kyleanand

[kyleanand]

A Quiet Place: Review

-Acting: 2/2

The cast of A Quiet Place is admittedly small. That being said, each actor has a unique presence that is seen - not heard, as the plot progresses. All of the actors commit to their parts perfectly. John Krasinski excels as director and also dad of the year in this film. Every facial expression he makes screams (silently) of desperation and trepidation. You can tell that Lee cares deeply for the well-being of his family and you want to root for him the whole way through. Emily Blunt plays the extremely resourceful Evelyn Abbott. Evelyn’s quick-thinking and tenacity definitely keep you on the edge of your seat as things predictably go from bad to worse. Noah Jupe plays Marcus Abbott, the brother of Regan and Beau. Marcus is a grounded character, albeit underused. Speaking of this, Regan acts as the ‘heart’ of the Abbott family/McGuffin of the film. Her crucial role is quite simple for audience members to understand but Simmonds gives an outstanding performance regardless.

-Cinematography: 1/2

The cinematography of A Quiet Place is quite good. Colour, darkness and camera movement is used to great effect in the movie. Although the film is billed as a horror film, I would hesitate to use this designation. While the cinematography is definitely horror-ish, I think the film is more akin to a sci-fi thriller. Genre classifications aside, I had a problem with how the monsters of the film looked. (They’re totally aliens by the way). They look very CGI-y and unreal. I’m sure if I was running around the Abbott’s farm I would be scared out of my wits, but because I was sitting in a movie theatre looking at a screen, the creatures look very out of place.

-Sound: 2/2

Wow. If you’re looking for a film with great sound design, this is the movie to watch. You know it’s good when the crew made no noise when filming to incorporate the organic sounds from the locations. And come on… you knew that before walking in to the theatre that sound would need to be perfectly mastered for this movie to work. Music wasn’t bad either.

-Script: 0/2

I think I’m probably in the minority here, but the plot of the movie really didn’t jive with me. Good stories allow the audience to suspend their disbelief so that we may conveniently overlook any glaring plot holes or narrative inconsistencies. We’ve all heard the saying: “Out of the frying pan and into the fire,” but this movie might as well be called: “Out of the frying pan and into the fire, and then into a supernova.” Don’t get me wrong. I’m totally okay with the protagonists struggling during the plot. In fact, I think that all stories should do this. However, given the fact that the setting for this film is extremely self-contained both in terms of time and space, it becomes a little unbelievable that so much ka-ka can hit the fan over such a short time span., I get what the writers were going for, but the execution of the plot points is very haphazard. There is so much going on during the 2nd and 3rd act that it’s extremely hard not to scratch your head at the narrative decisions made.

-X-factors: 2/2

It’s very rare that you’ll see a contemporary Hollywood film with such sparse verbal dialogue. The usage of American Sign Language is less a novelty for audiences and more of a serious aspect of the narrative’s modus operandi. The fact that all of the actors learned ASL for their roles... (with the obvious exception of Millicent Simmonds as Regan), is a remarkable feat. Most importantly, all of the characters are totally believable as members of the Abbott family. The creatures of the film are unique to the genre on film, even though they look a little silly at times. The film isn’t totally original and is a tad bit melodramatic lacking substance. I am most obviously reminded of Signs (2002) and the video game: The Last of Us (2013) in terms of tone and plot. However, the novum of A Quiet Place rests with its sound design, and usage of genre fluidity.

-Verdict: 7/10

I think A Quiet Place is a fresh take on an established genre. That being said, if you look closely, you can see the inspiration Krasinski perhaps consciously or subconsciously borrows from. All of the actors in this film are great. However, the plot sometimes suffers from some head-scratching moments of unfortunate coincidence. That being said, A Quiet Place knocks it out of the park with its uncanny sound design.

[kyleanand]

Black Panther: Review

Black Panther excels in the acting department. Special consideration should be given to the exemplary performances of Michael B. Jordan (Erik Killmonger) and Danai Gurira (Okoye). Jordan’s depiction of Erik Killmonger is without a doubt the best villain the MCU has given fans thus far. Jordan’s body language, line delivery, and energy elevate the other performances in the film astronomically. Killmonger is so good at being bad that you want to root for him, Gurira’s portrayal of Okoye as a proud warrior from a distinct culture is a step in the right direction for women of colour in all films. Gurira lets it be known that she is capable not only demonstrating her martial prowess, but also because her character embodies loyalty and compassion. Even though he only had a supporting role in Captain America: Civil War, Chadwick Boseman as King T’Challa has come into his own as the lead for this film. His accent and mannerisms are never out of place. Boseman brings a physicality and regality that is organic to the story. There are no weak links with this cast. Honourable mentions go out to Andy Serkis (Ulysses Klaue) and Sterling K. Brown (as prince N’Jobu) who are each fantastic given their significance to the plot and limited screen time. 

What most resonated with me regarding the look of this film is the brilliant array of colours that are used for each shot. Blues, purples, greens and blacks all add to the vibrancy of each shot. Fight choreography is different in Black Panther when compared to most other Marvel movies. In this case, different is good. Instead of punching, kicking and sometimes blasting bad guys with guns; swords and bladed weapons are used which make the action suspenseful and visceral. Unfortunately, CGI is used liberally in the film which did not allow me to suspend my disbelief. I would have expected more from an MCU movie this late in the game. 

I’m not a music guy by any means. That being said, I know good music when I hear it and this film is chock-full of rhythmic mood-building. The soundtrack for Black Panther delivers in every scene from the beginning to the end. Most Marvel movies suffer from an audio/visual curse of sameness and monotony. Black Panther is able to break free of this mould with an exciting smorgasbord of sonic superiority.

Wow. That’s all I really need to say. Most of the plots for Marvel films range from classic fables such as “Good guy develops technology. Bad guy acquires similar technology. Good guy fights bad guy.” Or another fan favourite: “Ancient evil returns to threaten the world. Good guy fights bad guy.” Black Panther isn’t like your average Marvel film. Like Captain America: Civil War before it, the conflict for this story is ideological in nature with a dash of courtly intrigue to make things exciting. There are very serious social and political issues that are explored in Black Panther. While on the surface it may seem like your average popcorn-munching superhero action-adventure movie, there is some serious drama going on here which sets Black Panther apart from its predecessors. 

