube Originals documentary event, exploring every aspect that led to Lovato’s nearly fatal overdose in 2018, and her awakenings in the aftermath.”

Tom Petty, Somewhere You Feel Free (Centrepiece Film) (Documentary)

“Drawn from a newly discovered archive of 16mm film showing Tom Petty at work on his 1994 record Wildflowers, considered by many including Rolling Stone to be his greatest album ever, Somewhere You Feel Free is an intimate view of a musical icon.”

Alone Together (Closing Night Film) (Documentary)

“Charli XCX, a popstar in quarantine, embarks on a whirlwind creative and romantic journey while making an album in 40 days that unites a community around the world.”

The Fallout (Narrative Film)

“High schooler Vada navigates the emotional fallout she experiences in the wake of a school tragedy. Relationships with her family, friends and view of the world are forever altered. Cast List: Jenna Ortega, Maddie Ziegler, Niles Fitch, Will Ropp, Lumi Pollack, John Ortiz, Julie Bowen, Shailene Woodley”

Introducing, Selma Blair (Documentary)

“Introducing, Selma Blair is a deeply intimate and raw portrait of the actress after she is diagnosed with Multiple Sclerosis and makes a valiant, risky effort to try to slow the progression of her disease. For the acclaimed, yet often supporting actress, her starring role has finally arrived – she just had to show up and fully embrace herself.”

Language Lessons (Narrative Film)

“A Spanish teacher and her student develop an unexpected friendship. Cast List: Natalie Morales, Mark Duplass, Desean Terry, Christine Quesada”

Swan Song (Narrative Film)

“An aging hairdresser (Udo Kier) escapes his nursing home and embarks on an odyssey across his small town to style a dead woman’s hair for her funeral, rediscovering his sparkle along the way. Cast List: Udo Kier, Jennifer Coolidge, Linda Evans, Michael Urie, Ira Hawkins, Stephanie McVay”

How it Ends (Narrative Film)

“On the last day on Earth, one woman goes on a journey through LA to make it to her last party before the world ends, running into an eclectic cast of characters along the way. Cast List: Zoe Lister-Jones, Cailee Spaeny, Nick Kroll, Olivia Wilde, Helen Hunt, Lamorne Morris, Fred Armisen, Bradley Whitford, Charlie Day, Whitney Cummings”

The Girlfriend Experience (Television)

“The third instalment of The Girlfriend Experience is set in the London tech scene. Iris, a neuroscience major, begins to explore the transactional world of The Girlfriend Experience and quickly learns that client sessions provide her with a compelling edge in the tech world. Cast List: Julia Goldani Telles, Oliver Masucci, Frank Dillane, Daniel Betts, Armin Karima, Tobi Bamtefa, Jemima Rooper”

Made For Love (Television)

“Based on Alissa Nutting’s tragicomic novel, Made for Love is a dark, absurd, and cynically poignant story of divorce and revenge following Hazel Green (Cristin Milioti), a thirty-something woman on the run after 10 years in a suffocating marriage. Cast List: Cristin Milioti, Billy Magnussen, Dan Bakkedahl, Noma Dumezweni, Augusto Aguilera, Caleb Foote and Ray Romano.”

A Nightmare Wakes (2021) – Review

A Shudder Picture, Written and Directed by Nora Unkel.

An unsettlingly intimate portrayal of a brilliant artist at her most troubled, A Nightmare Wakes traces the tortured birth of a timeless masterwork and the rightful ascension of its creator to stand alongside her creation. We follow Mary Shelley (Alix Wilton Regan) at a key time in her life, where she suffers great tragedy and begins to question the loyalties of those around her. This leads her down a path of vivid hallucinations and horrifying scenarios that seep into her real life and relationships. The story of Frankenstein is both born from this, and played out through Mary Shelley, as writer/director Nora Unkel puts her own spin on an oft told tale.

The film takes place over the infamous summer where Mary, Percy Shelley (Giullian Yao Gioiello), Lord Byron (Philippe Bowgen), Claire Clairmont (Claire Glassford), and Dr. John Polidori (Lee Garrett) come together at Lake Geneva, and relationships are testes, and an icon is born.

