TV Review: The Third Day - Episode 2

September 21, 2020 by Kipp Marcus

episode two of “the third day” get’s so many things right, and a bit worse

The Third Day’s second episode, called “Saturday - The Son”, continues to make things weird for our main character: Sam. Jude Law finds more and more clues as to why the island is so obscure and mysterious, and audiences get lots of fascinating imagery, but to match that intrigue is the growing frustration of the lack of explanations for all these weird happenings. Also, it can get hard to watch Law’s character stick on this place when every instinct should be telling him to get the hell off. As the series provides more excuses for his stay, the actor does give another above-average performance, and so does Katherine Waterston, who joins us in this week’s episode. They somewhat keep you invested, but how mediocre can this thing get?

What truly keeps this series from being anywhere near a good watch are the questions that keep piling up like a Jenga tower. The oddities of last week’s adventure obviously continue to haunt Sam as the continuation runs on, and that brings many confusing realizations to viewers. First off, the island apparently appears familiar to him, but does it? Has he even been there before? There are also strange mask-clad people attempting to kill him with makeshift weapons. Is it in his head? And then there’s Epona’s grief-stricken father who blames him for her death. Wait, what? Isn’t Epona alive and well? What is this series doing to my mind? The agony of it all makes for a disappointingly upsetting hour with a few good scares and a pair of solid performances.

Hopefully HBO will tie in all our desperate questions later on in the next few episodes, but so far, all we’ve gotten is a conjunction of potentially exciting and terrifying doors with no keys. If, perhaps, we are able to unlock the mysterious we want to solve in the future, I will give it more credit than it’s getting from me at the moment. However, nothing resembling that has shown up yet. It’s truly a disjointed mess that struggles to keep itself together with the lacking amount of positives the series holds on to. The Third Day is in equal parts surreal, gorgeous, and awfully chaotic…Something that grabs your attention, but doesn’t quite know what to do with it. The acting keeps it afloat, but the horror show needs a real boost.

Also, I forgot to mention in last week’s review of episode one that we have a newcomer, Jess (Katherine Waterston). The two met when Sam entered his given room, and found her sleeping in the bed. From there on out, they were magnetic, inseparable. Romantic? Eh, not so much, their relationship is more weird than lovely, just like literally everything that happens in this thing. His descent into madness is one of the show’s main strengths, as returning director Marc Munden successfully makes his maddening world quite relatable to the one we’re living in right now. He’s locked in this desolate place, and everything feels so relevant. But that also causes a few issues.

The character! He’s a family man, he loves his children…It’s all lovely stuff, but it becomes harder and harder to relate to Sam when he keeps making the most baffling decisions. At first, he’s desperate to get out of the place, with no cell reception, and his broken down vehicle. Sometime in the afternoon, the causeway is submerged by the tide, and there isn’t any way to get to the mainland. Each day that his stay goes by, he has sudden urges to explore. He always turns around when he’s finally at the connector to civilization, he actually goes near those psychotic killers, he heads into the woods. All very good decisions for the story, but increasingly irritating for us audiences wishing he would drive away. It’s that easy, SAMUEL. Episode three better be a masterpiece, or this show is losing a viewer.

The final opinion is: The Third Day’s “Saturday - The Son” is a fascinating and well-acted continuation, if only everything would just get a bit clearer now. Ah, whatever, this hurts my brain. I would say…SKIP IT

TV Review: The Boys S2 Episode 5

September 18, 2020 by Kipp Marcus

Homelander has a mid-life crisis, butcher comes back…Again in Good, but weaker fifth episode

We are now more than halfway through season two of The Boys, just receiving the fifth episode, “We Gotta Go Know.” Despite being a disappointingly predictable hour, number five is still a fun ride with enough wit to spare, and some genuinely brilliant moments that propel it forward. Things could go a little faster, though.

The relationship between Homelander and Stormfront intensifies, and they ultimately become a power couple. Antoni Starr’s character begins to lose his grip on the US, as protests about the release of Compound V, and most recently, his accidental murder of an innocent citizen, begin to really fire up. Starr is still brilliant in the role, but you really feel that episode four was truly his mojo. Aya Cash continues to be the standout as Stormfront, the delightfully villainous Supe that seduces Homelander into a bonkers sex drive. Overall, their whole arc in this series so far has gone from brutal enemies, to two inséparable conduits of evil.

A lot is happening in this episode, perhaps a bit too much. The creators attempt to stuff in a whole Annie/Mom arc, there’s Stormfront and Homelander, Billy re-uniting with the Boys for a showdown with Black Noir, Kimiko and Frenchie having increasingly less screen time, The Deep working with his Scientology church, and Queen Maeve trying to steer clear of Homie as she tries to protect her girlfriend. It’s a big, crazy blend of awesomeness that doesn’t always work. That’s mostly because of the lack of screen time. Erick Kripke has tried to accomplish too much in just 65 minutes. The amount of time that they had can only get you through so many plot points…But not enough clearly.

Homelander has most likely had the most satisfying arc of all the characters in season two. He’s been losing public adoration for a while now, and the series tries something bold. At a plaza, Homelander confronts a large group of protestors and attempts to calm them down. Failing miserably, he lasers everyone in it. Turns out he didn’t, it was all a fantasy. Again, this could have been a very interesting plot line. What if he really became a super villain? But all of the focus on him has resulted in diminishing results with the others. For example, what is up with the Boys?

Their reason to be in this episode didn’t actually bother me, however. Billy Butcher get’s re-United with them…Again, and they converge at a relative’s house. Black Noir, however, lurks on a roof top, waiting to strike when the time is right. The fight that ensues is actually quite entertaining, and it made for a fairly good moment in a mixed bag of an episode. There was no big PROBLEM with this, but it could take some more risks. Perhaps some tragic deaths of beloved characters? It needs to be bolder, which is nuts to say for something like The Boys, though in this case, it is necessary. Instead, Billy “speaks” to Mr. Edgar through Noir’s body-cam, and he let’s the Boys go.

Then there’s the million other sub plots that this episode, and the entire series is struggling to juggle. Annie’s mom confronts her at the set of Vought’s new movie The Dawn of the Seven, and what could have yet another potential emotional strong point is limited to only a few minutes of screen time. Maeve is also criminally underused, overshadowed by the episode’s focuses. As Homelander goes through his midlife crisis, she isn’t able to conceal herself from him, and puts her girlfriend in danger. Once again, another powerful moment that’s sadly squandered.

Fortunately, there’s a lot more strengths than weaknesses in “We Gotta Go Know.” The character-driven storylines are still mostly intact, the performances remain committed, and the screenplay stays wicked smart and socially aware. The few flaws make for the weakest episode that is let down by a lack of surprises, but I still had plenty of fun with the halfway mark.

The final opinion is: Though it meanders through a disappointing lack of narrative momentum, “We Gotta Go Know” is still a wickedly entertaining, gorgeously acted ride. I would say…BROWSE IT

Rated: TV-MA

Genre: Action/Comedy

Runtime: 1 hour

Directed By: Batan Silva

TV Review: The Third Day - Episode 1

September 14, 2020 by Kipp Marcus

HBO’s premiere for “The third day” has jude law in “wicker man” mode

By: Keaton Marcus

Jude Law is the latest to fall into The Wicker Man/Midsommar trap in this folk-tale horror series in which he unravels a mystery behind an ominous island that he cannot seem to escape from. This is HBO’s latest, The Third Day, which has debuted its first two episodes now before releasing weekly chapters until its finale on number six. The initial, dubbed “Friday - The Father”, is heavy on dread, mood, and enticing visuals, but has a disappointing lack of insight, or even exposition, to explain what the hell’s going on. Jude Law saves the day, though his compelling performance still isn’t quite enough to offset its flaws.

Clearly, Law’s character Sam hasn’t seen any of those horror movies I’ve just mentioned, hence him actually rescuing one of the island’s residents, Epona (Jessie Ross) from accidentally hanging herself. Sam is a troubled London man who wishes to get back to his family, but the constant seduction of the island keeps him there, albeit with no reception (love those tropes, HBO). This seemingly inescapable place, called Osea, is home to solely 93 odd citizens, at least that’s what Epona explains. It lies on the other end of a length causeway across from the mainland. However, when the tide comes in everyday, it’s impossible to drive across. Why? It’s convenient to the plot. The people are described as “nice” folks, but you know that never ends up being true in cinema, or on television.

After he saves Epona from death, he encounters the grateful, yet strange couple Mr. Martin (Paddy Considine) and his wife (Emily Watson). The two run the local pub, and take in Epona when they meet. Sam’s then given a tantalizing offer, a room to sleep for the night, and drinks on his tab. Being the struggling man he is, he decides to stay the night. Considine and Watson are both suitably over-the-top and reasonably unsettling, an interesting mix when you put them together, although the duo get washed over in familiarity. Each bit of exposition or attempts at explanation for the strange occurrences that are about to come down the line are helpful, but lacking in quantity. The mood-building and overwhelming sense of fear keep you onboard, however.