In case you didn’t notice, this is the first time a respected and successful Hollywood film franchise has legitimately honoured minority individuals and their culture. Yes, I do remember Blade and Spawn, but let’s be real here, those films were from a different time and were made for a more niche audience. The music of Black Panther is also distinct, rhythmic, and appropriate to the tone of the story. The character of T’Challa has been around since the mid 60′s and it’s about time people of colour were given the opportunity to kick-ass on the big screen. 

Ryan Coogler doesn’t just knock it out of the park... He knocks it out of the continent... like a meteorite made of a mystic otherworldly metal that gives you superpowers if you drink the meteorite plant juice (it makes sense trust me). I think many Marvel movies risk being simply ‘okay’ and it’s nice to know that the genre can still evolve. Fans aren’t dumb. It’s important that major studios switch things up so that audiences keep coming back for more. The plot is socially aware and relevant to contemporary world politics. The acting is spot-on, (did I mention that Killmonger is the best?). The music gets your heart pumping and your head bobbing. Needless to say, I’m excited for Black Panther to show up in Avengers: Infinity War and eventually for Black Panther 2!

-Stay Frosty

[kyleanand]

It’s been a while!

I have been away for way too long. I am going to be updating this blog for all of the new movies I see. 

Cheers. 

[kyleanand]

Game of Thrones: “Battle of the Bastards”

There really isn’t much to say about this episode. No, really. It represents a new standard for all television from now on. Game of Thrones has exceeded the expectations for the millions of fans of the show all over the world. “Battle of the Bastards” is a seamless blend of cutting edge special effects, cinematography and production value.

The story for this episode is by no means as spectacular as the battle scene(s) that take up the majority of this episode’s screen-time. Sansa’s actions make no sense until the very end. If one considers how she held onto the Vale army until the last possible moment, she has a lot of blood on her hands and a lot to answer for. Let’s be honest, we all knew the Knights of the Vale were coming to save the day. What makes no sense is why she didn’t tell Jon at the war council. 

In Meereen, Daenerys (Emilia Clarke) is at her best when she is dishing out the pain to the bad guys. The dragons have never looked better. It’s amazing how realistic all of the action scenes look even with all of the CGI used. Game of Thrones stands shoulder to shoulder with any contemporary high-budget Hollywood fantasy movie. Yara and Theon have a great exchange with  Daenerys. It seems as though all of the major players in Meereen will be sailing to Westeros soon. (Let’s hope).

It made complete sense for Rickon to die. He had no set-up, no character development, and no real influence. In the grand scheme of things, he acts as more of a plot device than anything else. As if Jon and Sansa needed more of a reason to kill Ramsay right? 

Much of what makes the Battle of Winterfell so brilliant is its dark and realistic take on medieval warfare. War isn’t pretty. War is terrible. George RR Martin writes with this fact in mind and he has done so for the entirety of his writing career. Violence has always played a role in the storytelling of both the show and the books they are based on. However, it is important to realise that these actions do not come without a cost. Martin does not believe in good and evil, he writes human beings in conflict with others and themselves. Martin’s rule of thumb is that there is nothing more compelling in storytelling than the human heart in conflict with itself. Violence in media is a means of catharsis for everyday people. Game of Thrones thrives on this catharsis. We must not forget the cost of violence. I’m happy that the Battle of Winterfell showed us this with its decapitations, mutilations and wanton death and destruction. War is not to be glorified. Yeah, you’re damn right it was cool to see Jon Snow raising Longclaw to face the charging Bolton cavalry. Yeah, it was really awesome to see Wun Wun smash the shields of the infantrymen. Yeah, it was great to see Jon finally go Rocky Balboa on Ramsay’s face. I’m sure we’ll see a lot more of it in the wars to come.

A+

[kyleanand]

Game of Thrones: “No One”

Last week I compared the episodes leading up to the season finale to a road. Well, like any well-used road, there are bound to be some potholes. This episode should have been called: “NO ONE CARES.” 

A large portion of this episode is focused in the Riverlands. Despite hanging around easy-going priests and small folk, Sandor’s rage seems to have never been hotter. The brutality and violence he engages himself in makes up for his absence from this past season. Instead of meeting a certain zombiefied mother of five, Sandor once again runs into the OG Brotherhood Without Banners. I’m glad that the show hasn’t completely forgotten about these characters. Perhaps the Hound and the BwB will make a surprise appearance at the Battle for Winterfell? Most likely they will run into Brienne. 

In other news, at the Lannister camp, Brienne reunites with good ol’ Jamie. I enjoy seeing the chemistry between Gwendoline Christie and Nikolaj Coster-Waldau. Brienne’s character has remained largely unchanged from when we are first introduced to her, she still values honour above all else, but she now has a healthy respect for Jamie. I find Jamie’s character development on the other hand quite regressive. Where a few seasons ago he was actually turning into a half-decent guy, it appears that he is going back to his old kid-pushing out the window ways. Oh well, at least Bronn is there to lighten the mood. 

Brienne’s exchange with the Blackfish (Clive Russell) is pretty interesting to say the least. Despite only having a short amount of screentime, Brynden Tully has become a unique minor character in the show. It’s a shame that he was given such a poor sendoff reminiscent of Barristan Selmy’s death last season. The exchange between Jamie and Edmure Tully (Tobias Menzies), was a high point for this episode. Damn, Tobias Menzies can act! I do hope that Brienne’s failure at acquiring the Tully forces will affect her relationship with Sansa. I expect that Brienne and Pod will run into the Brotherhood Without Banners before heading back to Winterfell. 

In Meereen, Tyrion and Varys say their goodbyes. It appears Varys has to leave for some reason. We’ll probably see him in Westeros by Episode 10. What was Varys’ job again? Oh yeah that’s right, providing information about important crap that’s going on. Did he forget to mention the huge-ass fire-throwing fleet of Masters coming back to smash the city? I suppose that isn’t important. Thank god we get another drinking scene with Tyrion, Missandei and Grey Worm. I totally forgot about how much I love seeing these scenes over and over again. Way to put an Emmy-winning actor through his paces. Oh, and the icing on the cake was Daenerys Ex Machina coming in to save the day. Are you freaking kidding me? Meereen is garbage. 