The decision to tell the story of Mary and Percy Shelley as a gothic romance feels like the correct and natural step, specifically when you look at this time in their lives, but Unkel takes it a step further here and actually has the story and themes of the novel Mary will go on to write, be the things that factor into their lives and the story here. It blurs the line between biopic of Mary Shelley, and adaptation of her novel, and at times you are in the same place as Mary as you don’t know what is real.

The film is very well made on a technical level, with some strong direction from Nora Unkel leading from the front and helping to make up for her uneven screenplay. There are some really striking shots in the film, and even though at times it feels too dark to properly see, a lot of the cinematography is very impressive. Other aspects that really stand out are the production design, really adding an almost haunted house feel to things, and the score throughout, that really builds up the suspense in the right moments.

As well as the real tension and gothic horror atmosphere that the film creates, it also has real eroticism running throughout it, which really adds an extra layer to things. There are multiple sex scenes, and all of them add a fresh dynamic to the relationship between these characters. As Mary’s psyche seems to be crumbling and her desire growing, there is a particular scene where she pictures a man performing oral sex on her, only for it to be revealed as her imagination and she is just masturbating. It is at once an incredibly erotic scene, but then also one quickly tinged with horror and confusion, and is good summary of the final act of the film.

Although it is an ambitious and often inventive way of telling this story, the main issue is that the story decisions lead to Mary Shelley’s genius being diminished, and her creation of Frankenstein being whittled down to little more than the ramblings of a mad woman. In reality, Frankenstein was a game changing literary work that created an entire genre and changed the world of storytelling in many ways, and you in no way would take that away or give her any credit for it if you were only going off this film.

Overall, this is an interesting spin on the traditional biopic that really tackles grief, love, desire, and creation head on, with a horror lens. It is compelling in places and leaves you thinking of it once you have finished it, but a weak screenplay and a real feeling that the protagonist was failed leads to it not being able to fully achieve everything it wants to.

Rating = 3/5

The Pale Door (2020) – Review

An RLJE Films Picture, Written by Cameron Burns, Keith Lansdale, Aaron B. Koontz, Directed by Aaron B. Koontz.

After a botched train robbery, two brothers leading a gang of cowboys must survive the night in a ghost town inhabited by a coven of witches. The Pale Door is a fascinating mix of the classic outlaw western, and of horror focused on witchcraft, and even if the result is not always consistent, these two genres being merged together will always make for interesting viewing.

Reuniting years after the brutal killing of their parents, young bartender Jake (Devin Druid) joins brother Duncan (Zachary Knighton) and his outlaw gang for a big heist, but things get incredibly complicated when they discover a girl, Pearl (Natasha Bassett), in a box. Eventually she leads them ‘home’ to a brothel, where they very quickly discover all is not well, and have to fight for their lives as this group of centuries old witch’s attack.

The different plot strands eventually come together as the characters understand why they are in the position they are in, and how events of the past have led to it. The relationship between the brothers is presented as the key emotional force, especially at the beginning and end of the movie, but not enough is done to fully develop that bond to really make the ending as emotionally impactful as it should have been. However, the characters themselves are interesting and you do find yourself engaged by them.

The most impressive member of the cast is Natasha Bassett as Pearl, who stars the film as a seemingly innocent victim but quickly becomes manipulative and outright evil. Bassett has a really engaging screen presence, and the film makes a real error by side-lining her in the second half in favour of less interesting actors. I look forward to what she does in the future.

A stand out sequence takes place in the brothel as multiple members of the gang are in individual rooms and believe they are all about to have their way with the women, as the reveal that they are witches is gradually shown and the danger the men are in becomes clear. This then all escalates quickly into an all-out battle for survival, and it is a scene that manages to successfully mix feelings of horror, mystery, and humour, to get a strong outcome.

The film tries really hard to build up a tense and creepy atmosphere, and in many ways it succeeds. You get sucked in to the mystery of the witches and what they want, and it does feel very much like a real coven. However, operating as a horror film, it is simply not scary enough, and while the atmosphere is good, the scares don’t land and it leaves things feeling slightly lacklustre.

One of the really impressive technical aspects of the film is the make-up to turn the actresses in to convincing versions of the full burned witches as they attack. They look both completely horrifying but also stripped down enough to feel real. It really adds to the film and alongside the strong costume design, really does a lot of the heavy lifting for the film and makes it feel more impressive and ambitious.

