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Sarah (7798 KP) rated Mortal Engines (2018) in Movies
Dec 17, 2018
Pretty good, but with a few issues
I've been wanting to see this since the first trailer was released, and I'm pleased to say it's actually quite good.
The visuals and CGI are very good, the traction cities and towns look fantastic and they're impressively done. Shouldn't be a surprise considering these have been done by Weta. The plot itself is intriguing and fairly unique as far as apocalyptic futures go, although there are a few plot points that are a bit cliched and reminiscent of other sci-fi/fantasy films - the whole final act/ending being the main example.
Hester Shaw is a very strong heroine and a good lead character, although i think she suffers from some bad scripting. Hugo Weaving is doing his Agent Smith best as the villainous Thaddeus Valentine, he really does know how to play a good bad guy. I'm most impressed however with Robert Sheehan. He's a very underrated actor yet seems to have such range and versatility, from his start in the series Misfits to the creepy Vladek in Fortitude, and then his turn as the dashing hero in this, he really made this film worth watching even if the script wasn't always in his favour. The romance aspect of this film too is also a little too forced and not very subtle, and a little bit predictable.
In short this is an interesting story with a great cast and special effects, that is let down by a patchy script and a few cliches. The next book I have to read is this one, so I'm interested to see how the two compare.
The visuals and CGI are very good, the traction cities and towns look fantastic and they're impressively done. Shouldn't be a surprise considering these have been done by Weta. The plot itself is intriguing and fairly unique as far as apocalyptic futures go, although there are a few plot points that are a bit cliched and reminiscent of other sci-fi/fantasy films - the whole final act/ending being the main example.
Hester Shaw is a very strong heroine and a good lead character, although i think she suffers from some bad scripting. Hugo Weaving is doing his Agent Smith best as the villainous Thaddeus Valentine, he really does know how to play a good bad guy. I'm most impressed however with Robert Sheehan. He's a very underrated actor yet seems to have such range and versatility, from his start in the series Misfits to the creepy Vladek in Fortitude, and then his turn as the dashing hero in this, he really made this film worth watching even if the script wasn't always in his favour. The romance aspect of this film too is also a little too forced and not very subtle, and a little bit predictable.
In short this is an interesting story with a great cast and special effects, that is let down by a patchy script and a few cliches. The next book I have to read is this one, so I'm interested to see how the two compare.
Sarah (7798 KP) rated The Umbrella Academy in TV
Mar 6, 2019
Deserving of the hype
I have to admit, I was pretty impressed with this show. It's not every day when you watch something that meets all of the hype surrounding it, and I was quite sceptical to begin with.
The show manages to brilliantly blend action, the supernatural and dark humour to form an intriguing and interesting adult plot, with just enough twists to keep you hooked without going too OTT (Lost style). It also has some brilliant fight scenes (with a decent amount of blood and gore) that are paired with a truly killer soundtrack. And it has fortunately gone down the adult route rather than making this suitable for kids like some of the Marvel type shows/films.
The characters too for the most part are witty, deep and well thought out, from the family members to the villains Hazel and Cha-Cha. My favourites are by far Five and Klaus. Robert Sheehan is a great actor, I've loved him since Misfits and he's really perfect for Klaus. And Aidan Gallagher is brilliant as the old man in a child's body Five, there's something very humorous seeing a thirteen year old outsmarting and killing people. He's a true delight whenever he's on screen. My only real issue with the characters is with Vanya. For me I found her very dull to begin with and I thought her entire storyline was a teeny bit predictable. She does pick up and get more interesting towards the end, it's just a shame she puts a downer on the earlier episodes. Luckily the rest of the show more than makes up for it.
I can't begin to say how devastated I was at the end of the final episode. I could've quite happily watched more, so I really hope they renew this for another season.
The show manages to brilliantly blend action, the supernatural and dark humour to form an intriguing and interesting adult plot, with just enough twists to keep you hooked without going too OTT (Lost style). It also has some brilliant fight scenes (with a decent amount of blood and gore) that are paired with a truly killer soundtrack. And it has fortunately gone down the adult route rather than making this suitable for kids like some of the Marvel type shows/films.
The characters too for the most part are witty, deep and well thought out, from the family members to the villains Hazel and Cha-Cha. My favourites are by far Five and Klaus. Robert Sheehan is a great actor, I've loved him since Misfits and he's really perfect for Klaus. And Aidan Gallagher is brilliant as the old man in a child's body Five, there's something very humorous seeing a thirteen year old outsmarting and killing people. He's a true delight whenever he's on screen. My only real issue with the characters is with Vanya. For me I found her very dull to begin with and I thought her entire storyline was a teeny bit predictable. She does pick up and get more interesting towards the end, it's just a shame she puts a downer on the earlier episodes. Luckily the rest of the show more than makes up for it.
I can't begin to say how devastated I was at the end of the final episode. I could've quite happily watched more, so I really hope they renew this for another season.
Amy Louise Davison (118 KP) rated The Umbrella Academy in TV
Mar 4, 2019 (Updated Mar 4, 2019)
Contains spoilers, click to show
I loved the first season of this show. Especially the characters of Klaus and Five. Five is meant to be 58 (due to getting trapped in the future for 45years) and when coming back from the future returns to his 13 year old body. His siblings are all 30 years old so technically he is 28 years older. The actor who plays Five is only 15 in real life but is absolutely brilliant in his role. It must have been daunting for him to act among much older actors and have to act so much older than his actual age but he did it remarkably. He is so believable and witty.