In King’s Landing, watching the other ‘back-from-the-dead’ Clegane brother deliver his own brand of violence was exactly what the doctor ordered. Heads Hats off to all the actors and stunt workers involved. Despite all of the stress she must be under, Cersei (Lena Heady) seems to be keeping her cool. I mean, I would be too if I had an 8-foot tall armoured Frankenstein’s monster to back me up whenever I’d get into trouble. Tommen plays the ever-innocent puppet of the High Sparrow (or is it Septon now?) as he outlaws trial by combat much to his mother’s dismay. No doubt Qyburn has a trick up his long-ass sleeves. 

In Braavos, Arya’s arc in the coastal city meets its asinine conclusion. After being stabbed repeatedly in the abdomen, Arya finds refuge with her only friend in the entire city, Lady Crane. Their friendship is short-lived however, the T-1000 Waif finds the two of them in Crane’s apartment and kills the actress. Now remember, Arya has suffered multiple stab wounds but somehow she is able to run and jump like Spider-Man through the streets of Braavos. Oh well, it’s a TV show right? Didn’t another character get stabbed multiple times and needed magic in order to walk again? Nevermind. Arya uses the dark to fight against the Waif and reaffirms her identity as a Stark to Jaqen. Jaqen then smiles and lets her leave with no negative consequences whatsoever. Boom. That’s your episode.

Stay Frosty.

B-

[kyleanand]

John Carpenter - Lost Themes II [Review]

Lost Themes II is the direct sequel to 2015′s Lost Themes, and thankfully goes over a lot better than most John Carpenter Sequels. On this new record, Carpenter is essentially serving up another batch of synth-driven instrumental tracks that lack a cohesive theme or idea - hence the title. Generally a sequel is supposed to make improvements on the original work, and this is definitely the case with the production on Lost Themes II; Carpenter’s synths are iconic as ever and the studio drums sound incredibly clear and punchy. This allows some of these themes to ride some fantastic rhythms like on the opener “Distant Dream”, but tracks like “Persia Rising” prove that Carpenter can create a great groove without any percussion at all. 

Unfortunately Lost Themes II does not explore many new sounds or take any sonic risks, and as an avid fan of John Carpenter’s work, a lot of this material feels very familiar. For instance as the song “Dark Blues” progresses from its spooky beginning, the chord progression bears a striking resemblance to the song “Mystery” off of the original Lost Themes. Badass guitar solo aside, this track and a few others don’t bring much to the table with regards to fresh ideas and unless you’re a big fan of Carpenter’s music, a lot of this album is going to sound the same. However some of these themes build a great atmosphere, like the eerie descending synth melodies on “Bela Lugosi” which sound like they came straight out of an 80′s Slasher flick. I also really enjoy this album’s final moments; the addition of synthetic strings on the last few tracks are a nice touch and make for some epic and triumphant sounding themes to close out this record. 

Personally I’m not hoping for a Lost Themes III, what I would like to see from John and his band is an album with one cohesive theme. John Carpenter has such a great mind for storytelling and I believe this could translate quite smoothly into his music to make a record that is just as compelling and inventive as some of his best films. 

7.4

Best Track: Bela Lugosi 

Worst Track: Virtual Survivor

Listen: https://www.youtube.com/watch?v=L9g0RlOicPo

[kyleanand]

Game of Thrones: “The Broken Man”

I like to think of the seventh episode of Game of Thrones as a much needed rest stop on the road to the season finale. As with last week’s episode, “The Broken Man,” will be setting up for the end of what has been a great year for the show. What I like most about this episode is its balance. A wise man once said, a good act does not wash out the bad, nor the bad act the good. In this episode, characters deal with their past actions and what good and evil means for them.

In the Riverlands, Jamie Lannister attempts to treat with the Blackfish.The cinematography was absolutely gorgeous in this episode. I wish I lived at Riverrun. I’m happy that the scenes with Jamie, Brynden Tully, Edmure Tully and those pesky Freys are mostly true to the source material. I’m very excited to see what Brienne will say to Jamie once they meet. 

In Volantis, Theon and Yara are kinda having a good time. It’s been a week or so since the show had any pointless nudity, so I suppose now was the time to cater to their target demographic. Alfie Allen and Gemma Whelan are good actors. The setting and dialogue are bad. That’s it.

In King’s Landing, Queen Margaery (Natalie Dormer) deceives the High Sparrow. I’m so sick of watching the same scene in the same place over and over again. Part of what made this episode so great was their willingness to show new locations. Meereen has the same problem with their room in the pyramid. At least the plot is moving forward with Cersei and Gregor Clegane. I’m sad to see Olenna Tyrell leave though. 

In Braavos, Arya is not acting like Arya. She is acting reckless and is walking around like she owns the city. Her carelessness is rewarded by an assassination attempt by the Waif. I have a sneaking suspicion that she will survive the next few episodes. 

With Jon, Sansa, and Davos, apparently the North doesn’t remember for very long. The simple mentioning of Northern Houses to support the Stark cause can get frustrating at times so it’s nice to see new regions and castles. The formation of Jon and Sansa’s army with Wildlings and Mormont soldiers is not quite formidable as of yet. Lyanna Mormont is terrific however. When the Knights of the Vale come to save the day it will be predictable and boring. 

The return of the Hound (Rory McCann) is an abrupt reintroduction, but it accomplishes the task of getting viewers emotionally invested. The Septon Ray, played by Ian McShane, was an excellent way of grounding Sandor Clegane’s return. The Hound is dead, but much like Jon Snow, he has been resurrected and is now forever changed. The Brotherhood Without Banners are about to find out that this dog still has bite.

Stay frosty

B

[kyleanand]

Game of Thrones: “Blood of My Blood Review

Game of Thrones is a series where many of its main and secondary characters die horrible deaths. This phenomena is part of the appeal of the show. Week after week, season after season, audiences bear witness to heart-wrenching moments where beloved characters die. Blood of my Blood is no such episode.

North of the Wall I am disappointed that we have not had a chance for Bran to deal with the deaths of his loyal companions, Summer and Hodor. I suppose in the grand scheme of things the two were unimportant. The show should be exploring Bran’s guilt. Instead, we are given a pretty cool action sequence where the returning Benjen Stark shows up to save Meera and Bran. This scene was very predictable, given the fact there was no possible way they would have been saved by anyone else. 

