Helstrom Season 1 Review
#Helstrom S1 Review: A pair of estranged demon-hunting siblings work through their issues with each other & their demon-possessed parents while trying not to get their friends all killed in the process. Hijinks & exorcisms ensue. Plus full season recaps.
Recaps of the entire season are HERE.
Marvel’s Helstrom is about a dysfunctional family with certain issues that run in the family. These issues are serious and sometimes spread to those around them, so various authorities and agencies have been involved with the family for decades. Thanks to these interventions, the younger members of the family are doing better than their elders. The kids…
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TV Series Review...S01 Helstrom
(2.8/5) Right below an “Okay” (3/5) on my rating scale for me. The series just seem to stall in terms of dialogue as well as story as the 10 episode season progresses. The script and impression of the show felt very CW-ish (I don't know why I am using this as a somewhat negative term but just go with it) and with them not being on a television network I thought they would have a little more leeway in the creativity lane. The characters seemed one dimensional which led to a lot the conversations between them to be lacking as well, especially between Ana and Daimon.
The characters were both one trick ponies. Ana, we get it…your emo…we get it.
Daimon we get it…you use sarcasm as a defense to hide your hurt…we get it.
With them two as leads of the show that energy from the characters, for me at least, just carried throughout the rest of the show. There was a plot twist at the mid-point of the season (similar to how the other marvel shows on Netflix played out) but the series hit another lull as things became predictable along with the lackluster dialogue.
I want this to be better but the writing and action are going to have to step it up if there is a new season. In terms of ranking Marvel tv shows Dare-Devil and Agents of Shield are still at the top. Daimon and Ana Helstrom are the son and daughter of a mysterious and powerful serial killer; the siblings have a complicated dynamic as they track down the terrorizing worst of humanity.
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Best Horror TV Shows on Hulu
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You thought movies were the only place to get your daily dose of horror? Oh you fool! You absolute FOOL! There are plenty of bingeworthy and scary horror TV shows out there and Hulu just happens to be a great place to find them.
Hulu is home to recent hits like The Terror and Castle Rock but there are still more scares to be found for the horror enthusiast willing to dig deep. Gathered here are some of the best and scariest horror TV shows that Hulu has to offer.
Editor’s Note: This post is updated monthly. Bookmark this page and come back every month to see the additions to the best horror TV shows on Hulu.
Updated for October 2020
The Terror
Based on a 2007 book of the same name by Dan Simmons, The Terror season 1 tells a fictionalized account of Captain Sir John Franklin’s expedition to the arctic in 1845. In real life, the doomed men likely got lost and succumbed to the cold but the show asks “what if there was something more sinister than low temperatures lurking about?”
The Terror features a cast impressively full of “hey it’s that guy” guys like Jared Harris, Ciarán Hindis, and Tobias Menzes. It deftly turned itself into an anthology with the second season The Terror: Infamy that tells a ghost story within the setting of a Japanese interment camp in World War II.
American Horror Story
Ryan Murphy’s American Horror Story is revolutionary in quite a few ways. Not only did it help usher in a renewed era of anthology storytelling on television, it also was arguably the first successful network television horror show since The X-Files.
Like all anthologies, American Horror Story has its better seasons (season 1 a.k.a. Murder House, season 2 a.k.a. Asylum, season 6 a.k.a. Roanoke) and its worse (season 3 a.k.a. Coven and season 8 a.k.a. Apocalypse). Still, for nine years and counting, American Horror Story has been one of the go-to options for TV horror fans.
Castle Rock
Stephen King properties have made their way to television before. There have been miniseries for classic King texts like The Stand and ‘Salem’s Lot and even full series for works like Rose Red and Under the Dome. Still, none of those series has had the audacity to adapt multiple aspects of the Stephen King universe itself…until Castle Rock.
Castle Rock takes multiple characters, storylines, and concepts from the vast works of Stephen King and puts them all in King’s own Castle Rock, Maine. The first season featured inmates from Shawshank prison, extended family of Jack Torrance, and maybe even a touch of the shine. The show opened itself up for more storytelling possibilities in season 2, adopting an anthology format and bringing Annie Wilkes into the fold.
The Twilight Zone
The Twilight Zone is an all-time television classic for good reason. Join Rod Serling each episode for a new tale of mystery, horror and woe.
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Whatever you do, however, do NOT drop your glasses.
The Strain
The most novel thing about FX’s vampire horror thriller The Strain is how it equates the ancient fear of vampirism with the more modern, global fear of pandemic. The Strain, produced by Guillermo del Toro Chuck Hogan and based on their novel series opens with a flight landing with all of its passengers mysteriously dead.
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Bram Stoker’s Dracula and the Seduction of Old School Movie Magic
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Lake Mungo: the Lingering Mystery Behind One of Australia’s Scariest Horror Films
By Rosie Fletcher
As CDC director Ephraim Goodweather (Corey Stoll) steps in to investigate, he discovers that there might be something more sinister…and ancient afoot than a simple virus. The Strain lasted for four mostly decent seasons on FX and if nothing else helped re-embrace the vampire as a monster and not some sort of noble antihero.