Klaus is eccentric and loveable, tormented and sad. I was willing him on in the season to be okay and stay sober. The actor portraying Klaus (Robert Sheehan) is Irish in real life - his American accent in this show is flawless. Remarkable.
Varnya, although she may be the centre of the show in some ways is in my opinion very unlikeable. I do not know if that was on purpose or not but I found her boring and whiny and a little annoying!
Allison, Diego, Luther and Ben are all good characters, rounded and likeable.
The show does not spoon feed you information either. Pogo is never explained... Why is he an intelligent, talking monkey? It is assumed Hargreeves made him like this but it is never touched upon.
It is never explained why Five kept his name and the others did not but it suits his character. Delores is never thrown in Five's face by any of his siblings which is unusual but brilliant. The Umbrella Academy doesn't take the route you usually suspect most of the time.
I recommend this season to everyone, young and old. There is humour, drama, sadness, violence, mystery, sci-fi themes, super powers, magic briefcases and a hell of a lot of doughnuts.
Klaus is eccentric and loveable, tormented and sad. I was willing him on in the season to be okay and stay sober. The actor portraying Klaus (Robert Sheehan) is Irish in real life - his American accent in this show is flawless. Remarkable.
Varnya, although she may be the centre of the show in some ways is in my opinion very unlikeable. I do not know if that was on purpose or not but I found her boring and whiny and a little annoying!
Allison, Diego, Luther and Ben are all good characters, rounded and likeable.
The show does not spoon feed you information either. Pogo is never explained... Why is he an intelligent, talking monkey? It is assumed Hargreeves made him like this but it is never touched upon.
It is never explained why Five kept his name and the others did not but it suits his character. Delores is never thrown in Five's face by any of his siblings which is unusual but brilliant. The Umbrella Academy doesn't take the route you usually suspect most of the time.
I recommend this season to everyone, young and old. There is humour, drama, sadness, violence, mystery, sci-fi themes, super powers, magic briefcases and a hell of a lot of doughnuts.
Sarah (7798 KP) rated The Umbrella Academy - Season 1 in TV
Aug 1, 2020
Deserving of the hype
The review is a copy of my review of the main series, as the first season is what I based it on!
I have to admit, I was pretty impressed with this show. It's not every day when you watch something that meets all of the hype surrounding it, and I was quite sceptical to begin with.
The show manages to brilliantly blend action, the supernatural and dark humour to form an intriguing and interesting adult plot, with just enough twists to keep you hooked without going too OTT (Lost style). It also has some brilliant fight scenes (with a decent amount of blood and gore) that are paired with a truly killer soundtrack. And it has fortunately gone down the adult route rather than making this suitable for kids like some of the Marvel type shows/films.
The characters too for the most part are witty, deep and well thought out, from the family members to the villains Hazel and Cha-Cha. My favourites are by far Five and Klaus. Robert Sheehan is a great actor, I've loved him since Misfits and he's really perfect for Klaus. And Aidan Gallagher is brilliant as the old man in a child's body Five, there's something very humorous seeing a thirteen year old outsmarting and killing people. He's a true delight whenever he's on screen. My only real issue with the characters is with Vanya. For me I found her very dull to begin with and I thought her entire storyline was a teeny bit predictable. She does pick up and get more interesting towards the end, it's just a shame she puts a downer on the earlier episodes. Luckily the rest of the show more than makes up for it.
I can't begin to say how devastated I was at the end of the final episode. I could've quite happily watched more, so I really hope they renew this for another season.
I have to admit, I was pretty impressed with this show. It's not every day when you watch something that meets all of the hype surrounding it, and I was quite sceptical to begin with.
The show manages to brilliantly blend action, the supernatural and dark humour to form an intriguing and interesting adult plot, with just enough twists to keep you hooked without going too OTT (Lost style). It also has some brilliant fight scenes (with a decent amount of blood and gore) that are paired with a truly killer soundtrack. And it has fortunately gone down the adult route rather than making this suitable for kids like some of the Marvel type shows/films.
The characters too for the most part are witty, deep and well thought out, from the family members to the villains Hazel and Cha-Cha. My favourites are by far Five and Klaus. Robert Sheehan is a great actor, I've loved him since Misfits and he's really perfect for Klaus. And Aidan Gallagher is brilliant as the old man in a child's body Five, there's something very humorous seeing a thirteen year old outsmarting and killing people. He's a true delight whenever he's on screen. My only real issue with the characters is with Vanya. For me I found her very dull to begin with and I thought her entire storyline was a teeny bit predictable. She does pick up and get more interesting towards the end, it's just a shame she puts a downer on the earlier episodes. Luckily the rest of the show more than makes up for it.
I can't begin to say how devastated I was at the end of the final episode. I could've quite happily watched more, so I really hope they renew this for another season.
Darren (1599 KP) rated Bad Samaritan (2018) in Movies
Jul 25, 2019
Story: Bad Samaritan starts when two burglars Sean (Sheehan) and Derek (Olivero) are running an operation as valets who break into houses while people are eating their dinners. When they pick their latest victim Cale Erendreich (Tennant) with his flashy car, Sean leads the look through his house, finding all the goodies the pair want, before making a shocking discovery, Katie (Condon) chained up in an office.
Sean get caught between doing the right thing and helping the woman, only to find Cale is able to talk the police away and breaking back into the house, the woman is gone and now his has become a target for Cale.