Sam, who has a few kids of his own, is naturally concerned about Epona’s well-being, health and safety, so he regularly tries to check on her, but it just never happens. His attempts are shot down either by the residents, Epona’s gun-toting dad, or the exploration of an oddity on the island. Whether there’s the mysterious boy in the distance, the bizarre rituals, or decaying animals that casually show up out of nowhere. All the disturbing imagery is the series’ asset, its one true claim-to-fame, especially with those bugs crawling out of another wounded insect, one of my pet peeves. It taps into these little tics of yours and exploits them cleverly. Unfortunately, there’s some bad stuff I’ve got to write about.

Looking behind all the cool visuals, disturbing images, and engaging lead performance, there isn’t any meaning behind them. All the style doesn’t pay off, the pretty production is sometimes only there to fool the viewer into thinking he or she is witnessing brilliance, and it can come off as pretentious. I’ll mention it again that audiences still do not have enough context to understand it all, but I’m hoping that they’ll have better explanations than the damn lore that’s constantly being thrown at is. So besides some ludicrous excuses for plot points, self-indulgence, overlong running time and lack of meaning, The Third Day’s initial hourlong episode succeeds more than it doesn’t.

The final opinion is: HBO’s The Third Day gives Jude Law yet another endearing and engaging performance, and with visual style to spare, the premiere generally works to overcome its messy execution of an original premise. I would say…BROWSE IT

Rated: TV-MA

Genre: Sci-Fi/Horror

Runtime: 59 minutes

Director: Marc Munden

TV Review: The Boys S2 - Episode 4

September 11, 2020 by Kipp Marcus

“the boys” season two, episode four is a tad weaker due to meandering subplots, but is more than saved by homelander

After our first week of actually waiting for an episode, the fourth chapter in The Boys season two has arrived. The sequel has proven to be superior to its predecessor in almost every way possible. Despite the newest installment being the weakest, more focus on Homelander, Stormfront and The Deep make it more than worth watching. Principally, it’s a strong continuation with flaws.

Antony Starr, the mastermind behind our supervillain hiding behind a superhero’s mask, has gained a particularly dangerous hatred for Stormfront, the newest addition to the Seven: an edgy Supe from Portland who’s shit-talking, anti-corporate persona could be all an act. With the rookie gaining nationwide attention, and becoming quite the social media mogul, Homelander’s had enough. She’s finally gotten under his skin after he reads a slew of side-splitting memes about the poor guy. We get some genius verbal sparring between the two later on, and while Stormfront may have won the battle, Homelander will win the war. Well, most likely, at least, the gal’s got grit. But let’s not forget that she’s a complete dirtbag, remember what she did to Kenji? Her fans sure don’t.

What’s so impressive about this series is that it gives sympathy for its most unlikable character, and that is most prominently because of the motherly relationship between Homelander and Stillwell (Elizabeth Shue). Wait, didn’t she have her eyes blown out in the finale of the first season? Yes, but that doesn’t stop Homelander from using Doppelgänger (a shape-shifting Supe) for some comfort in a secluded lodge of some sorts. The moment is finger-licking good, literally and figuratively, as he’s actually licking milk from her (his, I guess) fingers. This gives him a therapist, someone to vent to, about his troubles with Stormfront, and oh my Lord does this actor never stop,

Starr is a complete tour-de-force as the series gives him the spotlight. He was always fascinating in the role, but continues to give the best performance in the entire show. His fabulous acting is so darn special that it’ll give other Emmy contenders a run for their money, and voters something to look at. Despite all of his horrible acts, audiences still have a slight bit of empathy for him, considering all he’s been through. The character’s tragic backstory, and everything that the creators have him do gives Homelander nuance and emotion, something that you wouldn’t expect from such a guy. From his squabbling with Aya Cash’s Stormfront to his own insecurities, he’s actually extraordinarily written, and it only get’s better this time around.

The B-plot then kicks in. With Butcher formulating an escape plan for his family, and Frenchie trying to control Kimiko’s instability after what happened to Kenji, Hughie convinces a reluctant Mother’s Milk to invite Starlight along on a road trip. It involves hunting a missing Supe that goes by the name of Liberty (cough cough Stormfront). At its worst, this is an entertaining detour that sometimes feels like a tired excuse to shoehorn development in. The teasing of Mother Milk’s childhood and relationship with his father is certainly welcome, Laz Alonzo, among other supporting cast members, have sort of become fill in the blanks when Homelander’s gone. Don’t get me wrong, Alonzo is a perfectly capable actor, but the series’ first big attempt at making him more developed felt far too forced.

Another character that’s affected by Homelander’s gravitational pull is Starlight, who’s character has been largely forced into the background. Her collapse into Hughie’s arms was also decidedly odd, and a wholly unnecessary moment that occurred while audiences were left in the dark about the character’s intentions. It seems to me that she’s trying to admit the pain that Vought has caused her, but it was an emotionally manipulative and overly sentimental plot point will no real meaning. Erin Moriarty continues to perform well as season two goes on, it’s just her character had less reason to be apart of this episode. The fact is, it’s more of a nitpick than an issue, and I’m sure they’ll figure it out by episode five, and it doesn’t truly stop the series from plowing along proudly.

The one major disappointment I had with this episode was Butcher’s arc. A massive reunion was promised this week between him and Becca as they plan to escape the deadly clutches of Vought with their son, Ryan. What could have been an emotional high point in the episode turned out to be a sappy, and all-above boring rom-com with no comedy. Karl Urban’s edge and brilliance as the character continues to be intact, it’s really his chemistry with Shantel VanSanten (who portrays his wife). It isn’t all his fault, either, I have the biggest issue with VanSanten, who is disappointingly flat and uninteresting. They have sex a couple times, complain about their sob stories, and nothing actually happens. Their whole escape was for nought, and the duo become alienated…Again. Thankfully, the series plays towards its strengths more than enough to make this a high recommendation.

Number four was truly a fantastic filler episode. Although it shoved The Boys into mediocre subplots, which included Starlight, it provided some much-needed screen time for Homelander. Because it fulfilled that need gracefully, I will admit that I had plenty of fun with it. “Nothing Like it in the World” is a weaker installment that’s apart of a chain of strong links, and it does its best to give each character some equality. Some stuff didn’t work, but at the expense of these characters, we got yet another gleaming performance from Antony Starr, and despite not focusing as much on the action sequences, it was nearly as entertaining as its predecessors. The cast, for the most part, are all trying their hardest, and this continues to be one of the craziest things on TV. From the brutal killing of a whale, Homelander throwing his son of a roof to Stormfront going ballistic, this season has satisfied my needs so far. Episode five, here I come! Even if it’s next week. How will I pass the time?

The final opinion is: The Boys’ “Nothing Like it in the World” has some subplots that make up less than the sum of its parts, but Antony Starr’s gorgeous depiction of his power-crazed supervillain keeps everything intact. I would say…BINGE IT

TV Review: Lovecraft Country - Episode 4

September 06, 2020 by Kipp Marcus

“Lovecraft Country” Episode 4 loses steam with slow beginning, but recoups some in its fun second half

We’re almost halfway through HBO’s flawed, yet groundbreaking “anthology” series Lovecraft Country, and episode four has been released, dubbed “A History of Violence.” Remember when the show was fixated on dealing with racism while providing good horror entertainment, well now it’s kind of screwed both, and turned into a creepy riff of Indiana Jones. Nonetheless, while this is the weakest episode, I’m still dazzled by the characters, performances, camera work and decent twists.

What part four is truly lacking is the oddness that made the first three so fantastic, and despite a couple innovative music choices, it does fall flat in the first half. Only does it start to get truly entertaining after a good 25 minutes of dishearteningly mediocre TV. What do I mean about the soundtrack? There are a few instances where we get realistic performances of Roy Brown’s “Boogie at Midnight” and Louis Jordan’s “Is You or Is You Ain’t My Baby”, or times when lyrics start interrupting scenes with Rihanna’s “Bitch Better Have My Money” and Jade Josephine’s “Get ‘Em”. It just makes you question what HBO’s new…Creation is attempting to convey with these occurrences.

Since episode three decided to shove that middle finger up in two’s face, this attempts to pick up that plot with Christina Braithwaite. This week’s episode takes a stab at an abbreviated version of “Abdullah’s Book”, one of the earlier chapters in Matt Ruff’s novel. After George’s tragic death, the challenge of finding Titus’ missing vault is left to Atticus, Montrose, and Leti. Together, they journey to Boston with Hippolyta and Dee under the false pretense of a family road-trip. Although the majority of the episode focuses on the series’ core three characters, it actually juggles three in total.