Overall, the film has some bright spots and is a solid watch over a reasonably short runtime, but it doesn’t re-invent the wheel in anyway. For fans of the genre, I think there is more than enough here to get some enjoyment out of it.

Rating = 3/5

Succession Season 2 (2019) – TV Review

Following on from the huge critical acclaim of the first season, Jesse Armstrong returns to write this second season, as the fallout from the first season’s finale is laid out. Kendall is placed in rehab but quickly forced to go before the cameras to clarify why he backed out of seizing the company from his father. Logan meanwhile is having to consider who his successor will be and is sounding out the family, including Shiv, for the role, and it will change the entire dynamics of the family when he decides. The entire lead cast returns to their roles, with guest stars like Holly Hunter and Cherry Jones also added into the equation.

The plot of this season has so many twists and turns for all involved that I won’t go into any of that in detail, only to say that everything that happens still remains deeply rooted in character above all else. The writing from Jesse Armstrong (and the team of writers who bring their own voice but stay within Armstrong’s clear vision) is so impressive, with the dialogue being incredibly sharp and memorable, both hilarious and shocking when needed. On top of this though, the most impressive thing is how he balances a twisty plot with always putting character development first. Each of these characters feels completely unique and all get their own arcs this season, developing them all in interesting ways and it is this that really pulls the audience in and makes you care, even if what the characters are doing is not traditionally likable or acceptable behaviour.

One of the most instantly iconic, and agonising to watch, pieces of TV occur in episode 8 of this season as Kendall, ever desperate to impress, decides to perform a rap in front of all Logan’s friends and family, to celebrate his birthday. “L to the OG” is full of hilariously cringey lines, but feels like something Kendall would truly do and say, and it encapsulates his mental state at that point perfectly, whilst also being thoroughly entertaining. The song and tune are incredibly catchy, and even got released as a single for people to buy. “Never going to stop baby, fuck father time. Bro, don’t get it twisted, I’ve been through hell. But since I stan dad, I’m alive and well”.

Yet again the whole cast is great, with everyone getting a chance to shine. Brian Cox gets to play a wide range of emotions this season as Logan goes through crisis after crisis, and his presence absolutely dominates the screen whenever he is on it, and he brings an electric feeling to the show. Sarah Snook is superb as Shiv in this season, as she gets sucked into the family machinery and her desire to head the family business is revealed, but she is constantly being played by her father. Kieran Culkin is equally impressive, but his performance this season is much less as a livewire making jokes all the time, and focuses much more on his complicated personal and sexual life. Matthew Macfadyen and Nicholas Braun again prove to be the perfect comedic duo, and their interactions and characters are arguably the standouts of the show because of this, with both men having perfect comedic timing, whilst also getting to show off their dramatic chops at times too. A truly perfect ensemble.

The absolute star of this season though is Jeremy Strong, as Kendall becomes very much the lead of the story and his emotional turmoil is the driving force of the season from start to end. Strong is a notorious method actor and completely immerses himself in Kendall, in all the suffering and confusion that he feels, and you can see that weight on his shoulders up on the screen. He is quite rightfully winning lots of awards for this season, it is one of the finest performances on TV right now, and hopefully he will get to show a new side to Kendall when the status quo is shifted in season 3.

Overall, this season somehow manages to easily surpass the second season, with both the comedy and drama dialled up to an even higher amount, allowing for the wonderful writers and actors to absolutely thrive. With a blockbuster ending that sets the scene for all-out family warfare, the third season cannot come soon enough, and despite being delayed due to Covid, is now deep in production and heading for a 2021 debut.

Rating = 4.5/5

The Mandalorian Season 2 (2020) – TV Review

Following on from the first season, which managed to launch an entire streaming service, brought numerous awards, and managed to reignite interest from a fanbase that has long been torn apart, it is fair to say both the anticipation and pressure on The Mandalorian in its second season was very high. Jon Favreau and Dave Filoni return as showrunners, bringing together their unique mix of fanboy knowledge, industry experience, and cutting-edge visual effects work, to create this pop culture phenomenon.