Thoughts on Bad Samaritan
Characters – Cale Erendreich is rich man that isn’t afraid to show his flashy cars around town, he is rude to people that he sees beneath him and he has a woman locked up in an office at his house. He likes to correct people and after Sean breaks into his house, he becomes the latest target, showing us that Cale is doing what he thinks is the right thing. Sean Falco is the thief that gets more than he bargained for on his latest job, he end up getting caught in the middle of a game which will see him become the target for the killer, seeing his life start to fall apart around him, Sean shows us what it is like when somebody wants to make it and just how far they will go to clean up the mess left behind. Katie is the woman that is held captive that knows that she will be put in more danger if Sean does rescue her at the wrong time. Derek is Sean’s best friend who works with him to select who to rob only he could get in more trouble if he is ever caught.
Performances – David Tennant is fantastic in this leading role, he brings us a creepy psychopath figure that is completely calm, while being calculated in each scene. Robert Sheehan is strong as his character is put through a moral dilemma and he shows us the desperation he is going through. Kerry Condon does what she can in her role, it is harder for her to do as much because most of role is tied up. Carlito Olivera does everything asked of him without standing out in anyway.
Story – The story here follows a small-time thief that sees his latest job go crazy after the person he is robbing from turns out to have dark secret which sees his life get turned upside down. This story is an easy watch and does go against everything you would imagine it going, watching the cat-n-mouse style unfold is interesting to follow as see how each side tries to get the upper hand and slowly starts to learn what the other might know about. It does soon pan out and just become a bigger case which is fine if you would like to get to learn more about the opening sequence. We do get to see just how dangerous technology will be in the wrong hands.
Crime/Horror – The crime side of the film does show us Cale operates in this world, with the horror side of this coming from just how he can get away with anything if he knows how to.
Settings – The film is set in Portland which shows how difficult the life can be for people that are struggling to make ends meet.
Scene of the Movie – You talk too much.
That Moment That Annoyed Me – It has a problem when it comes to learning about Cale’s back story.
Final Thoughts – This is a crime horror that goes full-blown cat-n-mouse which does keep us guessing to just who will end up on top in this battle.
Overall: Interesting Cat-n-mouse chase.
Sean get caught between doing the right thing and helping the woman, only to find Cale is able to talk the police away and breaking back into the house, the woman is gone and now his has become a target for Cale.
Thoughts on Bad Samaritan
Characters – Cale Erendreich is rich man that isn’t afraid to show his flashy cars around town, he is rude to people that he sees beneath him and he has a woman locked up in an office at his house. He likes to correct people and after Sean breaks into his house, he becomes the latest target, showing us that Cale is doing what he thinks is the right thing. Sean Falco is the thief that gets more than he bargained for on his latest job, he end up getting caught in the middle of a game which will see him become the target for the killer, seeing his life start to fall apart around him, Sean shows us what it is like when somebody wants to make it and just how far they will go to clean up the mess left behind. Katie is the woman that is held captive that knows that she will be put in more danger if Sean does rescue her at the wrong time. Derek is Sean’s best friend who works with him to select who to rob only he could get in more trouble if he is ever caught.
Performances – David Tennant is fantastic in this leading role, he brings us a creepy psychopath figure that is completely calm, while being calculated in each scene. Robert Sheehan is strong as his character is put through a moral dilemma and he shows us the desperation he is going through. Kerry Condon does what she can in her role, it is harder for her to do as much because most of role is tied up. Carlito Olivera does everything asked of him without standing out in anyway.
Story – The story here follows a small-time thief that sees his latest job go crazy after the person he is robbing from turns out to have dark secret which sees his life get turned upside down. This story is an easy watch and does go against everything you would imagine it going, watching the cat-n-mouse style unfold is interesting to follow as see how each side tries to get the upper hand and slowly starts to learn what the other might know about. It does soon pan out and just become a bigger case which is fine if you would like to get to learn more about the opening sequence. We do get to see just how dangerous technology will be in the wrong hands.
Crime/Horror – The crime side of the film does show us Cale operates in this world, with the horror side of this coming from just how he can get away with anything if he knows how to.
Settings – The film is set in Portland which shows how difficult the life can be for people that are struggling to make ends meet.
Scene of the Movie – You talk too much.
That Moment That Annoyed Me – It has a problem when it comes to learning about Cale’s back story.
Final Thoughts – This is a crime horror that goes full-blown cat-n-mouse which does keep us guessing to just who will end up on top in this battle.
Overall: Interesting Cat-n-mouse chase.
Movie Metropolis (309 KP) rated Season of the Witch (2011) in Movies
Jun 11, 2019
Nicholas Cage, Warriors, Demons, Witcraft; Season of the Witch really does have it all. However, all that appears interesting is lost in Dominic Sena’s (Whiteout) bland and forgettable biblical road movie.
Whilst it may not be the worst film in the past twelve months, something which still seemingly belongs to Clash of the Titans, there is little here to differentiate it from the frequent blockbuster drivel that Hollywood seems to spit out these days.
Nicholas Cage and Ron Perlman star alongside a host of two dimensional characters which bizzarly includes home grown star Robert Sheehan (Misfits) who perhaps plays the films best role in newfound warrior Kay. Unfortunately, his stellar performance is overshadowed by a script that’s as bland as the special effects.
The saving grace of the film is in its fabulous set pieces which really do shine through, the choice of location and fabulous cinematography especially in the early battle sequences are fantastic and made the film look like it was going to be more of a success than it actually was. It is here that Sena must be given credit as the movie could’ve been much better if it had followed from the quality of the opening.