Christina is now attempting to challenge the Chicago branch of the Order of the Ancient Dawn, and Ruby, Leti’s sister, is seduced by one of Christina’s henchmen, William, who managed to survive the explosion in Ardham. How? God, I don’t know! Besides these, we cut to an underground pulp adventure that brings back memories of classic adventure serials like Raiders of the Lost Ark, complete with luscious music, outstanding visuals and a couple exceptional performances from Jonathan Majors and Jurnee Smollett-Bell. There’s brass horns, flutes, violin swells, making an unmistakable reference to John Williams’ best scores.

Anyway, our protagonists find the entrance to the vault, and travel to a whole new subterranean world jacked with booby traps, and Tic announces: “This is some Journey to the Center of the Earth-type shit!”, shocked at the massive size. I feel you. From crossing an extensive wooden bar, avoiding fatal traps, and swimming through freezing waters, this is when the episode is at its absolute best. Like a combo of Tomb Raider and Harrison Ford’s iconic hero on acid, I found hefty amounts of entertainment. Baffling music choices, self-aware dialogue and surprisingly hilarious jokes propel “A History of Violence” beyond the decidedly mediocre filler it could have been. Also, audiences can’t get enough of Tic and Leti’s nagging at each other, making this a duo to ship like hell.

Another aspect that was clearly an improvement on previous episodes was the development for Montrose, Atticus’ now-found father. He’s a main focus point of this continuation, and you feel his grief as mumbles around his apartment, completely piss drunk, burning objects. Most importantly, the Order of the Ancient Dawn bylaws George gave him before he died in order to protect the family. Atticus isn’t fond of him, either, as they argue constantly. His shortcomings as a father are shown gracefully throughout. Ruby also get’s some love from the creators, as she receives her own subplot, albeit a strange one. William, one of Christina’s henchmen, seduces her, and I hope to see more of the character in next week’s episode.

It’s too bad we have to get through so much time before this episode really turns on the engines. Because of this unfortunate predicament, “A History of Violence” plays some serious catch-up during the last 35 minutes, saving it from disaster. Don’t get me wrong, there are several moments when this part goes above and beyond, but there are a tad too many factors keeping it from being as good as its predecessors. That is, however, arguably hard to accomplish. The whole beginning keeps you bored out of your mind, and it falls to just exposition and lore, which plagued the second episode as well. Overall, though, I’m still going to turn on the television for number five, even if it’s with lower expectations.

The final opinion is: Lovecraft Country’s “A History of Violence” is let down by a tediously slow start, but slams down on the gas pedal towards the end, crafting an entertaining, self-aware pulp adventure peppered with impressive technical aspects and two superb sub plots. For the most part. I would say…BROWSE IT

TV Review: The Boys - Season 2 (Episode 1-3)

September 04, 2020 by Kipp Marcus

more development, irreverence, violence, and glorious satire make season two of “the boys” more than worth it

After a long two years of waiting for The Boys to return, Amazon Prime Video has blessed us with a bigger, better season two. This show has come back in top form, giving its beloved, and quite sadistic characters, some much-needed character development, handed us another menacing corporate villain, and delivers just as much violence, comedy and all-out craziness we were expecting.

In the beginning of “The Big Ride”, our heroes are hiding without Butcher (Karl Urban), who’s had some family issues after his encounter with Homelander, Stillwell, and finally his long-lost wife Becca. Hughie (Jack Quaid) is still in contacts with Annie/Starlight (Erin Moriarty), who are both attempting to steal some Compound V, the drugs that make the Supes so super. She tries to get a sample of it through a kid she once knew growing up, Gecko, who can regrow his arms and limbs, blackmailing him with a video of himself accepting money for a man to chop off his appendages. Yeah, he’s working as an S&M prostitute.

Of course Amazon wants us to actually witness the thing. This is, of course, THE BOYS. It makes for an awfully disturbing, but completely necessary moment. Much like everything this series gives us these days. Before all of this shit happens, we check in with Black Noir, likely the most undeveloped character in the first season. He manages to take out another Supe Terrorist, Vought’s catchy name for rogue villains juiced up with Compound V. This time it’s Naqib, one of the more powerful ones. Then we get the best moment in the premiere.

Stormfront, the newest addition to the seven, finally meets Homelander and Maeve during an advert for the Supes joining the military. Played by Aya Cash aggressively, we get an absolutely hilarious scene with Stormfront on a live stream. She has a steady 86k watchers, but then the rookie encounters Homelander, and her view count jumps to millions…Viewers see reactions from Instagram users, noting how shook Antony Starr’s Superman imposter really is with newfound competition. This is after the guy confronted Vought’s PR lady Ashley Barrett about letting just any person join the group.

Antony Starr is already magnetic in his role, but what happens when we pair him and, say, Giancarlo Esposito in the same scene. Esposito plays Vought’s CEO, Stan, and is later met with a hostile approach from Homelander after Stormfront is announced to join. The tension is rising, and you’re just about to realize that Esposito is completely owning this role, having so much fun portraying this corporate jerk. After all of this in the glorious first episode, we finally get Butcher’s long-awaited return, and everything feels so darn complete.

Episode two is just as much a blast as the pilot. Right from the get-go we’re told what happened to Butcher in his hours missing. After seeing his wife, Becca, and his “son”, Ryan, he mysteriously found himself lying unconscious next to a Tony Cicero’s, learning that he was wanted for Stillwell’s sudden death.

The Seven now have a full girl-power, feministic marketing campaign. Now with a trio of women, Maeve, Starlight and Stormfront, it’s an excellent chance for Vought. Stormfront, however, won’t have it, and Aya Cash is as brilliant as ever. Cash’s character challenges this, and explains that no matter what private part, both genders get it done…Among other things. It’s just more cleverness from this series, completely off the rails and totally irreverent, and I love it. Annie’s little smuggling deal with Gecko actually payed off, and he brings her a sample during the press junket. But A-Train (the powerhouse Jessie T. Usher) get’s quite suspicious.

After, we get to check in with The Deep (Chase Crawford) who’s having the lowest point in his career. He’s out of the seven, spending…And drinking his days down in Sandusky, but then he is met with a deal that could get him famous again. The series goes into satire mode once again to make fun of Scientology. Anyway, the outcast meets Eagle the Archer and his shady church to take shrooms and get in touch with his feelings. Crawford is superb in the role, and you can’t help but fall out of your seat laughing when he talks to his gills (Patton Oswalt). The duo have a poignant, if disturbing conversation about how he truly deserves to be loved, and that he must stop violating girl’s bodies because he’s uncomfortable with his own. My god is this the most bonkers thing I’ve seen on TV.

Butcher and the Boys, now together, go to a Halloween store where a Super Terrorist was. But things get crazy when Komiko finds her long-lost brother, Kenji, the Supe they were looking for. By the way, Karen Fukuhara still hasn’t actually said a word in her role, but that’s her thing, and she nails it. Both as Katana in Suicide Squad and The Female in The Boys, what an actress. This also gives a character mostly overshadowed by her partners in crime some good development.

Episode three, arguably the best one of the series…To come out yet, is just what we wanted from season two of The Boys. Homelander get’s a massive part of this episode, and we begin with him practically invading Butcher’s wife Becca’s home, and interfering with her close relationship with Ryan, his son. We get a tension-filled moment where they’re eating breakfast together, and, well, Homelander being who he is, interrupts their little Spanish-speaking game and takes Ryan out for a “father-son” talk. You could imagine what that’s like with such a psychopath. The thing is, it’s worse than that, the superhuman wants to teach him how to fly, and does it by well…Throwing him off the roof. It not only gives audiences a hilarious, and shocking moment, but we also get a fantastic character moment with Ryan defending his mom, alienating Homelander.

After the news about Compound V broke due to some superb sleuthing by beloved characters Starlight and Hughie, we check back in with The Boys. They’ve tied up Kimiko’s brother Kenji (a Supe) on their yacht, but things go awry when the guy breaks out and destroys a police helicopter with his powers. Soon after, we get possibly the craziest moment yet, which is when the Deep (Crawford) suddenly attacks them with a swarm of sharks, whales and killer fish, and, of course, his attempt completely fails in hilarious fashion. His army first get’s decimated by Butcher’s firearm, but then stuff truly goes terribly wrong. Our sexual predator “superhero” and Aquaman knock-off tries to block off their boat with a massive whale, yet knowing Butcher, he isn’t gonna stop. Yep, the Boys drive right through that thing, and we get the guts, organs galore. Thanks, Amazon.

Our team of anti-heroes narrowly escapes through the sewers, and the Deep is met with the rest of the remaining members of the Seven. But Homelander, A-Train and the rest easily catch up to the struggling Boys. Homelander, needing to know if he can trust Starlight, forces her to kill Hughie, but of course Butcher makes a little diversion, and Kenji completely demolishes the psycho by throwing a ceiling on him. God these performances are so incredible, some of the best work I’ve seen in film and TV. The final minutes of the episode gives Stormfront (Cash) the spotlight, don’t worry.