The show is packed full of great surprises so I won’t break down episode by episode the events, but I will say that the second half of the season is much stronger than the first in general, as the main plot really comes into place. The standout episodes (apart from the finale, which I will discuss with spoilers and in much more detail at the end of this review) are; the opening episode titled ‘The Marshal’, which plays like a standalone western and brings us back to Tatooine, and gives Timothy Olyphant a chance to really shine. The episode ‘The Jedi’, which introduces us to Ahsoka Tano, is a real delight and truly felt like animation come to life. The Boba Fett central episode titled ‘The Tragedy’, directed by none other than Robert Rodriguez, is a short but frenzied episode packed full of reveal and non-stop action.

While the show isn’t particularly an acting showcase, the performances remain very important, and in particular the performance of leading man Pedro Pascal. Even though the majority of his role is voice work, due to Mando barely ever removing his helmet, you feel Pascal’s presence constantly. His voice work is subtle and effective, always remaining within the quietly spoken realms that the character operates in, and never slips into melodrama. In the two moments he removes his helmet this season and we get to see Pascal himself, his acting is extraordinary, especially in the finale. He raw emotion and heartbreak we can see in Pascal’s eyes is beautiful, and even though it is right for this specific character that he has the helmet on the majority of the time, it is still great to be able to see Pascal at his very best.

The much-discussed finale delivered on many things the season had been building towards, with the large ensemble of characters that Mando has met on his travels uniting to rescue Grogu (Baby Yoda/The Child) from Moff Gideon (Giancarlo Esposito). It is great to see all these characters interacting and the tension is very high, with a brilliant fight between Mando and Gideon proving one of the highlights, and the reuniting, and soon to be separation again, of Grogu and Mando being the emotional heart. However, in the final moments, as the Dark Troopers approach our heroes, a lone and hooded Jedi appears, and in a brilliant sequence fights them all off and then approaches the heroes. As he removes his hood, it is revealed to be Luke Skywalker (Mark Hamill), digitally de-aged to look like he would just after the events of Return of the Jedi (1983). While the de-aging is jarring and slightly takes you out of the show, it is amazing to see Hamill return to this role one more time, and get to show off as the all-powerful Jedi we know Luke became. Many have argued this was just fan service to those who wanted to see a different Luke than the one in The Last Jedi (2017), but for me it fits perfectly within the narrative of the show, and actually validates the direction Rian Johnson chose to go down all those years later.

Overall, even with an ending that divided people, this proved to be another highly entertaining and incredibly enjoyable piece of entertainment. Having a new, and well crafted, entry in the Star Wars universe drop weekly is a pleasure, and a novelty that hasn’t worn off yet. While it is public knowledge that Disney is going to rapidly move ahead with many new Star Wars shows (one teased in the end-credits here), it is still important that The Mandalorian is the flagship show, and it carries that tag proudly. Really great entertainment.

Rating = 4/5

Succession (2018) – TV Review

‘This dark comedy centres on the inner workings of the sprawling media corporation Waystar Royco, which is run by Roy family patriarch Logan Roy (Brian Cox), and the manoeuvrings of his four children, who are struggling to win power and take over the company when their father retires. After Logan suffers a stroke at the end of episode 1, it sets in to motion a frenzied set of events as all the character scramble to establish their place in a world where Logan is potentially no longer top dog. Created by Peep Show (2003) alum Jesse Armstrong, and executive produced by director Adam McKay, this HBO series is a funny and fast paced look at a rich family that is tearing itself apart, whilst also attempting to maintain its dominance in the changing media landscape.

This is a major show for HBO and you can see all the money up on the screen, and even though it doesn’t rely on action or special effects, absolutely no expense is spared when it comes to the huge locations the Roy’s inhabit. You truly feel like you are getting a glimpse in to the world of the rich and famous, an authentic exploration of their lives and the places they go to.

Nicholas Britell’s score, which plays throughout, is a work of art and brings so much to the show. Particularly in the already infamous opening credits, where the genius decision to mix grainy, home video style footage and have it play over Britell’s score leads to a fascinating and upbeat start to every episode. It manages to feel both melancholy and jovial at the same time, which is the perfect mix for this specific show.

The set-up might sound like something we have seen before, and of course there are the very obvious comparisons to the Murdoch family, but the show quickly shakes off any feelings of familiarity and becomes its own thing, with a plot that constantly twists and turns in unexpected directions, whilst always staying rooted in character.