It is important to note that the CGI and special effects are not being praised here because on a budget of around $40m, the designers could’ve done a whole lot better than some very questionable looking wolves and melting metal.
Cage, who isn’t without his fair share of criticism as an actor is completely miscast in his role, speaking contrived one-liners that won’t shake off those critics who say he cannot act in anything but action movies, but to be fair, this is not entirely his fault, the script leaves much to be desired and poor old Nick is stuck slap bang in the middle, sitting on the fence between his wrongful characterisation and his need to please the critics.
Alongside Cage is Claire Foy, a relatively unknown actress trying to make a big budget breakthrough as ‘the girl’, a rather unfair accreditation at the end of the film. She actually plays the ‘witch’ and does so well, but there isn’t enough dialogue for her to become a central role in the film, so in the end, she sits in a cage for the entire duration and looks menacing; if that’s what you want to call it. This is a problem that blights the entire film, there are only a handful of characters but the alarmingly poor script means that much of what they say is forgotten.
Overall, director Dominic Sena has missed a trick with this biblical tale, unfortunately it doesn’t do enough to make it stand out and therefore it’s lost in a muddle of poor scriptwriting and poor special effects. However, a few standout performances do save it from being a complete disaster and as such, it just about becomes a passable tale.
https://moviemetropolis.net/2011/01/12/season-of-the-witch-2011/
Whilst it may not be the worst film in the past twelve months, something which still seemingly belongs to Clash of the Titans, there is little here to differentiate it from the frequent blockbuster drivel that Hollywood seems to spit out these days.
Nicholas Cage and Ron Perlman star alongside a host of two dimensional characters which bizzarly includes home grown star Robert Sheehan (Misfits) who perhaps plays the films best role in newfound warrior Kay. Unfortunately, his stellar performance is overshadowed by a script that’s as bland as the special effects.
The saving grace of the film is in its fabulous set pieces which really do shine through, the choice of location and fabulous cinematography especially in the early battle sequences are fantastic and made the film look like it was going to be more of a success than it actually was. It is here that Sena must be given credit as the movie could’ve been much better if it had followed from the quality of the opening.
It is important to note that the CGI and special effects are not being praised here because on a budget of around $40m, the designers could’ve done a whole lot better than some very questionable looking wolves and melting metal.
Cage, who isn’t without his fair share of criticism as an actor is completely miscast in his role, speaking contrived one-liners that won’t shake off those critics who say he cannot act in anything but action movies, but to be fair, this is not entirely his fault, the script leaves much to be desired and poor old Nick is stuck slap bang in the middle, sitting on the fence between his wrongful characterisation and his need to please the critics.
Alongside Cage is Claire Foy, a relatively unknown actress trying to make a big budget breakthrough as ‘the girl’, a rather unfair accreditation at the end of the film. She actually plays the ‘witch’ and does so well, but there isn’t enough dialogue for her to become a central role in the film, so in the end, she sits in a cage for the entire duration and looks menacing; if that’s what you want to call it. This is a problem that blights the entire film, there are only a handful of characters but the alarmingly poor script means that much of what they say is forgotten.
Overall, director Dominic Sena has missed a trick with this biblical tale, unfortunately it doesn’t do enough to make it stand out and therefore it’s lost in a muddle of poor scriptwriting and poor special effects. However, a few standout performances do save it from being a complete disaster and as such, it just about becomes a passable tale.
https://moviemetropolis.net/2011/01/12/season-of-the-witch-2011/
Daniel Boyd (1066 KP) rated Bad Samaritan (2018) in Movies
Oct 3, 2018 (Updated Oct 3, 2018)
Tacky jump-scares (1 more)
Constantly asks you to accept huge leaps of logic
What A Waste
Bad Samaritan is a movie that I really should have liked. I am a huge fan of David Tennant, I love a decent thriller movie and the trailer for the movie teased an intriguing plot as well. Unfortunately, I didn't like much of it, in fact it really annoyed me how little I liked when watching this thing.
Let's start off with the cast. David Tennant is, - as he always is, - absolutely fantastic in this role. In any other better movie, he would be in with a shout for an award for this role, unfortunately he is surrounded by absolutely overwhelming amount of trash. Robert Sheehan does a serviceable job with what he has given, but some of the lines he delivers are just too forced and cheesy to be taken seriously. The actor playing his best friend is just playing a stereotypical nonchalant small time criminal. Kerry Condon plays the hostage that David Tennant is keeping in his house and she also does a decent enough job with the shoddy material she has been given to work with.
The only other positive that I can think of other than Tennant's performance, is the way that Tennant's character systematically ruins Sheehan's character's life. He makes him lose his job, he blackmails him via social media, he attacks his girlfriend and he wrecks his car. The way that this sequence played out reminded me of Frank Miller's Daredevil story Born Again, where Kingpin learns Daredevil's real identity and destroys his life piece by piece via the people he cares about. Don't get me wrong, it is done far better in Born Again and Born Again is a much better story overall than Bad Samaritan, but it was the only element of this movies plot that I liked other than what we already saw in the trailers.
Now that we have discussed the few positives that this movie has, let's go through everything else. First of all, I have never heard a more out-of-place, inappropriate score to go along with what is happening onscreen. It genuinely felt like a temp score that was put in preliminarily until the proper one was put in and then they just left it in and didn't bother going back to improve it.