This is when Kenji tries to escape the Boys, with Komiko running after him. They end up on the top of a building, in which Stormfront completely demolishes everyone in her sight. Just when you thought the newest addition would be a relatable, father-figure of sorts for Starlight, she ends up being a total b**ch. Stormfront finally catches up to Kenji, with Komiko hiding in fear, and kills him in cold blood, breaking his neck. Wow, didn’t expect that, or the fact that she’s a racist, referring to Kenji as a “yellow bastard”. What an ending, and it couldn’t get me any more excited for episode four. Only problem, I can’t binge it all in one sitting! Whatever…

Rated: TV-MA (for language, nudity and extreme violence)

Genre: Action/Comedy

Runtime: Episode 1 (1 hour 2 minutes), Episode 2 (59 minutes)

Directed By: Phillip Sgriccia (Episode 1), Liz Friedlander (Episode 2)

TV Review: Raised by Wolves - Season 1

September 03, 2020 by Kipp Marcus

“Raised by wolves” debuts its first three episodes in bloody, beautiful fashion with little to nitpick at

By: Keaton Marcus

Legendary science fiction director Ridley Scott has teamed up with HBO Max for the largely anticipated Raised by Wolves, originally set to premiere on TNT before moving elsewhere. The little delay hasn’t effected the quality, at least for the first three episodes. All three are completely batshit crazy, but they’re propelled by a soundtrack filled with dread, visuals brimming with beauty, and another compelling dive into creepy android territory.

The first episode kicks off in a near-deserted universe where humans are close to extinction, with only thousands left. Two androids carrying 12 human embryos crash land onto a desolate planet called Keplar 22-b. We get introduced to the two robots, dubbed Father (Abubakar Salim) and Mother (Niamh Algar). The female one is decidedly more powerful, and is referred to as “The Necromancer”…The male is more of a docile friend. Anyways, we skip ahead in time to when the surviving embryos are now children, mostly focusing on Campion (Winta McGrath). However, all the children but one die of a mysterious disease, and that one is Campion, who surprisingly survived.

Then the trio get some unwelcome company, some surviving humans, who come looking for others. Led by Marcus (Travis Fimmel), the group encounter Father, Mother and Campion, and are offered a place to stay. Then the tension begins to rise as Marcus and the others attempt to smuggle Campion off the planet, and back to their ship dubbed “Heaven’s Ark.” Of course, Mother get’s, well…angry, and kills every human except for Marcus, who narrowly escapes. That’s a thing I must warn future viewers about, Scott, once again, does NOT shy away from bloody violence, pumping this thing with explosive, stylish gore…much like his newer Alien movies.

As the series progresses into episode two, we begin to discover more and more about Marcus’ past. The next episode opens to the Battle of Boston, as Mithraic and atheist forces clash in the city. Marcus appears to be a Mithraic soldier, and he’s trudging through the rubble with another woman, violence all around them. They find a medical droid, who says it will be able to transform their faces so they can sneak on to the Heaven’s Ark. That’s right, the two are atheists, and they’ve found two Mithraics who are roughly the same size and shape that they are. After the bandages come off, their faces emerge as Marcus and Sue. Then, of course, they must kill the real two people as they travel to real Marcus and Sue’s home, shooting them both on the spot.

This is by far Scott’s most complex work, for better or for worse. The two discover that they have a son, named Paul (Felix Jamieson). As the fake family replace the real one on the ship, we go back to the present timeline. Mother, after slaughtering everyone on the Ark, evaporating them into bloody blasts, brings back several children for Campion, as if to stop him from leaving. The rest of the episode plays with its characters in gorgeous fashion, bringing deeper character development, especially to Campion and Mother as the former has increasingly little trust in the latter. Creatures, who the family hasn’t encountered in all their twelve years on the planet, suddenly emerge and attack in the climax of episode two. Mother easily destroys them with her ear-piercing screams, and that’s how it all ends.

In episode three, things just get crazier for our main characters. It’s dubbed “Virtual Faith”, and begins with Campion continuing to suspect horrible things of Mother. But are his suspicions accurate? When the Mithraic children Mother brought back at the end of episode one fall ill, he feels his accusations are confirmed. Mother and Father continue to warn the children not to go outside, as the creatures will surely kill them. To scare them into submission, the female android tells them the “Three Little Pigs.” Campion, still determined to escape, convinces the other children to run away from the two robots, but his attempts were short lived, as Father easily finds them.

Back with Marcus, other humans have come to rescue the struggling atheist living in a Mithraic world. When Mother goes after the surviving humans, they manage to hide underground, and send one of their androids (played by Awissi and Ingvild Lakou) to be a sacrificial lamb. Marcus once again encounters Sue, his “wife”, even though they’re really Caleb and mary, atheists that assumed the identities of a Mithraic captain and his wife. As we check in with Campion, the nightmarish creatures attack him, but he’s saved by Father at the last minute. Good timing, Mr. Android.

My explanation only scratches the surface of what Ridley Scott, who directed the first two episodes, is trying to accomplish here. Otherwise, we’ve got all the delightful world-building, gorgeous visuals and odd androids that fans should have come to expect from a Scott series. Episode four will premiere on HBO Max next week, and so far, I’m quite excited on where this high-concept show will go next.

Should you Binge, Browse, or Skip?

Despite the timelines getting a little in-cohesive, Ridley Scott’s imaginative new show is filled to the top with religious, ethereal imagery, solid performances, and all the cool androids we’d come to expect. The violence may not be for everyone, though. I would say…BINGE IT

TV Review: Lovecraft Country - Episode 3

August 30, 2020 by Kipp Marcus

“Lovecraft Country” Episode 3 is bigger, better and scarier than the second

By: Keaton Marcus

It’s time, ladies and gentlemen, to get into some major deets about Lovecraft Country episode three: “The Holy Ghost”, which premiered on HBO Max just last night. Focusing more on tension, scares, and less on lore and exposition, this next episode is an improvement over its immediate predecessor, and proves that the series has more up its sleeve for later. Don’t worry, though, it doesn’t lose its wonderful oddness in the process.

“The Holy Ghost” is not exactly what you’d expect it to be. After wrapping up the first storyline at the end of episode two with the death of Uncle George, the discovery of Atticus’ father, and their escape from that Ardham manor, we jump into a whole other story. We still have our same beloved characters, though, with Letitia and Atticus both returning, but it’s only loosely related to the first two. Despite this anthological-like format, the characters, visuals, social commentary and delightful amounts of gore are what drive this thing to victory each time.

The plot of the third installment is definitely strange, but also totally intriguing. The episode kicks off with a creepy title-card explaining that two negroes, in this case Letitia and her sister, moved into a house where 10 other Black people went missing a while back. The issue is, it’s up in the “North side”, where all the racist folks are wanting to keep their little white town cleansed, so there isn’t much of a welcoming committee when they arrive. The two begin to get settled in, even inviting Atticus to stay in there while the two get it all freshened up. Then, of course, unexplained occurrences begin to happen around the old house before we all get another swinging party, though these white kids aren’t gonna let them get out unscathed.

What do they do? Well, these racists light up a massive cross on fire. Not friendly, huh? Arguably, this is when we get the best moment in this episode, Letitia’s revenge. Jurnee Smollett-Bell continues to absolutely kill it in the role, and when she brandishes that bat, smashes in the cars of their un-welcome neighbors, it’s so darn satisfying. Bell truly takes the driver’s seat in this next installment, and I can’t help but adore it. Before Tic (Jonathan Majors) gets sucked into the house, he’s got some daddy issues with Montrose (Michael K. Williams), who is sadly underused during most of the key plot points.

Then things start to really get bad in Leti’s new place. First of all, our two characters get arrested by the coppers after smashing those cars, and the chief can’t help but be a little creepy. It’s exposition time, folks. He explains to Letitia the strange missing persons cases that happened in the house she’s staying in, and after they get released, she isn’t planning on letting these tormented ghosts ruin her home. At first, Atticus thinks it is just the stress she went through last episode, although it ends a little hard not to believe her when they decide to get a paranormal investigator to check out the basement, which is where these people mysteriously vanished.

This is where returning director Daniel Sackheim truly turns up the chills, making these “ghosts” possess both the investigator and Atticus in a thrilling scene that gives you that tingle up your spine. After this, ummm…happening, we get some of the most welcomed violence in a lifetime. The so-called “leaders” of this no-good neighborhood break into the house, only to get attacked by…The house. A broken elevator shaft decapitates one of them, and a figure with a baby’s head on a grown man’s body kills the other two. It’s totally magnificent to watch these awful people get the goods.

I have to admit that I was satisfied with the outcome of “The Holy Ghost.” I won’t spoil the last moment of the episode, which is an excellent cliffhanger that gives Christina the ultimate “Karen” moment. Besides the mis-used Michael K. Williams, director Sackheim brings more character moments, development, scares and weirdness to the table without sacrificing anything that makes this so special. Episode four, here we come!