Horn Hill was an absolutely fantastic part of the episode. Meeting Sam’s family was a treat - it is nice to see characters who are more lighthearted and who are not so preoccupied with violence or politics. Sam’s dad was indeed a dick after hearing all the stories. Gilly, (Hannah Murray) gives us a great scene where she puts on the pants to talk smack to papa Tarly. Wait, what? Sam, why are you taking your dad’s ancestral sword!? Don’t do that, that would be a stupid decision! Oh... you’ve already taken it. Okay then...

In Braavos, Arya (Maisie Williams) talks with Lady Crane which turns out to be an interesting conversation. It seems that Arya isn’t quite ready to give up her identity for the life of an assassin. However, in realizing this, she gains the enmity of the House of Black and White. Let’s hope Arya has the guile to evade her former allies and return back home to Westeros. 

King’s Landing was also a high note for this week’s episode. Both Jamie Lannister (Nikolaj Coster-Waldau) and Mace Tyrell (Roger Ashton-Griffiths) give exemplary performances. The politics of the post-war Westeros are indeed interesting. The rise of the sparrows/faith militant to erode the established power of the crown has been a unique change of pace for the series. My only complaint is that I feel that this storyline has been lackluster in its delivery. The reason why I enjoyed the scene from this week’s episode so much was that it reintroduced actual tension back into the plot. 

Although I am scratching my head as to why I’m saying this, it was very nice to see David Bradley back as the sinister Walder Frey. That guy is a huge pain in the butt, but by gumbo, David Bradley sure can act. The plot with Jamie moving to the Riverlands to assist the siege of Riverrun is a much needed break from the previous episode’s monotony of King’s Landing. 

Daenerys rode a cool looking dragon and said some cool things. I liked how she pays homage to her late husband with her speech. Although I have no problems with this scene I have a problem with the pacing for Daenerys’ arc. It seems as though good things are continuing to happen to her without any drawbacks. The lack of struggle is getting boring. Showing a character consistently triumph without any meaningful resistance is bad storytelling. How excited were we when Arya became blind? Or when Jon was stabbed for that matter? (It seems they forgot about that plot by the way). Daenerys is too powerful right now. She needs someone to swing by and make her life harder so we can root for her again. Until next time, stay frosty.

B+  

[kyleanand]

Game of Thrones: “The Door” - Review

From a storytelling perspective, “The Door” accomplishes quite a lot. It gives audiences key plot points that have been in question since the series started. Not only that, but it both confirms and disproves major theories that book readers have held for some time. Combine these revelations with a heroic sacrifice from a loveable character, and here we have one of the best episodes of the show to date.

At the wall and in Mole’s Town, Littlefinger’s teleportation powers place him firmly in the North to meet with Sansa. Although I have no problem with the performances in this scene, the writing makes little sense. How did Littlefinger get to the North so quickly? Why is Littlefinger so careless and unguarded? Why does Sansa not use the Knights of the Vale? At least Jon Snow is making progress. I have a hunch that Sansa is playing the long game about not telling Jon about her visit with Littlefinger.

Although the dialogue with Daenerys was terrible, Emilia Clarke gave one of her best performances to date. Ser Jorah’s confession of his love seemed underwhelming, but at least Daenerys will have more quality time with her lumberjack boyfriend now.

The Kingsmoot had its good and bad parts. Yara (Gemma Whelan) and Theon (Alfie Allen) deliver convincing speeches to be sure. Unfortunately for the siblings, their jerkwad uncle Euron Greyjoy nonsensically supplants Yara’s claim to the Salt Throne. “Hey you know what’s cool? Dragons and killing family members! Let’s all do that!” And then Euron became king. While he was being coronated however, the two Greyjoy siblings managed to steal all of the ships all of the Ironborn had and managed to escape. One would think that Yara and Theon would have a sizable force which would be needed to operate all of their ships. Knowing how fast it takes Littlefinger to travel, I fully expect Euron to have built a massive fleet by next episode to give chase to his rambunctious niece and nephew. 

In Braavos, Arya is evolving as a character through interesting means. The play she bears witness to was comedic to be sure, but cutting to Arya’s reactions were meant to show the audience how disturbing it was for her. There is a growing tension for her and how she attempts to reconcile her identity with the demands of the Faceless Men. 

In Meereen, Tyrion and Varys are excellent foils for each other in this scene. The Red Priestess they meet, Kinvara, delivers her lines excellently but it is the reaction of Varys that sells the encounter to viewers. The Meereen scenes need more action. So far, there seem to be no real stakes for the characters in the pyramid. 

The juicy part of the episode happens beyond the wall. The relationship between Bran and the Three-Eyed Raven meets its end in a stunning action sequence that rivals episodes like Blackwater and Hardhome. Viewers finally learn the origin of the White Walkers and how the Children of the Forest played a role in their douchebaggery. Bran’s curiosity gets the better of him which leads to lots of death and destruction. The deaths are as follows: Summer, his Direwolf (hey, rendering CGI wolves are expensive you know!); the Three-Eyed Raven (hey, hiring Max Von Sydow is expensive you know!); the Children of the Forest (well they kind of deserved it); and Hodor... Wait Hodor? Why Hodor? Because good things never happen to good people in Game of Thrones. This episode was excellent. Hopefully the show will give Bran some time for him to come to terms with his guilt next episode. Stay frosty.

A

[kyleanand]

Game of Thrones: “Book of the Stranger” - Review

Book of the Stranger continues the hot streak for this season of Game of Thrones. Where the emotional motivations for some of the characters have been fleshed out somewhat, other storylines have been left as filler for larger events down the road.

At the wall, Jon Snow debates with Dolorous Edd regarding his position as a man of the Night’s Watch. It seems by the end of this episode, that Jon has forsaken his duty to his sworn brothers to retake his home of Winterfell. The reunion with Jon and Sansa was an emotionally satisfying moment that I found to be uncharacteristic of the storytelling that Game of Thrones typically employs.  

It is interesting to see the convergence of characters that we have not seen together before. In addition to the meeting of Jon and Sansa, we also bear witness to an awkward encounter with Melisandre, Davos and Brienne. The blocking and dialogue for this scene felt rushed. Why has it taken Davos so long to ask Melisandre about Stannis and Shireen? Lazy writing to be sure. 

After this clumsy scene we are actually given some dramatic tension with Ramsay’s letter. It was nice to see a bit of comic relief with Tormund and Brienne. Having the plot for the North and the wall move forward at this point in time is a smart move. We should see the climax for this conflict by episode eight or nine. 