Then there was the cheap jump-scares, Although they are mostly consigned to the first act in the movie, they are still far too frequent and totally unnecessary. The last one that I remember happening was so egregious, (when David Tennant was standing behind the detective outside the house,) it actually bordered on parody. There was no story justification for it whatsoever, why would this guy who is trying to appear normal and as if nothing is wrong, creep up behind a detective who is investigating him and just stand there like a creep to give him a fright? It makes absolutely no sense. To be honest, the movie is abundant with things that don't make any sense and you are almost constantly asked to make huge leaps of logic when watching it.
There's also the fact that this movie has no idea what it wants to be. Dean Devlin who directed this, also directed last year's Geostorm. Now Geostorm was a steaming pile of shit, but at least it knew what it wanted to be. The tone in Bad Samaritan is totally all over the place and doesn't work in any way or flow well at all. This movie also plays like a check-list of thriller movie clichés. Everything from cheesy flashbacks showing the villains messed up past to the detectives not believing the protagonist's claims even when he has photo evidence on his phone.
Overall, this film is a huge waste. David Tennant's fantastic performance that he puts in here as an unhinged, genuinely scary villain is wasted in this trash movie. The trailers showed us a potentially thrilling plot that could have really been exciting and engaging only to totally waste it on a flick full of mediocre production elements and a half baked storyline. The only reason that this scored 4 was because of Tennant's brilliant performance, if not for that, this movie would have scored a 2 at best.
Let's start off with the cast. David Tennant is, - as he always is, - absolutely fantastic in this role. In any other better movie, he would be in with a shout for an award for this role, unfortunately he is surrounded by absolutely overwhelming amount of trash. Robert Sheehan does a serviceable job with what he has given, but some of the lines he delivers are just too forced and cheesy to be taken seriously. The actor playing his best friend is just playing a stereotypical nonchalant small time criminal. Kerry Condon plays the hostage that David Tennant is keeping in his house and she also does a decent enough job with the shoddy material she has been given to work with.
The only other positive that I can think of other than Tennant's performance, is the way that Tennant's character systematically ruins Sheehan's character's life. He makes him lose his job, he blackmails him via social media, he attacks his girlfriend and he wrecks his car. The way that this sequence played out reminded me of Frank Miller's Daredevil story Born Again, where Kingpin learns Daredevil's real identity and destroys his life piece by piece via the people he cares about. Don't get me wrong, it is done far better in Born Again and Born Again is a much better story overall than Bad Samaritan, but it was the only element of this movies plot that I liked other than what we already saw in the trailers.
Now that we have discussed the few positives that this movie has, let's go through everything else. First of all, I have never heard a more out-of-place, inappropriate score to go along with what is happening onscreen. It genuinely felt like a temp score that was put in preliminarily until the proper one was put in and then they just left it in and didn't bother going back to improve it.
Then there was the cheap jump-scares, Although they are mostly consigned to the first act in the movie, they are still far too frequent and totally unnecessary. The last one that I remember happening was so egregious, (when David Tennant was standing behind the detective outside the house,) it actually bordered on parody. There was no story justification for it whatsoever, why would this guy who is trying to appear normal and as if nothing is wrong, creep up behind a detective who is investigating him and just stand there like a creep to give him a fright? It makes absolutely no sense. To be honest, the movie is abundant with things that don't make any sense and you are almost constantly asked to make huge leaps of logic when watching it.
There's also the fact that this movie has no idea what it wants to be. Dean Devlin who directed this, also directed last year's Geostorm. Now Geostorm was a steaming pile of shit, but at least it knew what it wanted to be. The tone in Bad Samaritan is totally all over the place and doesn't work in any way or flow well at all. This movie also plays like a check-list of thriller movie clichés. Everything from cheesy flashbacks showing the villains messed up past to the detectives not believing the protagonist's claims even when he has photo evidence on his phone.
Overall, this film is a huge waste. David Tennant's fantastic performance that he puts in here as an unhinged, genuinely scary villain is wasted in this trash movie. The trailers showed us a potentially thrilling plot that could have really been exciting and engaging only to totally waste it on a flick full of mediocre production elements and a half baked storyline. The only reason that this scored 4 was because of Tennant's brilliant performance, if not for that, this movie would have scored a 2 at best.
Gareth von Kallenbach (971 KP) rated Mortal Engines (2018) in Movies
Jul 2, 2019
Take a moment and imagine a world where most of humanity has been wiped off the map and those that remain are forced to survive on the remaining resources of a civilization that has been torn apart. In this new existence, leftover technology is coveted like diamonds and massive predator cities prey on weaker smaller cities to steal whatever meager resources they still possess. This is the world of Mortal Engines, the latest Peter Jackson blockbuster based on the young adult novel of the same name by Philip Reeves.
Mortal Engines takes place roughly a thousand years after the conclusion of the Sixty Minute War that decimated the earth and now civilization has banded into two very distinct groups. There are those in the “Traction Cities”, which are behemoth mobile cities that scour what remains of Europe gobbling up smaller cities to convert them and their resources into fuel that keeps the larger cities moving. Then there is the Anti-Traction League, a group that believes in preserving what little resources remain and living in “Traction-less” cities…a.k.a. cities built on land. London is the main Traction City and it is led by Thaddeus Valentine (Hugo Weaving) and his desire to tear down a great wall that is the only barrier between London and the surplus of resources that he so desperately needs.