The final opinion is: Lovecraft Country comes back swinging in top form with “The Holy Ghost”, filled with chills, excellent performances, dazzling cinematography and epic amounts of gore that propel the show forward. I would say…BINGE IT

TV Review: Lovecraft Country - Episode 2

August 23, 2020 by Kipp Marcus

“lovecraft country” episode 2 is high on uneven pacing, lore, weirdness, and a cast that just keeps you invested

lovecraft-country-jurnee-smollett-jonathan-majors-courtney-b-vance-1598280750.jpg — 78/100 “sweet”

By: Keaton Marcus

In episode two of JJ Abrams, Jordan Peele and Misha Green’s Lovecraft Country, we get a brutally paced, beautifully-shot, occasionally in-cohesive episode that doesn’t quite answer our questions. The cast is all still doing a fantastic job, the cinematography is gorgeous, and it’s a mostly excellent continuation—but it really wavers while shoving loads of lore into our faces, losing some of the tension that its predecessor set up.

Dubbed “Whitey’s on the Moon”, this continues right off the bat of the mysterious ending of episode one, which led the trio: Atticus (Jonathan Majors), Letitia (Jurnee Smollett-Bell) and George (Courtney B. Vance) to some sort of mansion after the monster attack in the woods. We find that this house is the Braithwaite Estate in Ardham, the suspected location of Atticus’ missing father. After Letitia and George indulge in the luxury of William (Jordan Patrick Smith) and Christina’s (Abby Lee Kershaw) residence, Atticus’ suspicion grows after they explore the town in search for clues.

The trip into Ardham certainly builds plenty of suspense, enhanced by sublime camera-work and appropriately creepy residents, but director Daniel Sackheim fails to clarify the aggressive isolationist position of the town or the townspeople’s relationship with the Braithwaite family. Heck, maybe we’ll get answers in future episodes, although this is supposed to be a mostly anthology-type show. The rushed visit to the town leads to a very odd plot-point that also doesn’t seem to fit in. Atticus is horrified, and remembers last night’s occurrences with vivid detail, though Letitia and George can’t seem to at all.

Letitia becomes worried for Atticus, suggesting his agitation could perhaps be related to some sort of PTSD-related issue after the war. Sadly, Lovecraft skips over this potentially intriguing idea and drops it after about 10 minutes. My last lingering “flaw” with this episode is the encounter with Dell (Jamie Neumann), the “sheriff” of Ardham. The familiarity just hits you like a bullet. Remember that racist-old sheriff and his officers in “Sundown?” Remember how carefully set-up and harrowingly terrifying the scene was? In “Whitey’s on the Moon”, Sackheim shoehorns it in there to remind us that there was, in fact, racism in the ‘50s without building towards anything. All it does is push the episode forward in perfunctory fashion.

Besides these few mishaps, and the workman-like dialogue while tackling the lore of that inspired this series, there were many bright spots in the new episode. First of all, Majors plays the hell out of Atticus, and he continues to be a protagonist that we want to root for: a likable, nuanced character, and just a cool dude. Smollett-Bell is absolutely incredible, no doubt the shining star in terms of performances in the series, and Vance is by far has the least amount of development, but Vance did whatever he could in fleshing out his character. Additionally, I positively adore the fact that Abrams, Peele and Green are seemingly willing to embrace the certain silliness and oddness of their creation.

This is shown in countless scenes throughout the first two episodes, but the standout of this one occurs following their little happening in the village. While separated in their respective rooms, Letitia, Atticus and George face “nightmares” of a kind. For Letitia, her mojo is to have sex with Atticus, and despite everything going her way at first, he then precedes to pull down his pants…from which a snake emerges ready to bite. In George’s quarters, the most uninteresting character gets the most uninteresting dream, dancing with his late wife. However, down with Atticus, he must confront the horrors of war again by wrestling, and eventually killing, an enemy soldier. Seriously, what the hell were the creators smoking while making this beast of a series? I want to know, because it sure worked out for them.

I’m deeply sorry for all the heavy spoilers that are falling like bombs here, but I simply can’t review something like Lovecraft Country and not talk about all the weird stuff that happens! We eventually learn that Atticus’ great ancestor was a former slave of Titus Braithwaite, a distant cousin of Samuel (Tony Goldwyn), Christina’s father and leader of the so-called “Sons of Adam” chapter of the Order of the First Dawn. Since Atticus is technically “related” he’s as good as family to these eccentric people. But it’s most likely just a cover so that he can fulfill Samuel’s own ends. What are those? Well, he’s gotta complete some sort of sacrifice, which is most likely the most memorable scene in the episode.

This is generally due to the brilliant choice to pair poet and songwriter Gil Scott-Heron’s “Whitey’s on the Moon” with the dramatic climax is artful. His poem/song is a message that truly speaks to you…principally saying that the struggles of Black people were to the advancement and advantage of white people. “I can’t pay no doctor bill (but Whitey’s on the moon).” Not only does the song fuel this epic and smartly-made scene, but it also gives the episode its name. Literally! Besides all the issues I have with this thing, episode two still proves that this series isn’t playing around when it comes to sheer uniqueness, and it combines its originality with above-average performances and top-notch visuals. Although we didn’t get some questions answered, and exposition filled the hour, I am still invested, and watching next week’s episode.

Should you Binge, Browse, or Skip?

Although Lovecraft Country’s “Whitey’s on the Moon” can’t help but struggle with confusion and uneven pacing, it keeps audiences reasonably invested an episode that’s dripping in style, originality, brimming with high-class performances, and filled with eye candy. I would say…BINGE IT

TV Review: Hoops - Season 1

August 21, 2020 by Kipp Marcus

“Hoops” is Unforgivably bad, and it won’t last another season

By: Keaton Marcus

Review of Netflix’s Hoops:

Here we go again, another contrived, unfunny, gross-out and pointless adult animation series for Netflix: Hoops. Keep milking that cow, Ted Sarandos, keep shoving unnecessarily awful content into the faces of audiences.

Anyway, this show is about a struggling high school basketball coach named Ben (Jake Johnson) who is one bad move from getting fired. All things considered, he attempts to get the tallest kid in the school, Matty (A.D. Miles) on the team to potentially win a game. Not much in this thing, huh?

Well you could argue that all adult sit-coms these days don’t have a lot in the thinking tank, but at least a few have consistent humor, and strive to become an original, above-average show that can make a person laugh. Unfortunately, Hoops is a generic comedy that substitutes clever laughs for poop jokes, with insensitive, offensive humor that just won’t cut it.

In earlier seasons of shows such as South Park, Family Guy, and perhaps even the more kid-friendly The Simpsons, I let some of the deliberately insulting jokes slide because they’re so darn hilarious. Even today, when our favorite streaming platforms are filled with subpar content, we get gems like Rick & Morty. In Hoops, Netflix doesn’t have the smarts to re-create it. But hey, maybe it’ll be a big hit.

Not from what I’ve seen…Rotten Tomatoes’ critics have pulled this down to a mere 20% “Rotten”, and audiences couldn’t even get kicks out of it either, with their score landing at a lukewarm 47%. On the Netflix “Top 10” list, this thing only lasted a couple of days before it was knocked out. Seems like you’re little plan to overpopulate a streaming service with crap isn’t working out all great.

Jake Johnson, the lead of this show, is actually a pretty funny guy. He starred in Tag, which gave him a bit of comic room to shine, but he still isn’t hilarious. At least not likable enough to carry a turd like this. Considering the low viewership ratings, I don’t expect this to last for another season, but it still wasted a couple hours of my time.

Should you Binge, Browse, or Skip?

Hoops has a talented cast, but its lack of consistent laughs, a clever, original plot or even some dumb fun make it completely unwatchable. I would say…SKIP IT

TV Review: Lovecraft Country - Episode 1

August 16, 2020 by Kipp Marcus

“Lovecraft country” episode 1 gives you monsters and racists in a nightmare drive down jim crowe america

By: Keaton Marcus

In this review of the highly anticipated HBO series Lovecraft Country, I will be reviewing each episode when it airs on the streaming service. The pilot of the first season came out yesterday, so it’s time to begin with that.

REVIEW OF LOVECRAFT COUNTRY: S1, E1

Just a thing you should know about my opinion before I really delve into the details: no passion can quantify my love for this first episode. There, I said it, I’ve no doubt fallen in love with the characters, storytelling, and well…monsters before any others even came out.

The first episode is about pulp-fiction aficionado and ex-veteran Atticus Freeman (Jonathon Majors) who recruits his uncle George (Courtney B. Vance), and his childhood friend Letitia Lewis (Jurnee Smollett-Bell) to find his recently gone missing father Montrose Freeman (Michael Kenneth Williams). But it’s also much more than that, the storytelling is deep, the characters are layered and likable, and it handles some of the nuttiest tonal shifts ever. I am not exaggerating, the first three quarters of the pilot is a compelling drama that tackles racism in Jim Crowe America, but that last 25 minutes turns into a huge blood-and-gore fest with some weird creatures involved.