Stan Against Evil
To parody horror, one needs to love horror. And Stan Against Evil creator Dana Gould really, really, really loves horror. The longtime standup comedian and comedy writer brings his unique humor sensibilities and lifelong appreciation of horror to tell the story of a quaint New Hampshire town that just happens to be built on the cursed site of a massive witch burning.
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Dana Gould Picks His 5 Favorite Monster Movies
By Dana Gould
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Talalay’s Terrors! The Director Breaks Down Her 5 Scariest Scenes
By Kayti Burt
John C. McGinley stars as the titular Stan, a disgraced former sheriff who opts to pick up the battle against evil after a close call. He teams up with new sheriff Evie Barret (Janet Varney) to defend the town (and sometimes world) from supernatural threats.
The X-Files
The X-Files is quite simply the gold standard for horror on television. Chris Carter’s conspiracy-tinged supernatural masterpiece not only inspired every horror TV show that came after it, but just about every other TV show in general.
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I Still Want to Believe: Revisiting The X-Files Pilot
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The X-Files Revealed: The Paranormal Roots of the Pentagon’s UFO Program
By Alejandro Rojas
The X-Files follows FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) as they investigate the unusual cases that traditional law enforcement won’t touch. For 11 seasons (and a handful of movies), the show expertly balanced a massive series-long story along with what came to be called “monster of the week” self-contained tales.
Buzzfeed Unsolved: Supernatural
When it first premiered on YouTube back in 2016, Buzzfeed Unsolved became a huge hit by appealing to one of the Internet’s favorite subjects: true crime. Still Buzzfeed saw all of that success and realzied there was still another audience to serve. Thus Buzzfeed Unsolved: Supernatural was born.
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20 Scariest Horror Games Ever Made
By Matthew Byrd
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Helstrom Review (Spoiler-Free)
By Rosie Knight
In this spinoff hosts Ryan Bergara and Shane Madej examine some of the supernatural world’s biggest mysteries. With the right balance of skepticism and belief, Buzzfeed Unsolved: Supernatural is a welcome entry into the paranormal investigation TV canon.
The Outer Limits
When The Twilight Zone premiered in 1959, it set off a brief little renaissance of anthology horror storytelling on television. The best of these contenders to the Zone‘s throne was probably the sci-fi centric The Outer Limits.
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How Arachnophobia Became the Perfect Creepy Crawly Horror Comedy
By Jack Beresford
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Disney+ Halloween Movies for Kids: The Best Family Films to Watch This Spooky Season
By Alana Joli Abbott
Outer Limits aired from 1963 to 1965 on ABC. In that span it generated 49 spooky episodes, several of which made an impact on pop culture. Alan Moore infamously borrowed the plot of the episode “The Architects of Fear” for the ending of Watchmen. The Outer Limits received a Sci-Fi Channel revival in the ’90s and is currently poised for another bite at the apple.
Freakish
Freakish stars several high profile (at the time at least) social media stars as students at Kent High School. The kids are gathered together at school on Saturday for detention, Breakfast Club-style, when a nearby chemical plant explodes, turning the local population into mutated zombies. The group must band together to survive.
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Best Horror Movies on Netflix: Scariest Films to Stream
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Debuting in 2016, Freakish ran for two seasons on Hulu. The show embraces its teenage soapiness and isn’t necessarily the most heavyweight horror option. But it’s a quick, fun watch for any zombie horror fan nonetheless.
The Exorcist
The Exorcist is one of the greatest horror films ever made. The Fox series that bears its name and premise isn’t quite as good (few things could ever be) but it’s still an excellent horror story in its own right.
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A24 Horror Movies Ranked From Worst to Best
By David Crow and 3 others
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How Helstrom Became One of Marvel Television’s Last Shows Standing
By Alec Bojalad
The Exorcist is a two-season long anthology series that follows two different cases of demonic possession. In the first installment, two Catholic priests assist a woman with a possession in her home. In the second, two new priests help a young girl battle evil.
Ghost Adventures
Since the turn of the millennium, television has not been lacking for shows involving paranormal investigations. But even within the crowded spooky market, Travel Channel’s Ghost Adventures stands out.
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First premiering in 2008, Ghost Adventures follows paranormal researchers Zak Bagans, Nick Groff, Aaron Goodwin, Billy Tolley, and Jay Wasley as they travel the world looking for ghoulish occurrences to investigate. Over its 200-some episodes (not including specials), Ghost Adventures has proven itself to be the gold standard for people who just want to watch some dudes stumble around old properties in night vision.
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Monsterland
Since Netflix acquired the rights to Black Mirror back in 2015, the streaming world has been a veritable arms race of sci-fi and horror anthology series. Hulu has already tried its hand at horror anthology with the Blumhouse-produced Into the Dark, and Monsterland represents the latest effort.