After London devours one of the smaller cities, we are introduced to Hester Shaw (Hera Hilmar), whose one goal in life is to kill Thaddeus Valentine, the man who murdered her mother. After her failed assassination attempt on his life, she teams up with historian Tom Natsworthy (Robert Sheehan) to not only survive, but also to prevent Valentine’s plan to recreate the war that took down humanity in the first place. This is a big job for the unlikely duo and on top of everything else, Hester is being hunted by a zombie/terminator hybrid named Shrike who wants nothing more than to kill her.
If it sounds like a lot to follow over the course of the two hours and nine-minute run time, you’d be right. In fact, without a lot of backstory which those who have read the novels will really benefit from, it can be a bit too much to take in. It comes across as a combination of Mad Max and the video game Dishonored, but it is lacking an excellent story to back up all of the post-apocalyptic action. That’s not to say that the story is bad, but it is by far the weakest part of the film and a huge missed opportunity to elevate a pretty good movie to the classic Peter Jackson masterpiece status we usually get from him. Considering the genius of Mr. Jackson this movie could have been so much more.
But now on to the good stuff…
Visually speaking Mortal Engines is a true work of art. Taking the steampunk Victorian era backdrop and adding in large mobile cities crashing through trees and forests gives us visuals that are not only magnificent, but also awe inspiring. I was lucky enough to see Mortal Engines in IMAX and the larger screen only helped to emphasize how truly awesome these large rolling cities are. This is a movie that is meant to be seen on the big screen, and with Mortal Engines, the bigger the better. The sound design matches the visuals in its epic scale, as it is loud and menacing. You can actually feel the rumble of the large treads as they move across the earth, and the crunching of smaller cities as the massive cities devour all that crosses their path. The casting and the acting were another positive as the good characters were ones you wanted to root for and the bad characters you hope would get what’s coming to them. All in all, there is quite a bit to like in this film and if nothing else you are sure to have a good time taking in all of the scenery.
In summary, Mortal Engines is a movie that feels as though it had so much potential but couldn’t quite live up to it. It definitely feels more like a summer blockbuster, full of explosions and action, instead of the deeper holiday releases that we usually get around this time. It’s the kind of movie that you go to see for the sheer spectacle of it all as long as you are willing to overlook any plot or story depth. Unfortunately, this leaves the quandary of whether or not it’s worth the full price of admission (or even more if you are planning to see it in IMAX) and my answer to that is…it depends. If you have any interest in seeing it at all then Mortal Engines is definitely a movie you should see on the big screen. On the other hand, it might be worth it to just wait to see it on pay-per-view or Blu-ray even though it may lose a lot of what makes the movie so much fun in the first place. While the movie could have been better, I have definitely seen worse and if the idea of massive rolling cities and steampunk set pieces are your thing, then Mortal Engines is certainly worth a look.
Mortal Engines takes place roughly a thousand years after the conclusion of the Sixty Minute War that decimated the earth and now civilization has banded into two very distinct groups. There are those in the “Traction Cities”, which are behemoth mobile cities that scour what remains of Europe gobbling up smaller cities to convert them and their resources into fuel that keeps the larger cities moving. Then there is the Anti-Traction League, a group that believes in preserving what little resources remain and living in “Traction-less” cities…a.k.a. cities built on land. London is the main Traction City and it is led by Thaddeus Valentine (Hugo Weaving) and his desire to tear down a great wall that is the only barrier between London and the surplus of resources that he so desperately needs.
After London devours one of the smaller cities, we are introduced to Hester Shaw (Hera Hilmar), whose one goal in life is to kill Thaddeus Valentine, the man who murdered her mother. After her failed assassination attempt on his life, she teams up with historian Tom Natsworthy (Robert Sheehan) to not only survive, but also to prevent Valentine’s plan to recreate the war that took down humanity in the first place. This is a big job for the unlikely duo and on top of everything else, Hester is being hunted by a zombie/terminator hybrid named Shrike who wants nothing more than to kill her.
If it sounds like a lot to follow over the course of the two hours and nine-minute run time, you’d be right. In fact, without a lot of backstory which those who have read the novels will really benefit from, it can be a bit too much to take in. It comes across as a combination of Mad Max and the video game Dishonored, but it is lacking an excellent story to back up all of the post-apocalyptic action. That’s not to say that the story is bad, but it is by far the weakest part of the film and a huge missed opportunity to elevate a pretty good movie to the classic Peter Jackson masterpiece status we usually get from him. Considering the genius of Mr. Jackson this movie could have been so much more.
But now on to the good stuff…
Visually speaking Mortal Engines is a true work of art. Taking the steampunk Victorian era backdrop and adding in large mobile cities crashing through trees and forests gives us visuals that are not only magnificent, but also awe inspiring. I was lucky enough to see Mortal Engines in IMAX and the larger screen only helped to emphasize how truly awesome these large rolling cities are. This is a movie that is meant to be seen on the big screen, and with Mortal Engines, the bigger the better. The sound design matches the visuals in its epic scale, as it is loud and menacing. You can actually feel the rumble of the large treads as they move across the earth, and the crunching of smaller cities as the massive cities devour all that crosses their path. The casting and the acting were another positive as the good characters were ones you wanted to root for and the bad characters you hope would get what’s coming to them. All in all, there is quite a bit to like in this film and if nothing else you are sure to have a good time taking in all of the scenery.