This series is absolutely gorgeous, the cinematography is crisp, clear, and it gleefully presents the old-fashioned US. The sound-design is also magnificent, and so is the lighting. Especially in a block-party scene about a third way in, wherein a somewhat ethereal glow, Black men, women, and children dance to a cover of Rosetta Tharpe’s “I Want A Tall Skinny Papa”, followed by a duet performance of Dave Williams’ “Whole Lotta Shakin’ Goin’ On”. It captures the utter innocence of these families just enjoying themselves, despite the States’ monstrous position on Black people. The whole episode is full of visual pizazz, from the color palettes to the admirably terrific special effects during the action sequences. Again, when you combine producers JJ Abrams, Jordan Peele, and Misha Green, you’re gonna get some serious eye candy.

The performances are just brilliant. Jonathon Majors, who recently had a supporting role in Spike Lee’s Da Five Bloods, has a poignant and emotionally nuanced screen presence as Atticus. Jurnee Smollett-Bell (Canary in Birds of Prey), also gives a captivating performance in the stand-out role of her entire career. From beginning to end, you care about Bell’s Letitia all the way through, and her compelling emotional shift at the end of the episode is absolutely epic. Courtney B. Vance’s Uncle George also makes for a solid, if more supporting role as the trio get into some serious trouble down in the Midwest.

And I’m talking about some awful stuff. No, not the creepy crawlies, they show up later. The actual, disgusting monsters that roamed the USA in the ‘50s, racists. This brings me to an excellent scene in the series, when the trio are driving through a segregated town while we listen to the soothing speaking voice of writer and social critic James Baldwin. “It would seem to me that the proposition before the House, and I would put it that way, is the American dream at the expense of the American Negro, or the American Dream is at the expense of the American Negro, is a question hideously loaded, and then one’s response to that question - one’s reaction to that question - has to depend on effect and, in effect, where you find yourself in the world, what your sense of reality is, what your system of reality is. That is, it depends on assumptions which we hold so deeply as to be scarcely aware of them.”

Baldwin’s mesmerizing words are seared when paired with Atticus, Letitia and George eyeing the segregated ice cream shops and movie theater entrances. The score matched with that scene, and the rest of the episode, is somber, intense, and beautiful at the same time. And that’s not the thick of it just yet. After a delightfully suspenseful scene in a Cafe, they are forced to drive like hell after a couple white supremacists chase them with their truck, armed with shotguns. After a thrilling shoot-out while driving on the road, a mysteriously fancy silver car helps them escape, only to run into the Sheriff.

The good old Sheriff of course stops the three without probable cause after they stop in the middle of the woods, and this leads to one of the greatest scenes in television ever. This racist arse proclaims that it’s his “sworn duty” to hang them if they stay in his county after sundown. With the sun setting in under 10 minutes, they have a tense cat-and-mouse game. But you didn’t think they’d actually escape, right? Correct, this scene then leads them to a whole bunch of coppers, and they’re interrogated in the woods. This leads to my biggest problem with the episode.

There are a few issues with it, including that big tonal shift. The last minutes of “Sundown” is a fun finale that gives horror fans what they’re expecting. The whole Lovecraftian lore and creatures are set up in the beginning of the pilot, but you can’t help but think where the series will go from here. The thing is, the series is at its scariest before the creatures ever showed up, it terrifies audiences when it goes deep into true American horror, and the finale just feels like popcorn entertainment that doesn’t really fit in with the rest of the episode. This makes it more of a juxtaposition of two things that do not work together. Otherwise, however, I’m totally psyched to see where the rest of the series goes.

Still, you can’t argue against the fact that this is one of the most unique, creative and original shows in a long time. It’s something a lot of us don’t see very often. Lovecraft Country isn’t just an effective horror series, but it is also an audacious, provocative, and ultimately sensational achievement that just isn’t for everyone. All things put aside, the weirdness that fuels this episode is what makes it stand out from the big genre crowd.

Peele and Abrams have made a nutty juxtaposition and social commentary that doesn’t always work. Though as an audience member, you have to see past its few flaws. If you look deeper, you’ll find an entertaining, yet thoughtful and visually stunning piece of work. And in a world that’s always looking for innovation, this is the prime example of what that looks like.

The final opinion is: Despite a couple tonal issues, Lovecraft Country’s first episode is gorgeously filmed, magnificently scored, and packed with fine performances from its stunning cast. I would say…BINGE IT

TV Review: The Umbrella Academy - Season 2

July 31, 2020 by Kipp Marcus

“The Umbrella Academy” season 2 ramps up on action, humor, Weirdness, and succeeds

By: Keaton Marcus

Review of Netflix’s The Umbrella Academy Season 2:

Sometimes shows get better with age, and that’s certainly the case with Netflix’s second season for The Umbrella Academy, which ends funnier, more emotionally complex and action-packed than its predecessor. The sequel series takes place directly after the finale of the first one, where Five and his six siblings with extraordinary powers fail to stop the apocalypse and are left to go in his time vortex to save themselves. The time jump scatters the siblings into a three-year period. Starting in 1960. This show was always convoluted, but the second season really goes full throttle with the whole complicated plot thing and doesn’t step on the breaks. Thankfully, its charming cast and delightfully weird approach to the genre save it from doom.

David Castañeda’s Diego was the most underdeveloped character in the first season, but luckily, showrunner Steve Blackman gives him a hilarious and surprisingly poignant arc in the sequel. He’s still treated as the loser with the siblings, especially as a cheap Batman with delusions of grandeur, but we needed Diego in the spotlight, and that’s what happened. That’s not all, but but Emmy Raver-Lampman’s Allison has to make it through Jim Crowe-era Texas, which the other siblings are completely oblivious to due to their color-of-skin. This makes for an interesting and well-thought out character arc that’s refreshingly different.

Speaking of different, Ellen Page’s Anya has a terrific character change as well. She goes from being an ultra-powerful superhero in season one to a woman who has no idea who she is or what the heck’s going on. That’s right, Page has amnesia, meaning she completely forgot about her powers in the first place. She ends up having to live out the ‘60s helping out a nice family on a farm.

The entire cast is pretty fantastic overall, and Blackman has the guts to remix the show’s premise, making a second season that treads familiar ground, but is also wonderfully odd. And the banter! Robert Sheehan and Justin H. Min really need a good round of applause for their chemistry together. It’s pitch-perfect, and their plot-thread (together, of course) is absolutely terrific. All the arcs are handled with a deft touch without feeling preachy or self-important.

There are still some issues I have with this nearly-perfect continuation, however. Despite all the hilarious performances, the series still hasn’t quite found its path yet. Much like the first season, it’s extremely messy, and at times convoluted and pretentious. It’s a lot more fast-paced too, which makes for a fun ride, at the expense of true depth. The villains too. They are basically three foreign Terminators, uninteresting and without distinction. They don’t bring enough intrigue compared to season one’s Cha-Cha and Hazel. All they really do is mindlessly murder people. But that only rarely stop this one from truly soaring.

On a platter, however, its more focused and character-driven than its predecessor, which was clearly overshadowed by Doom Patrol, but now considering this season, we’ve got a good competition on our hands. If they keep going in this direction, I’m all in for a third season. And although it’s still totally frantic, this is a series to have fun with. The action scenes are choreographed excellently and beautifully shot, the chemistry is impeccable, and it has a killer soundtrack. A perfect summer watch.

Should you Binge, Browse, or Skip?

The final opinion is: The Umbrella Academy’s second season finds a more grounded and focused approach to its carefully-crafted characters, making for a bigger and better sequel that goes full throttle on action and humor…BINGE IT

Cursed - Season 1

July 17, 2020 by Kipp Marcus

watch on netflix

108_009fc310-a041-11ea-a3b8-0a079c937afdR-b2b6896-scaled.jpg

By Quinn Marcus

Cursed

(2020)

Age: 14+

80/100: Sweet

NOTE: There are 10 episodes in this series, I have based my review off of the four I have watched. My review will be tweaked as I continue to watch the show.

Cursed was created by Frank Miller and Thomas Wheeler and is based upon the New York Times bestselling novel also written by Thomas Wheeler, illustrated by Frank Miller. You can call it a prequel to the Arthurian legend, but it’s a unique twist on the story we grew up hearing--The story of Arthur, and the knights of the round table. This retelling is about teen sorceress Nimue and her quest with mercenary/swordsman Arthur to bring the sword of power to Merlin the magician in an attempt to save her kind, the Fey from the Red Paladins. Sounds gripping, doesn’t it? But enough with the exposition, let’s get right into it. For starters, was it faithful to the book? I would say maybe it was a tad too faithful. However, it’s clear that the right people were hired to express what Frank Miller’s drawings would look and feel like on screen. Which brings me to my next point, the visuals are outstanding. The whole world was brought to life by spellbinding effects and awesome set designs. Then again, some scenes look too much like a set, such as a wolf scene from episode one, but even that can’t take you out of the world you are pulled into. This authenticity showed real commitment from the costume, makeup, set, and hair designers, giving the audience an escape from reality.