In the Eyrie, we see Littlefinger’s machinations starting to take effect with his manipulation of Robin Arryn. The show is establishing the power that Littlefinger has when it comes to the politics of Westeros. Given the nature of the show and its love for introducing deus ex machina whenever it is convenient, expect the Knights of the Vale to save Jon and the Wildlings just when all seems lost for them. 

Mereen is a strong part of this episode. Tyrion is able to employ his diplomacy despite the rigid political opposition he faces. Grey Worm and Missandei essentially serve the same purpose so it doesn’t really make sense for both of them to be in these scenes at the same time. 

In King’s Landing, we are witnessing more filler and build up. Although the High Sparrow is great in his line delivery, I am sick and tired of his endless speeches. They serve little point when we are given a new speech every week. Cersei and Jamie finally seem to be having an actual effect on the small council - perhaps this is because they have left out Gregor Clegane as their tool for intimidation. Hopefully something will actually happen with the Faith and the Tyrell army next episode.

In the Iron Islands, Theon Greyjoy returns to meet with his sister shortly before the Kingsmoot. Yara Greyjoy brings up some good points with her excellent dialogue, which is paired with Alfie Allen’s wonderful performance. Next episode, Euron will win the Kingsmoot and Yara will most likely be sent to Mereen to liberate Daenerys’ city. 

In Winterfell, Ramsay has turned over a new leaf and has stopped flaying people is still a dick. Bye bye Osha. 

Finally in Vaes Dothrak, Ser Jorah and Daario both roll 1′s in the worst DnD campaign of all time. Luckily, Daario managed a saving throw which allowed them to continue their game. Daenerys rolled a d20 and now in one episode, has every single Dothraki ever to do whatever she says. Visual effects were pretty cool but simplistic storytelling makes it hard for me to suspend my disbelief.  

Stay frosty.

B

[kyleanand]

Game of Thrones: “Oathbreaker” - Review

“Oathbreaker” contained one of the most significant sequences in the books for the overall series. As a book reader myself, I was on the edge of my seat the whole time. Although there was some book loyalists who were complaining about the Tower of Joy, I felt that the flashback did the scene justice. The acting was admittedly mediocre but the action was superb. Because of the significance of the R + L = J theory, I was unsurprised that the showrunners decided not to reveal what was actually in the tower. Having Bran and the Three-Eyed-Raven act as the audience’s ears and eyes provides us with a unique viewing experience. Hopefully by the end of the season we will see what actually happened to Ned Stark and his sister, Lyanna - most likely through the eyes of Bran.

It was nice to see Sam and Gilly after what seemed like forever, but their scene together was weak. There are no real dramatic stakes for these two and no real internal conflict. If I wanted to learn about the nuances of the english language - like how the word “see” is similar to the other word “sea,” I’ll watch Sesame Street instead of Game of Thrones. 

Across the Narrow Sea, Arya Stark has a great Rocky montage where she is becoming more badass like I said she was in the first episode. The problem with Arya’s arc is that it is ridiculously predictable. Was there anybody who thought she would be blind forever? Game of Thrones is great because it thrives on subverting tropes and cliches. Right now, Arya’s arc is very cliche heavy. Let’s see something we haven’t seen before!

In King’s Landing, Cersei, Jaime and Robert Strong Gregor Clegane attempt to assert their power and fail miserably. The reintroduction of Olenna Tyrell grants viewers some interesting dialogue to say the least, and Pycelle continues to play the out-of-touch crotchety old man which suits his character excellently. The scene with Qyburn, and his newly-acquired little birds was also entertaining to watch. It’s nice to see that Cersei hasn’t lost her charm as well. What stood out most for me in King’s Landing was Tommen’s interaction with the High Sparrow. Jonathan Pryce kills every scene he is in. 

Although I am very fond of Conleth Hill as Varys, I found the Mereen scenes extremely boring. Not even Peter Dinklage could improve the stale dialogue and bland exposition the show is delivering us. Much like with Sam and Gilly, there is no real internal conflict in these scenes. Part of the problem with the Mereen scenes is that they are all shot from the same locations with very little changing. 

In the North, we are reintroduced to Rickon and Osha after having them delivered by Smalljon Umber to Ramsay Bolton. Who knows, maybe Ramsay will turn over a new leaf, give Winterfell back to Rickon, pack his bags then get eaten by a dragon. Wait nevermind, I forgot what show I was watching. The dead Direwolf head at the end of this scene was a nice reminder of how great things will be for Rickon in Winterfell. He really hit the jackpot this time!

Daenerys spends some time at an old folks home. That’s it. 

The episode ends strong with Jon Snow at the Wall. What appeals to me most about this sequence is that there has been a definite character change for Jon. After dying and coming back to life he feels disillusioned with his status as Lord Commander. After a disturbing sequence where he hangs the mutineer’s including Ser Alliser and Olly, Jon Snow apparently leaves declaring his watch to be ended.

Decent episode overall. Stay frosty.

B+

[kyleanand]

Together we Stand: Captain America: Civil War - Review

Watching Captain America: Civil War is like playing the perfect game of Tetris. The red blocks fit in with the blue blocks in such a way that make you forget you are watching an ensemble superhero fight for the ages. In addition to the pulse-pounding action, the film takes its storytelling seriously. The narrative posits the MCU as a real, living and breathing world where actions have consequences. By not underestimating the intelligence of its audience, Captain America: Civil War will be remembered as one of the best superhero movies of all time.

The real meat of the story is thrown onto the plate of Captain America, Iron Man and The Winter Soldier. The interaction between these characters provides most of the dramatic tension that is largely explored in the final act. Steve Rogers (Chris Evans) returns as the morally steadfast co-leader of the Avengers team. Evans’ performance is remarkable, his mannerisms as Cap continue to serve the wellbeing of the MCU. The other stand-out performance is of course Tony Stark (Robert Downey Jr). It is interesting to see that even this late in the game - Tony Stark is still able to develop through the narrative in a meaningful way. The inner conflict of both these characters manifests itself to their opposing teams of superheroes who clash only after the groundwork has been laid for their climactic battle.