In summary, Mortal Engines is a movie that feels as though it had so much potential but couldn’t quite live up to it. It definitely feels more like a summer blockbuster, full of explosions and action, instead of the deeper holiday releases that we usually get around this time. It’s the kind of movie that you go to see for the sheer spectacle of it all as long as you are willing to overlook any plot or story depth. Unfortunately, this leaves the quandary of whether or not it’s worth the full price of admission (or even more if you are planning to see it in IMAX) and my answer to that is…it depends. If you have any interest in seeing it at all then Mortal Engines is definitely a movie you should see on the big screen. On the other hand, it might be worth it to just wait to see it on pay-per-view or Blu-ray even though it may lose a lot of what makes the movie so much fun in the first place. While the movie could have been better, I have definitely seen worse and if the idea of massive rolling cities and steampunk set pieces are your thing, then Mortal Engines is certainly worth a look.
Bob Mann (459 KP) rated Mortal Engines (2018) in Movies
Sep 28, 2021
At last, the hilarious Brexit comedy we’ve all been waiting for.
As comedy goes it’s classic gold! London has been transferred, presumably via a futuristic big-arsed forklift truck of some kind, onto a huge chassis and is now chugging its way across mainland Europe. Needing fuel, it has the capability to gobble-up other roving towns and cities (take that Barnier!) which London ‘digests’ (smoke that Tusk!). Curiously, the captured cities’ inhabitants are not exterminated but integrated into the City’s population: so much for any anti-immigration policy! (LOL).
But all doesn’t go entirely smoothly for the UK capital. The Lord Mayor of London (Patrick Malahide) declares “We should never have gone into Europe. It’s the biggest mistake we ever made”. (Classic: how we SNORTED with laughter!)
Cities on wheels. London in hot pursuit of a Bavarian mining town. (Some things you just write, and then have to do a double take!). (Source: Universal Pictures International).
Stuffing it squarely to the ‘remainers’, London makes its own future. “It’s time to show the world how strong London can be”. Having conquered most of Europe, it’s time to set its sights on new markets to conquer: so London takes the Chinese on! (Now the tears of laughter are flowing freely!) Trade deals have never been more entertaining since “Star Wars: The Phantom Menace”!
Well, perhaps not
OK, so in the interests of ‘advertising standards’, I’d better make clear before you rush out to the cinema expecting a comedy feature that my tongue is firmly in my cheek here. For “Mortal Engines” is the latest sci-fi feature from Peter Jackson. But when viewed from a Brexit perspective, it’s friggin’ hilarious!
In terms of plot, this (like “Waterworld”) makes clever use of the Universal logo to set the agenda. The world has been decimated with a worldwide war – though clearly one that selectively destroyed bits of London and not others! – and the survivors must try to survive in any way they can. Settlements are divided between those that are ‘static’ and those (like London) that are mobile and constantly evolving: “Municipal Darwinism” as it is hysterically described. But London, or rather the power-crazed Londoner Thaddeus Valentine (Hugo Weaving), wants revolution rather than evolution and he is working on development of one of the super-weapons that started the world’s demise in the first place.
But Hester Shaw (Hera Hilmar), separated when young from her mother Pandora (yes, she has a box and we’ve seen it: wink, wink) is intent on stopping him, since she is on a personal path of vengence. Teaming up with Londoner Tom (Robert Sheehan) and activist Anna Fang (Jihae) they must face both Thaddeus and the ever-relentless Shrike (Stephen Lang) to try to derail the destructive plan.
“I’m not subtle”
So says Anna Fang, but then neither is this movie. The film is loud and action-filled and (as a significant plus) visually extremely impressive with it. I’m not a great fan of excessive CGI but here it is essential, and the special-effects team do a great job. The production design is tremendous – a lot of money has been thrown at this – and the costume design inventive, a high-spot (again snortworthy) being the Beefeater guards costumes!
Where the film really crashes, like a post-Brexit stock market, is with the dialogue. The screenplay by Jackson himself, with his regular writers Fran Walsh and Phillipa Boyens contains some absolute clunkers, notwithstanding the unintended LOL-worthy Brexit irony. It’s jaw-droppingly bad, believe me.
The turns
The only real “name” in the whole film is Jackson-favourite Hugo Weaving. Just about everyone else in the cast is pretty well unknown, and in many cases it shows. Standing head and shoulders though for me over the rest of the cast was Icelandic actress Hera Hilmar, who strikes a splendidly feisty pose as the mentally and physically scarred Hester. I look forward to seeing what she does next.
Plagerism: the movie
Story-wise, there’s not a sci-fi film that’s not been looted, and a number of other films seem to be plundered too. (I can’t comment on how much of this comes from the source book by Philip Reeve). The Londonmobile looks for all the world like Monty Python’s “Crimson Permanent Assurance Company”; the teenage female lead is Sarah Connors, relentlessly pursued by The Terminator; the male lead is archaologist cum hot-shot pilot Indiana Solo, leather jacket and all; there is a Blade Runner moment; a battle that is a meld of “The Great Wall” and Morannon from “The Lord of the Rings: The Two Towers”; a less sophisticated aerial location from “The Empire Strikes Back”; and another classic Star Wars moment (without the words being actually said!).
A case of the Jackson Pollocks
Now I’m loathe to say anything bad about director Peter Jackson, after his breathtakingly memorable “They Shall Not Grown Old“. And the film has its moments of flair, most memorably a “life flashing before your eyes scene” that I found genuinely moving. But overall, as an actioner, it’s a bit of a mess.
It’s a long way from being the worse film I’ve seen this year by a long stroke – it kept me interested and amused in equal measure for the running time. But I think given it’s initially bombed at the Box Office, any plans Jackson had to deliver a series of these movies might need to be self-funded.