Although the story wasn’t established as well as it was in the book. It’s truly hard to adapt a graphic novel to the screen, I think Thomas Wheeler and the team have done a bang-up job of that. One thing I noticed was that all of the male characters were like pawns compared to the strong and empowering female characters. For example, I was way more invested in Nimue’s story than in Arthur’s. In fact, for the episodes that I’ve watched, Arthur is pretty much just there. I do love the choice of him being African American, it was a bold, ignore the trolls type of decision. In Merlin’s case, I got some grittier Jack Sparrow vibes from him, but there’s just not enough of him in the show… yet! Every scene he’s in, he’s drinking or running away from something. I will say that there are scenes that I love from him such as the scene at the end of episode 2 between “the widow” and him which gave me goosebumps. But his character isn’t defined enough through episode 4. I hope to see more substance from Arthur and Merlin’s storylines later. Then again, it’s not every day you see a show with an extraordinary female lead like Nimue which is why this show is mainly directed towards teen girls looking for empowerment.

The script has some nitpicks and logical issues here and there, but overall I thought it was very smart, strong, and included well-scripted moments of humor. There were four directors for Cursed, Jon East, and Daniel Nethheim who did three episodes each and Zetna Fuentes and Sarah O’Gorman who did two episodes each. So far, the best-handled episode I’ve seen is the pilot. The pilot is often the hardest episode to do, and yet it was the best for me. It was exciting, interesting, and set up the world well. The director of this one was Zetna Fuentes, director of multiple episodes of Bosch, Jessica Jones, and Grey’s Anatomy. I have to congratulate her on a job well done. She also did the second episode which was not as strong for me but explored Nimue’s character more. In my opinion, my least favorite episode, the fourth one was still well done but felt like it was caught in limbo, and was a little slow. But there was still an epic water fight scene towards the end.

The cast including Katherine Langford (13 Reasons Why), Devon Terrell (Barry), and Gustaf Skarsgård (Vikings) all did a great job portraying their characters. Even if Gustaf and Devon’s characters haven’t fully developed yet, they still seemed committed. As for Langford, she’s the real powerhouse of the cast. She is emotional, and had strong chemistry with Devon Terrell. However, their character’s so-called romance is much better in the book, so far. I feel almost no romantic tension between Nimue and Arthur even though they work well together. The first episode built a promising relationship, but then they spent the next few episodes either apart or arguing.

Is it for kids? Definitely not. There is a ton of blood and some very gory/violent scenes. Fey are burned at the stake, people are stabbed and shown dead. Nimue kills and hurts people with her uncontrollable powers. There is not a lot of sex, some flirting and a bit of kissing. Besides that, Nimue is a powerful female character who stands up for others and is very independent. While it is perhaps much tamer than shows like The Witcher I highly recommend this for teens and up.

Overall, I see a ton of potential in this bloody, flawed, yet well made and acted fantasy series. I can’t wait to see more.

Should you Binge it, Browse it or Skip it?

I say… Binge it!

TV Review: Cursed - Season 1

July 17, 2020 by Kipp Marcus

the first season of “cursed” rises to the challenge of creating a solid, well-acted fantasy series with some bloody bite

By: Keaton Marcus

Review of Netflix’s Cursed:

A new take on a classic tale has landed with Cursed, a radical reimagining of the Arthurian legend, based on the graphic novel by Thomas Wheeler and Frank Miller. It’s about a Fey warrior named Nimue (Katherine Langford) who’s mission is to bring the Sword of Power to Merlin (Gustaf Skarsgard), with charming mercenary Arthur (Devon Terrell) without being captured by the ruthless Red Paladins led by Father Carden (Peter Mullan). Though it perhaps isn’t as subversive in the crowded fantasy genre as it should be, it still makes for an interesting retelling of a story that’s been told too many times from the male perspective. The series starts far before to when Arthur held the sword, and it tells the tale of The Lady of the Lake, telling audiences that before the king, there was a queen. Katherine Langford, who had her breakout role in 13 Reasons Why, and then later on acting in Rian Johnson’s Knives Out, totally rules in the leading role. She stabs, cuts off heads, and uses a whole lot of Fey magic. All what we would expect from this unmerciful warrior. Langford has proved herself to be a rising star, and though they delve into her past occasionally, it just leaves me intrigued for more. Terrell does a good job as the iconic Arthur, handsome and flirtatious, but they don’t really justify his screen presence in the first couple of episodes except as to tag along with the hero. It’s not till the third when our creators really decide to give him some backstory, and most importantly, a suitably bloody action sequence. Gustaf Skarsgard is also a total standout as Merlin, portrayed as an utter loser that has nothing better to do than drink. Peter Mullan is also exceptionally menacing as Carden, obsessed with slaughtering all Fey kind.

What left me most surprised was the amount of blood and gore in the show. I would say pleasantly surprised, actually. The trailers didn’t show off much violence, and I was expecting a Harry Potter or Percy Jackson-type thing for children, but wow was I wrong. And it’s good, to be honest, that Cursed is able to show off that violent bite which gives so much more edge to the action sequences. The visual effects aren’t incredibly strong, but clearly this series has a high production cost, and there’s some beautiful landscapes to lay your eyes upon. It mostly falters with the creatures, where the computer-generated imagery seems a bit obvious, though otherwise I was genuinely impressed. Yes, this is Netflix trying to attempt at another Game of Thrones after the monster hit that was The Witcher, but to be fair, both attempts have been welcomed by myself. They prove to be a tad cheesy, yes, but also visually impressive and well-acted. The character development isn’t as strong here, but it leaves room for more later this season or even a sequel. What’s really epic Thomas Wheeler and Frank Miller’s courageous act to create a diverse cast. They make Arthur of color and the hero a strong female character, which sometimes makes up for its occasional lack of imagination. The storytelling feels smooth and straight-forward, easy for the younger teens watching this to follow. There’s nothing too convoluted or complex, and it ends a perfectly entertaining, fun show with a terrific Katherine Langford.

Should you Binge, Browse, or Skip?

Cursed doesn’t bring enough subversive content into the mix, but with a set of fine performances, entertaining action and strong writing, it succeeds. I would say…BINGE IT

TV Review: Intelligence - Season 1

July 15, 2020 by Kipp Marcus

“intelligence” wants to be the new “The office”, but it really isn’t

Review of Peacock’s Intelligence:

The third and final Peacock show I shall be reviewing is Intelligence, a workplace comedy starring Nick Mohammed and David Schwimmer. It’s reasonably funny at times, but it’s truly another disappointment for this one-trick-pony of a streaming service. The action centers around Jerry Bernstein (Schwimmer), an American NSA agent that is transferred to work with the UK’s Government Communication headquarters. With just six 26-minute episodes to complete the first season, there isn’t much room for fleshed-out characters, which is where it truly fails compared to other series’ such as The Office and Brooklyn Nine-Nine. Sure, you may find a couple laugh-out-loud moments, but as a whole, it mostly fails to make a cohesive show. David Schwimmer brings some Michael Scott-type vibes to his character, bringing a certain importance to his rather unimportant position, but then you realize that the guy is no Steve Carell. Nick Mohammed, who also created it, has a pretty generic and recycled character as well. He plays as a sidekick of sorts to the “cool-guy” (Jerry). Think Kumail Ninjiani’s character in Stuber, only rather unfunny. However this light thing may be able to relieve some pandemic stress we’re all having at the moment, and if you really need some comedic mediocrity, then go for it.

Should you Binge, Browse, or Skip?

Intelligence may be sporadically funny, but its well-matched leads are sadly wasted in this series that substitutes clever comedy and character development for some dumb slapstick. I would say…SKIP IT

TV Review: Brave New World - Season 1

July 15, 2020 by Kipp Marcus

“brave New world” may be visually striking, but it still does minimal justice to the novel

By: Keaton Marcus

Review of Peacock’s Brave New World:

Will Peacock really be the platform to bring justice to Aldous Huxley’s classic novel? Will it finally give satisfaction to its many fans wanting an adaptation? Eh, not really. While this take on Brave New World is visually slick and sexy, they only scratch the surface of the groundbreaking book it was based on. This is about a future “utopia” that really is just a dystopia disguised in absolute perfection. The government has banned monogamy, family, money and history itself, while making it your social responsibility to have sex with as many people as possible to ensure your happiness. Crazy, right? Well, that’s just the start of it, we’ve also got happy pills in the future called Soma, with a nice color for every occasion. This all takes place in a little world called New London, while the non-conforming folks are left in the Savage Lands. There’s three characters that you gotta focus on, Alpha Plus Bernard Marx (Harry Lloyd), Beta Lenina Crowne (Jessica Brown Findlay) and savage John (Alden Ehrenreich). John finally travels to New London after being whisked out of the Savage Lands, and threatens to completely debilitate the “peace” of their city. This is while Lenina and Bernard take a trip to the Savage Lands, finding all sorts of danger.