In terms of pacing and balance - Civil War is a triumph. There are remarkable action sequences in the film that will define the future of superhero genre movies. Rather than rely on large spectacles and flashy sequences, Civil War delivers with its editing and beautifully choreographed fight scenes. New characters are introduced in the film without unnecessary exposition, and their respective portrayals are selling features for the narrative. The two new superheroes on the scene - Black Panther played by Chadwick Boseman, and Spider-Man, played by Tom Holland, are some of the most entertaining characters we have seen in the MCU thus far. Their respective roles in the story are both necessary and significant. Both new superheroes are given their fair share of screentime without coming across as excessive.

The executives at Marvel have done a damn-fine job establishing how Black Panther and Spider-Man will fit into the new phase of films. Marvel’s confidence in granting two newcomers their own standalone movies in the coming years have left me scratching my head as to why Black Widow hasn’t had her own movie yet. I get it though, times are tough right now for Disney. Let’s all go out and see Civil War a bunch to help them out through their dry streak.

The film is not perfect however. There are minor plot problems most notably concerned with the film’s main antagonist and his overall endgame. From a technical standpoint, the action jumps from one ‘Holy Sh*t’ moment to the next in spectacular fashion. I was particularly impressed with the music and how it brought back several key themes from other MCU movies to complement the continuing story. Overall, this latest entry in the MCU succeeds where Age of Ultron stumbled, and has brought wind back into the sails that will carry our beloved characters to the next set of films, including Avengers Infinity War Parts 1 and 2 and beyond.

Stay Frosty my friends.

-Kyle Anand

A-

[kyleanand]

Game of Thrones: “Home” - Review

You can look at Season 6 Episode 2 of Game of Thrones as a return to form for the series. Admittedly, I felt that Season 5 was the weakest storytelling-wise that we have seen so far. After the rough start of the first episode, the title of Episode 2 entitled: “Home” brings us back to what made this show great in the first place

*SPOILERS BELOW*

Let’s cut to the chase - Jon Snow is back. Yes, Kit Harington lied to us. Lady Melisandre brought Ol’ Jonny boy back to the land of the living, (it turns out he was only mostly dead). I happened to enjoy his resurrection scene. The fact that the show writers decided to have him breathe after everyone had left the room established mood and atmosphere that was so crucial to such a significant scene. I am surprised that they brought Jon back so quickly in the season. Since Jon has died and come back to life - I wonder if he is now free from his Night’s Watch vows: "Night gathers, and now my watch begins. It shall not end until my death.” Now that the Wildlings and a big friendly giant have come to avenge the fallen Lord Commander, I am interested to see how quickly it will take Jon to march on Winterfell. If the trailers are of any indication, it seems that Davos will be helping Jon rally the houses of the north. Lady Melisandre is a wild card on the other hand - hopefully her crisis of faith will be over and she will go back to burning her enemies (kidding). David Benioff and Dan Weiss must have some dragon-sized things in store for us in the coming episodes.

At King’s Landing, we are feeling the aftermath of Myrcella’s death as it should have been last episode. I would have rather had more King’s Landing exposition in place of the short Arya scene last week, where she receives the short end of the stick in her training. Ser Robert Strong, AKA the Zombie Mountain is being built-up in a way that is helpful for his character. Only time will tell what mayhem Frankenstein’s monster will cause by the end of the season. Jaime Lannister gets some great screen-time with the High Sparrow where he discusses his many sins. We learn that the High Sparrow is indeed a force to be reckoned with. The real standout for King’s Landing was Tommen’s touching monologue to his mother.

In the north, Sansa and Brienne have a short discussion that was unsatisfying to say the least. It would have been more interesting if there was some build-up from Sansa trying to find her family and then having Brienne tell her about Arya afterwards. With such an important revelation for Sansa, there was little payoff with the viewers. However, Alfie Allen’s performance as Theon remains a strong point in these otherwise static scenes. In Winterfell, Ramsay has fully committed to his ‘mad-dog’ personality. Without any notice, Ramsay violently supplants his father after Roose’s wife, Walda, gives birth. After dealing out more violence to the rest of his family, I question what is to be gained by constantly showcasing Ramsay’s seeming invincibility. The show has already established how evil and powerful he is with virtually no dimension to his character. Here’s hoping that Ramsay’s death will be more satisfying than a simple pulling the rug out from under our feet like the deaths in the past two episodes of this show.

The part of the episode that stood out most to me was the inclusion of Bran, Meera and Hodor as well as the newly-cast Three-Eyed-Raven played by Max von Sydow. You would think that with all the recasts in this series with Daario, Tommen, Myrcella and now the Three-Eyed-Raven, Westeros must have excellent plastic surgeons. With a show that had refused to put in flashback sequences since the ill-fated pilot episode - it serves the story by having Bran watching history. The audience is therefore able to learn about key plot events at the same time as Bran’s Greenseeing training. By officially touching on material that exists outside of George R.R. Martin’s published works, the showrunners have been alienating book readers for multiple seasons now. By allocating narrative space for flashback sequences, Game of Thrones may yet be able to bring back this part of the fanbase. If you haven’t heard about it yet, I highly recommend putting R + L = J into google as supplemental reading for next week’s episode. This episode was fantastic however, tune in next week as I cover episode 3: “Oathbreaker.”

-Kyle Anand

A

[kyleanand]

Game of Thrones: “The Red Woman” - Review

The sixth season premiere for Game of Thrones has begun not with a bang, but more of a clap. While not a bad episode by any means - the first entry into the new season acts as more of an epilogue to season 5 than a beginning of something new.

**Spoilers Below**

The episode starts off as it should, at Castle Black  - with the very dead Jon Snow, lying in a pool of his own blood. The pan from the wall to his body sets the tone for the episode as we hear Ghost's pained howls in his kennel. During the sequences at the wall, we are treated with a vulnerable side to Melisandre. I find Carice van Houten’s portrayal of the Red Priestess interesting to say the least, because it is the first time the audience bears witness to her uncertainty and hopelessness. Up until this point in the series, Melisandre has been more or less a flat character who is seemingly one-dimensional in terms of her depth and motivation. The reveal of her true form has confirmed some long-held theories about her character for some time. Obviously there are more tricks up her red-robed sleeves that I am eagerly waiting to see.   