But all doesn’t go entirely smoothly for the UK capital. The Lord Mayor of London (Patrick Malahide) declares “We should never have gone into Europe. It’s the biggest mistake we ever made”. (Classic: how we SNORTED with laughter!)
Cities on wheels. London in hot pursuit of a Bavarian mining town. (Some things you just write, and then have to do a double take!). (Source: Universal Pictures International).
Stuffing it squarely to the ‘remainers’, London makes its own future. “It’s time to show the world how strong London can be”. Having conquered most of Europe, it’s time to set its sights on new markets to conquer: so London takes the Chinese on! (Now the tears of laughter are flowing freely!) Trade deals have never been more entertaining since “Star Wars: The Phantom Menace”!
Well, perhaps not
OK, so in the interests of ‘advertising standards’, I’d better make clear before you rush out to the cinema expecting a comedy feature that my tongue is firmly in my cheek here. For “Mortal Engines” is the latest sci-fi feature from Peter Jackson. But when viewed from a Brexit perspective, it’s friggin’ hilarious!
In terms of plot, this (like “Waterworld”) makes clever use of the Universal logo to set the agenda. The world has been decimated with a worldwide war – though clearly one that selectively destroyed bits of London and not others! – and the survivors must try to survive in any way they can. Settlements are divided between those that are ‘static’ and those (like London) that are mobile and constantly evolving: “Municipal Darwinism” as it is hysterically described. But London, or rather the power-crazed Londoner Thaddeus Valentine (Hugo Weaving), wants revolution rather than evolution and he is working on development of one of the super-weapons that started the world’s demise in the first place.
But Hester Shaw (Hera Hilmar), separated when young from her mother Pandora (yes, she has a box and we’ve seen it: wink, wink) is intent on stopping him, since she is on a personal path of vengence. Teaming up with Londoner Tom (Robert Sheehan) and activist Anna Fang (Jihae) they must face both Thaddeus and the ever-relentless Shrike (Stephen Lang) to try to derail the destructive plan.
“I’m not subtle”
So says Anna Fang, but then neither is this movie. The film is loud and action-filled and (as a significant plus) visually extremely impressive with it. I’m not a great fan of excessive CGI but here it is essential, and the special-effects team do a great job. The production design is tremendous – a lot of money has been thrown at this – and the costume design inventive, a high-spot (again snortworthy) being the Beefeater guards costumes!
Where the film really crashes, like a post-Brexit stock market, is with the dialogue. The screenplay by Jackson himself, with his regular writers Fran Walsh and Phillipa Boyens contains some absolute clunkers, notwithstanding the unintended LOL-worthy Brexit irony. It’s jaw-droppingly bad, believe me.
The turns
The only real “name” in the whole film is Jackson-favourite Hugo Weaving. Just about everyone else in the cast is pretty well unknown, and in many cases it shows. Standing head and shoulders though for me over the rest of the cast was Icelandic actress Hera Hilmar, who strikes a splendidly feisty pose as the mentally and physically scarred Hester. I look forward to seeing what she does next.
Plagerism: the movie
Story-wise, there’s not a sci-fi film that’s not been looted, and a number of other films seem to be plundered too. (I can’t comment on how much of this comes from the source book by Philip Reeve). The Londonmobile looks for all the world like Monty Python’s “Crimson Permanent Assurance Company”; the teenage female lead is Sarah Connors, relentlessly pursued by The Terminator; the male lead is archaologist cum hot-shot pilot Indiana Solo, leather jacket and all; there is a Blade Runner moment; a battle that is a meld of “The Great Wall” and Morannon from “The Lord of the Rings: The Two Towers”; a less sophisticated aerial location from “The Empire Strikes Back”; and another classic Star Wars moment (without the words being actually said!).
A case of the Jackson Pollocks
Now I’m loathe to say anything bad about director Peter Jackson, after his breathtakingly memorable “They Shall Not Grown Old“. And the film has its moments of flair, most memorably a “life flashing before your eyes scene” that I found genuinely moving. But overall, as an actioner, it’s a bit of a mess.
It’s a long way from being the worse film I’ve seen this year by a long stroke – it kept me interested and amused in equal measure for the running time. But I think given it’s initially bombed at the Box Office, any plans Jackson had to deliver a series of these movies might need to be self-funded.
Kirk Bage (1775 KP) rated The Umbrella Academy in TV
Sep 19, 2020 (Updated Jan 22, 2021)
I came to this gloriously colourful, energetic and super smart comic book adaptation in August (when Netflix advertised season 2), at a time of lockdown where I really needed something cheerful and fun to keep me going. It worked so well I watched both full seasons twice over, back to back, and key episodes 3 times! A rare thing indeed for me and a TV show.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland – currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasn’t that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through – just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazon’s The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreaves’ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their father’s funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins – their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although it’s hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boys’ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the “star” draw amongst the young and mostly unknown cast of “heroes”. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole – it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesn’t take itself too seriously – so that is everyone then! I think it’s allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing – a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. It’s not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I don’t want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys – an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldn’t is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I don’t see it as any kind of issue.
If you haven’t seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, they’d be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland – currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasn’t that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through – just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazon’s The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreaves’ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their father’s funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins – their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although it’s hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boys’ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the “star” draw amongst the young and mostly unknown cast of “heroes”. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole – it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesn’t take itself too seriously – so that is everyone then! I think it’s allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing – a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. It’s not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I don’t want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys – an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldn’t is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I don’t see it as any kind of issue.
If you haven’t seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, they’d be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.