Armstrong’s writing, and that of his writing staff here, is a key reason why the show stands out above the crowd in regards to competition. Not only is it packed full of smart and twisting plots, as well as instantly memorable dialogue and one liner’s (“I Look at Your Face And, No Offense, But I See Dead Babies” instantly jumps out), but it also creates incredibly complex and varied characters. In doing so, despite all the horrible things they do and the way in which they are unrelatable to most people due to their extreme wealth, the audience stays completely invested in them and what they do, and therefore feel gripped to the action. The Roy’s very much talk and speak like a family would, but the characters themselves are all wildly different, and have instantly recognisable personalities, appearances, and ways of speaking, which is a remarkable achievement given the size of the ensemble Armstrong has created.

While the focus in many ways falls on just the Roy’s, the lead ensemble is also filled with a few characters who are tangentially a part of the family, like Shiv’s fiancée Tom (Matthew Macfadyen) and Cousin Greg (Nicholas Braun). The entire cast is superb and all bring different attributes to the show; Kieran Culkin is perfectly cast as Roman Roy is a real livewire, someone always ready to stir up the drama and make a weird remark, Sarah Snook is superb as Shiv Roy, the most competent and effective member of the Roy children, but someone who’s on personal and sexual priorities take a fascinating turn throughout the season, Matthew Macfadyen is a revelation (and his line readings are perfection) as Tom, Shiv’s desperate to impress and secretly power hungry fiancée who allows the family to walk all over him in pursuit of his goals. The one man who Tom turns the tables on however, and becomes a mentor/bully towards, is Nicholas Braun’s Cousin Greg. Braun uses his lanky frame and perfect comedic timing to create a brilliant character in Greg, a fish out of water within the Roy family, and an innocent soul, slowly being corrupted by those around him, and he always acts as the perfect comic relief for the show.

However, the core dramatic drive and the main narrative thrust lies in the unique dynamic between father Logan and son Kendall (Jeremy Strong), with Kendall being both incredibly scared of and reliant on his father, and Logan being consistently let down by the son who he can see is the best candidate to replace him, but has too many personal issues to ever achieve it. Brian Cox as Logan is a force of nature, full of bravado and aggression, a man who has built an empire in a different era and doesn’t plan to let it go, even though times are changing around him. Cox uses his decades of acting experience to really dominate the screen whenever he is on it, delivering seething takedowns of those around him and creating an instantly iconic TV character in the process. As for method actor Strong, you can see that he completely becomes Kendall, an incredibly insular and in many ways paradoxical man, who’s emotions are always simmering just below the surface, ready to explode at any moment. Kendall’s journey this season to overcome his personal demons and challenge his father’s leadership of the company is one filled with many ups and downs, and Strong perfectly plays all of them. Kendall is blessed with some accidentally hilarious lines, the majority of the emotional scenes, and a character arc that develops massively throughout the season. If Strong doesn’t get the role right, the whole show would struggle to stay afloat, but because of his brilliance, he just takes it to new heights.

Overall, Succession quickly establishes itself as one of the finest new dramas on TV, with some great use of New York City, a brilliant writing team led by the always interesting Jesse Armstrong, and an ensemble full of both newcomers and seasoned pros that blends together perfectly. Jesse Armstrong has created a world and set of characters that are so engaging and yet despicable, that you never want to look away from the screen.

Rating = 4/5

The Simpsons Season 31 (2019) – TV Review

‘Thanksgiving of Horror’ is a festive spin on the Treehouse of Horror format, and is a nice surprise, proving to be a better episode than the Halloween version this year. The Black Mirror parody segment in particular is interesting and entertaining to watch.

‘Bart the Bad Guy’ is a Marvel centric episode, with the voices of the likes of Joe Russo, Anthony Russo, and Kevin Feige. As a MCU focused piece of entertainment, it falls short, but as a funny and engaging takedown of spoiler culture in today’s society, it is successful.

The finale, titled ‘The Way of the Dog’ is one of the best episodes the show has done in years, feeling close to the emotional character studies of the golden years. It was a perfect episode to close out my rewatch, as it is almost a direct sequel to the first ever episode of the show, focusing on Santa’ Little Helper. I’m glad the show is continuing but this in many ways felt like ‘The Simpsons’ coming full circle.

Rating = 3.5/5