In Meereen, we are brought back to the Harpy city with Tyrion and Varys. According to their banter, it seems that the Sons of the Harpy (no, it’s not a metal band), are still posing a problem. Their sequences are short, but serve to introduce some comic relief in an otherwise dour episode. The writers make a point to illustrate the reach of the religion of R’hllor in Meereen. Perhaps There is a connection between this area of the world and the Lady Melisandre? Book readers are no longer in a position where we can anticipate plot points already written out by George R.R. Martin. However, Melisandre's singular chapter in A Dance with Dragons may lend credence to this theory. Conleth Hill and Peter Dinklage improve the episode with their performances. The burning of the ships in the harbour presents an interesting problem for these characters, who may want to return to Westeros sometime this season. If only there were a group of iron-clad individuals who may have some skill with ships to come liberate Meereen?

Elsewhere in Essos, Daenerys remains a the prisoner of the Dothraki. Although I am sometimes on the fence with her acting in Game of Thrones, when Emilia Clarke is speaking the Dothraki language, she is able to deliver her lines with the ferocity I would expect from the last Targaryen. Hopefully we see a certain black and red dragon soon. I felt that the dynamic of Ser Jorah and Daario Naharis was weak. Sherlock and Watson trying to track down Daenerys is a certified yawn-fest. Hopefully the show will flesh out Daario’s character a bit more to add spice to the two character’s situation. I’m fully expecting Ser Jorah to sacrifice his life by the end of the season. You can take that prediction to the Iron Bank.

Speaking of Braavos, there isn’t much to say here. If you enjoy watching blind people getting beaten up in dirty street corners, then I highly recommend you watch Netflix’s Daredevil series. Give it a few more episodes and Arya will be back to her old ass-kicking self in no time.

Where to start with King’s Landing and Dorne… this was a mess. I feel that the introduction of Dorne was a mistake. While I do not fault the actor’s performances in these sequences, I feel that the writing of this plot was hashed together at the last minute. Let’s go over a few questions that made me scratch my head during these scenes. Why was Trystane still on the boat at King’s Landing? Why was Trystane unguarded after Myrcella (you know, that recast princess who was supposed to MARRY him), died? How did the Sand Snakes get on the boat after they were clearly seen back on the shore last season? Why does Ellaria Sand think that the killing of her family counts as revenge for the murders of Oberyn and Elia? What was the point of introducing Doran and Trystane in the plot at all? Also, where in the seven hells was Bronn??? If Jamie and Cersei want revenge, now it may be a little too late considering the fact that House Martell has been completely extinguished in the show. Bravo.

The best part of the episode by far was the action in the North. Despite being the largest geographical area of the Seven Kingdoms, it seems that Brienne has no problems being in exactly the right place at the right time to kick ass and chew bubble gum. And everybody knows there is no bubble gum in Westeros. Ramsay is still a dick, big surprise. Sansa and Theon apparently have ankles of Valyrian Steel to explain how they survived that long fall from Winterfell’s walls. It was nice to see the dynamic of Theon and Sansa continue, and I am interested to see how the new quartet of Brienne, Pod, Sansa and Theon will fare in season six. Let’s hope the next nine episodes will offer more consistent quality than the ‘Red Woman’ had.

Cheers.

B-

[kyleanand]

Anything but the Bare Necessities: The Jungle Book Review

Although it has been remade and reinterpreted more times than you can shake a stick at, Jon Favreau's The Jungle Book (2016), represents the most visually-stunning incarnation yet. With all the power of Disney's special effects teams behind it, this most recent adaptation is sure to be a success with older and newer generations alike. With all of its cuts, bruises, and scrapes, Favreau’s interpretation serves as a more realistic take on Kipling’s stories.

What is surprising to me about this film is that the entirety of the jungle and its inhabitants are digitally-rendered. I generally disavow the overuse of computers to convey ‘movie-magic.’ However, when I watch the most recent version of The Jungle Book, my biases and preconceptions are swept away very quickly. Every character that is portrayed on-screen moves with the authenticity I would expect from actual animals in the jungle.

Praise must be given to all of the actors in the film. In terms of their performances, there are no real weak links with the main cast. The main focus of The Jungle Book, Mowgli (Neel Sethi) delivers a high-energy portrayal of the man-cub worthy of Kipling's source material. Hopefully, in the sequel, Disney will be able to afford to get the kid some singing lessons. Bagheera (Ben Kingsley) delivers as the serious and noble black panther who acts as a foil to the more laid-back Baloo (Bill Murray). But this time in The Jungle Book, Bill Murray plays a version of Bill Murray that happens to resemble a sloth bear. Idris Elba portrays the infamous tiger, Shere Khan. I would not recommend bringing especially young children to this film because of how scary some of his scenes are. The performances which stand out most in this film are Akela (Giancarlo Esposito), whose calm demeanor inspires the wolf pack, and Raksha (Lupita Nyong’o) whose compassion holds the pack together.

The one drawback of The Jungle Book is that does not commit fully to its 1967 musical-comedy origins. Both Kaa (Scarlett Johansson) and King Louie (Christopher Walken) have their predecessor’s musical numbers cut - only to be featured more prominently in the end credits of the film. This is especially disappointing considering the underuse of Kaa in the overall narrative. Where Johansson's voice is indeed iconic, it fails to impact the audience because it is only heard in one scene. Walken's singing in the film is more off-putting tonally than the jazz-filled fun that was in the 1967 version. Both characters in the animated version serve as comic relief which made the original so memorable. In this film, the incarnations of both Kaa and King Louie are sources of danger that Mowgli must be rescued from, pure and simple. Although Kipling's works were darker in nature, Favreau fails to capitalize on the nostalgia of Disney's more musical adaptation to the detriment of the overall film.

In terms of story, The Jungle Book offers a retelling of the events we are all familiar with, but with added context. This context ties all of the plot points together in a somewhat fantastical, yet entertaining arc. We are granted a bit of Mowgli’s backstory before he is adopted by the wolves through a stylized flashback sequence. The other animals of the jungle seem to be more sympathetic and characterized than their 2D counterparts were in the 60’s. A noticeable exception to this trend is that the vultures of this film lose their British charm for a far more disturbing sequence that has me questioning its placement in a kids movie. The third act of the film ties the important plot points together much better than its predecessor, however. Another change in Favreau’s interpretation is the ending, but this I had no problems with because it finishes off this film on a high note. Whether you have seen the animated Jungle Book, read poems by Rudyard Kipling, including The Law of The Jungle, or heck - even saw the 1994 version, Jon Favreau’s The Jungle Book is a must see!