There’s much more than that, but I’ve only seen the pilot, and despite its mediocrity, maybe I can suck it up and watch till the end. There are a few positive things about the series. The production design is top-notch, the musical score is hauntingly beautiful, and the series does get a major factor right, knowing how nuts the plot sounds. But as Peacock’s biggest release at the moment, and being the adaptation of one of the greatest books I’ve ever read, I expected more, a lot more. The performances, sadly, are decent at best. You’d know Ehrenreich from 2018’s Solo: A Star Wars Story, which although didn’t quite work out, the guy tried his best. It’s similar with Brave New World, you can tell he’s doing his best, but the series around him just isn’t capable enough. Especially since his character, John, is one of the most revolutionary roles to play. Jessica Brown Findlay isn’t exactly awful as Lenina, but to be frank, she’s too stiff to bring enough humanity to the character. And with the increased amount of time she has on-screen, it really didn’t work out. Harry Llloyd’s Bernard Marx, considered the main character of the big three, at least in the novel, is also watchable, but a bit robotic. It’s hard to really recommend a film or show without solid acting, and despite some redeemable factors, this isn’t the adaptation we’ve been looking for.

Should you Binge, Browse, or Skip?

Peacock’s Brave New World is a seductive and dazzling new adaptation, but it merely skims the surface of Aldous Huxley’s complex novel, filled with mostly bland performances. I would say…SKIP IT

TV Review: The Capture - Season 1

July 15, 2020 by Kipp Marcus

“the capture” is exciting, well-acted…and the only reason to touch the peacock streaming service

Review of Peacock’s The Capture:

NBCUniversal’s new streaming service Peacock has now arrived with a few high-profile shows. This technically isn’t a Peacock original, but since the streaming platform now claims it as their own after taking it from BBC, why not review it now. One of them is a “fight-for-justice” series that has already been picked up for a second season, dubbed The Capture. It’s a thrilling, heart-wrenching drama that packs so much glorious punch in its first episode alone. It’s principally about an ex-soldier named Shaun Emery (Callum Turner), who after being falsely accused of murdering a prisoner in Afghanistan, now wants to live a quiet life after being released. However, when he is made the prime suspect of a kidnapping case, his world begins to fall apart. The lead performances drive the pilot of the series, led by the aforementioned Turner, who brings heart and humanity to a character that cannot seem to get a break. Otherwise, actress Holliday Grainger plays DI Rachel Carey, a mostly by-the-books detective that doesn’t really know what to think about Emery being the suspect. Grainger is absolutely fantastic in the role. This is truly the reason to download the app, as its other two biggest releases aren’t nearly as good. But you may want to upgrade to the premium version so you’re able to watch all six episodes of this incredible show. I’m so in for a season two being released, and I cannot wait to binge the rest of the first one.

Should you Binge, Browse or Skip?

The Capture brings some much-needed espionage greatness to the Peacock app, featuring a capable cast, expertly-crafted characters and a massive amount of thrills. I would say…BINGE IT

TV Review: Hanna - Season 2

July 03, 2020 by Kipp Marcus

the second season of “hanna” is a slow, yet mature action thriller packed with strong performances

Review for Amazon Prime Video’s Hanna: Season 2:

The iconic assassin is back on the small-screen with Prime Video’s sophomore season of Hanna, and so is Esme Creed-Miles in the title role. Finally out of the shadows of the 2011 Edgar Wright movie, this second season massively improves over its predecessor, as director David Farr crafts a more exciting, dramatic and surprisingly deep sequel. Obviously, he shows that there’s plenty more to explore in the Hannaverse. This one is about Hanna (Creed-Miles) and a patient from the Utrax facility (Yasmin Monet Prince) attempting to escape the organization. However, when both of them are eventually captured, they are sucked into the world of The Meadows, a mysteriously happy new home for all the victims of Utrax’s experiments. Esme Creed-Miles is once again fantastic as the titular character, and for sheer emotional heft and realness, she even beats the movie’s Saoirse Ronan. Yasmin Monet Prince is also given room to shine as a very well created supporting character that carries an excellent fish-out-of-water scenario. Mireille Enos returns to play Marissa Wiegler, one of the heads of Utrax. However, instead of the cold death that Wright left her with at the end of its film counterpart, makes her more of a motherly figure for Hanna, which may upset fans of the movie. But at least in my opinion, it makes her more of a human, instead of the ruthless, cold-hearted killing machine that Cate Blanchett portrayed. The action sequences are once again glorious, beautifully brought to life by the solid camera-work. There is still that pacing issue. Much like its predecessor, Season 2 doesn’t know whether it’s a brutally fast-paced, violent thriller or a slow-moving drama. And because of this, several sequences drag on for far too long, but besides that, this is some great television.

Should you Binge, Browse, or Skip?

The second season of Hanna continues to develop its titular heroine, all with bringing back worthy performances, well-done action, and a mature-like quality that the movie didn’t have. But it could move a bit quicker. I would say…BINGE IT

Tv Review: I Know This Much is True - Season 1

June 29, 2020 by Kipp Marcus

Review of HBO’s I Know This Much is True:

What do we have here? Well, ladies and gentlemen, HBO has released yet another grim and depressing show! What a surprise. The story is about the middle-aged Dominick Birdsey (Mark Ruffalo) who recounts his troubled relationship with his mentally-ill twin brother Thomas (also played by Ruffalo), and his efforts to get him freed from an asylum. Don’t worry, though, this series is still excellent. The acting, I have to say, is incredible. Ruffalo’s double performance is superb, and his character’s relationship with his brother is deeply saddening, a real tear-jerker. That’s because it’s terribly real, and you truly feel it. This is NOT an easy watch, the relentlessly grim plotting and the seemingly depressed characters really fuel the entire thing. But if you’re there to see some fantastic acting, and a show that deals with an important subject matter, this is the thing for you.

Should you Binge, Browse or Skip?

I Know This Much is True tells a beautiful story of brotherly love, and despite the over reliance on grim plot points, Mark Ruffalo’s double helping of performances brings it home. I would say…BINGE IT

TV Review: The Politician - Season 2

June 29, 2020 by Kipp Marcus

By: Keaton Marcus

Review of Netflix’s The Politician: Season 2

Netflix is back with their sophomore season to one of Ryan Murphy’s most popular shows, The Politician. However, it’s in diminishing and disappointing returns. This time around, Payton Hobart (Ben Platt) is attempting to dethrone Dede Standish (Judith Light) for New York City’s Senate race. And he will do anything to achieve it. While Season 2 is a very fun and enjoyable time to just let the guilty pleasure take over you, it’s lost the clever touch of its predecessor. Ben Platt is still fantastic, and so are his goons of sorts, McAfee (Laura Dreyfuss), Theo (James Sullivan) and Alice (Julia Schlepper). Gwyneth Paltrow does her job as Payton’s mother, also getting into the political business. The cast overall is solid, but the smarts are sadly gone. The series has turned into guilty pleasure and nothing but, which is a pretty big let-down.

Should you Binge, Browse or Skip?

The second season of The Politician has lost much of its glorious brains, becoming a perfectly entertaining, well-acted but awfully stupid series. I would say…SKIP IT

episode two of “the third day” get’s so many things right, and a bit worse

IN THIS ARTICLE:

Homelander has a mid-life crisis, butcher comes back…Again in Good, but weaker fifth episode

HBO’s premiere for “The third day” has jude law in “wicker man” mode

“the boys” season two, episode four is a tad weaker due to meandering subplots, but is more than saved by homelander

IN THIS ARTICLE:

“Lovecraft Country” Episode 4 loses steam with slow beginning, but recoups some in its fun second half

IN THIS ARTICLE:

more development, irreverence, violence, and glorious satire make season two of “the boys” more than worth it

“Raised by wolves” debuts its first three episodes in bloody, beautiful fashion with little to nitpick at

IN THIS ARTICLE:

“Lovecraft Country” Episode 3 is bigger, better and scarier than the second

iN THIS ARTICLE:

“lovecraft country” episode 2 is high on uneven pacing, lore, weirdness, and a cast that just keeps you invested

IN THIS ARTICLE:

“Hoops” is Unforgivably bad, and it won’t last another season

“Lovecraft country” episode 1 gives you monsters and racists in a nightmare drive down jim crowe america

IN THIS ARTICLE:

“The Umbrella Academy” season 2 ramps up on action, humor, Weirdness, and succeeds

IN THIS ARTICLE:

I say… Binge it!

the first season of “cursed” rises to the challenge of creating a solid, well-acted fantasy series with some bloody bite

“intelligence” wants to be the new “The office”, but it really isn’t

“brave New world” may be visually striking, but it still does minimal justice to the novel

“the capture” is exciting, well-acted…and the only reason to touch the peacock streaming service

the second season of “hanna” is a slow, yet mature action thriller packed with strong performances