B+

-Kyle Anand

[kyleanand]

Poetic Justice: Batman v. Superman Review

Despite having the word ‘justice’ in its title, I feel that Batman v. Superman has not received its fair share since initial critical reviews have flooded in. Zack Snyder’s latest entry into the DC comics shared universe is not a five-star steak dinner, but it may satisfy your 2 o’clock in the morning junk-food munchies. Where cinematography and all-around visual aesthetics are concerned, Batman v. Superman has relatively few problems. Snyder’s direction on this project is very similar to his work on Man of Steel (2013). Cutting between shots is almost as fast as a speeding bullet, and is more powerful than a locomotive during its numerous action sequences. This particular style of editing hurts performances in the film however. Without developing emotion through the working of the script, emotion is evoked through a cacophony of haphazard stimuli. Audiences will be able to enjoy this film if they simply ignore plot inconsistencies, lackluster character motivations and rudimentary dialogue. Despite these glaring setbacks, I feel that the cinematic DC comics universe will continue in spite of the harsh criticism it has received so far.

Disorganized editing aside, the actors in the film commit to their characters with ardent determination. Ben Affleck triumphs as Batman in this new film in the series. He plays a weary and disillusioned caped crusader who is looking to close out his crime-fighting career with a bang. Henry Cavill reprises his role as Clark Kent, whose alter-ego of Superman continues to protect America, despite facing mistrust and alienation on multiple fronts. Alongside Clark Kent from the first film, Amy Adams reprises her role as Lois Lane who is exactly the same character we saw in Man of Steel. The amount of plot that is driven by having Superman rescue Lois Lane is far too high. Both Man of Steel and Dawn of Justice firmly establish her character as the inquisitive, yet quintessential damsel in distress.

The fight between the two titular superheroes is built-up over the course of the first act without complexity. When the two heroes do end up fighting, the fight is short making the title of this film irrelevant. Flashbacks are used frequently to contextualize what is going on in the story with varying degrees of success. However where flashback and dream sequences sometimes fall short, music adds to the overall experience of the film as Hans Zimmer’s score continues its operatic tonality from Man of Steel.

In terms of the new characters being introduced, Gal Gadot as Wonder Woman speaks with her actions but her actual dialogue is otherwise forgettable. Only time will tell how audiences will respond to her as the lead for her own solo film. As far as villains go, Jesse Eisenberg plays the eccentric mad scientist, Lex Luthor, who fails to captivate with his evil aura. The unclear nature of Lex’s schemes reflect an underdeveloped script and Eisenberg’s animated portrayal does no justice to Superman’s arch-nemesis. As shown in the trailer, the CGI monstrosity known as Doomsday acts more as a set-piece than a character. The final battle between Superman, Batman and Doomsday is only made redeemable by the amount of ass-kicking accomplished by Wonder Woman.

The dark and gritty mise en scène, although pretty, makes it hard to tell if we are seeing either Metropolis or Gotham in various sequences. One could make the argument that the aesthetic similarities between the two cities reflect the dichotomy between Superman and Batman. Although this analogy requires a little stretch of the imagination, Snyder continues his thematic representation of Superman as a messianic figure from Man of Steel, by bashing us over the head with it. We get it Zack Snyder. Superman is Jesus.

As advertised in its mixed-bag of marketing trailers, Batman v. Superman sells its audience on sheer spectacle. All action sequences in the film steadily become more intense as the narrative progresses. It is not necessary that one pay attention to what is going on during the story however, as long as you know the bad guys from the good guys. Batman v. Superman: Dawn of Justice may not be the critical success the studio was hoping for, but at least it serves to build up the future films in DC’s shared cinematic universe.

Stay frosty my friends,

-Kyle Anand

[kyleanand]

It’s a Jungle Out There: Zootopia Review

Even though Zootopia is a ‘kids movie’ I had a hard time coming to terms with this fact when taking into consideration its brilliant storytelling, and down-to-earth characterization.

The depth of Zootopia’s story is complex, intelligent and brought about in such a way as to appeal to kids and adults alike. There is a chance that the deeper meaning of the film may be lost on individuals who dumb-down the plot to a formulaic Disney, movie but this would be a mistake. How often do you have a kids movie that touches on themes of stereotyping, racial prejudice and white-collar crime in such an interesting way?

As digital rendering becomes more advanced as an artform, it adds to the overall quality of what the audience experiences. Kids movie or not, Zootopia is a terrific film. Where some animated films marketed towards children sacrifice substance for style - Zootopia is chock-full of both. I loved watching sequences with water and how the fur of the animals was depicted. It seems as though every new animated children’s feature is popped out every few months or so, but often they fail to hit deeper meaning within their narratives.

The main strength for this film is situated with its stellar cast of voice-actors. In all honestly, I have a hard time distinguishing between ‘voice acting’ and conventional acting because every performance fits the animation perfectly. Ginnefer Goodwin excels at her lead role as Officer Judy Hopps, an underestimated rabbit police officer who must prove herself to an indifferent and condescending police chief played by Idris Elba. In addition to the prejudice she faces at her place of work - her sly accomplice Nick P. Wilde, played by Jason Bateman, also delivers a convincing performance as con-man turned reluctant hero.

Despite not explicitly showing any fish, insects or reptiles, Zootopia accomplishes its job of characterising the greater animal kingdom on screen. While not exactly fluent in scientific terms, the diversity of characters both literally and figuratively fully immerse the audience into its visual utopia. The choice of actors to play various animals are categorized as either predator or prey but the premise of the film establishes definite tension between the two groups. This tension is the focal point for the socially-aware subtext that makes up the screenplay’s intrigue and humor.

Oh, did I mention that this film is funny? Godfather and Breaking Bad references aside, the one-liners given by Nate Torrence and Tommy Chong in particular were especially entertaining. The concept of an obese cheetah working as a police dispatch was something that made me laugh a few days after the fact. The one actor that didn’t seem to fit in the narrative was Shakira’s Gazelle. Yeah, I get it. Just because The Lego Movie had an annoying song doesn’t mean every animated kids movie needs one too. Apart from the shoehorning of a pop-star for the novelty factor, this film has few weaknesses.

At the end of the day, one can look at Zootopia just like any other kids movie out there. I prefer to see the film as a funny, yet socially relevant neo-noir crime film that happens to have cute animals as the main cast. If you take your child to one film this year, make it Zootopia. 

Stay frosty my friends.

-Kyle Anand