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The WNUF Halloween Special: The Making of the Most Fun Found Footage Horror Movie Ever
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How Scorn Turned the Art of H.R. Giger into a Nightmarish Horror Game World
By John Saavedra
Monsterland is based on the short story collection North American Lake Monsters: Stories by Nathan Ballingrud. It consists of eight spooky, unconnected tales and features the acting talents of Kaitlyn Dever, Bill Camp, Kelly Marie Tran, and more. The twist here is that each episode focuses on an urban legend from a different city within the United States. And given how weird this country is, the series won’t be running out of of stories anytime soon.
The post Best Horror TV Shows on Hulu appeared first on Den of Geek.
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Young entrepreneurs aspiring to launch virtual dreams into reality compete for success and love in the cutthroat world of Korea's high-tech industry.
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THE STORY
After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 22927, was sentenced to die for the notorious murder of an 27-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him.
THE GOOD / THE BAD
Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 2020’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Helstrom Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice.
Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 2020) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects.
Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 2020, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences.
Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story.
Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson.
In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes.
There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there.
This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some runtime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary.
What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch.
The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 2020 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal.
The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 9 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative.
FINAL THOUGHTS
It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!
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At 10pm on a Sunday night in 1984, Peter Fluck and Roger Law's caricatures of the famous were unveiled to British audiences. Frequently crass and tasteless, but just as often hilarious, the caricatures of Spitting Image were to offend, outrage and amuse for another 12 years, before being laid to rest in 1996, making it the most successful adult orientated puppet television programme ever.
Its format, a satirical comedy sketch show with latex puppets rather than live actors, was inventive and at times surreal. Some of Spitting Image's sketches were shot and edited only hours before the show went on the airwaves, thus ensuring a fresh up-to-date topicality.
Spitting Image preyed on well known faces, from the Royals to MPs.
In spite of its detractors, over 12 million viewers (a quarter of England's adult population) watched Spitting Image on Central Independent Television, a subsidiary of ITV. Its spin-off records, books, comics and videos sold in the millions. It won an International Emmy for "Outstanding Popular Arts" program in the 1985-86 season, and spawned a Number 1 hit in 'The Chicken Song'.
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THE STORY
After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 22927, was sentenced to die for the notorious murder of an 27-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him.
THE GOOD / THE BAD
Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 2020’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Helstrom Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice.
Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 2020) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects.
Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 2020, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences.
Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story.
Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson.
In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes.
There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there.
This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some runtime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary.
What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch.
The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 2020 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal.
The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 9 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative.
FINAL THOUGHTS
It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!
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THE STORY
After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 22927, was sentenced to die for the notorious murder of an 27-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him.
THE GOOD / THE BAD
Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 2020’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Helstrom Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice.
Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 2020) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects.
Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 2020, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences.
Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story.
Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson.
In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes.
There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there.
This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some runtime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary.
What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch.
The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 2020 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal.
The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 9 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative.
FINAL THOUGHTS
It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!
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Comic News Insider Episode 1102 - CNI, Motherf**ker!
Comic News Insider: Episode 1102 is now available for free download! Click on the link or get it through iTunes!
Reviews: Commanders In Crisis #1, The Devil's Red Bride #1, Dracula, Motherf**ker!, Rorschach #1, Helstrom s1, Lovecraft Country season finale
Jimmy recruits some of his favorite audio reviewers again. Thanks to Melissa, Jon, Marta, Ashley and Ricky. Always such insightful and great reviews and the powers that be at CNI appreciate them so much. Let us know if you've read and/or watched what we reviewed and send us your thoughts! Thanks to Emily for the news which includes: lots of DC Future State news and some fun Star Wars facts from a new book. Also, get a hold of us!
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Thanks for listening!
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Ep 338 - The Simpsons: Al Jean Interview
This week we're giving you more insight into a Halloween tradition! The Simpsons Treehouse of Horror is this weekend and we have showrunner Al Jean on the show to give us the inside scoop. What goes into planning one of these episodes every year, what can we expect from some of the spoofs this year and what are some of his favorite Treehouse moments? Plus, you won't believe what Simpsons merchandise that Al owns! THE SIMPSONS TREEHOUSE OF HORROR XXXI AIRS SUNDAY, OCTOBER 18TH AT 8PM ON FOX!
It's also another special double review week! We talk about Season 1 of Helstrom from Hulu and the new Liam Nesson movie Honest Thief, both spoiler free. You can also hear about DC's new Future State event, some Green Lantern live action series news and talk about a bunch of different trailers.
Hear even more from us at https://www.downandnerdypodcast.com
Check out our latest episode!
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Disney+ UK Star Launch: Complete List of New TV Shows and Films
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We came for The Mandalorian, stuck around for WandaVision, and, as we wait for The Falcon and Winter Soldier and Loki to arrive, there’s now a huge pile of new catalogue additions to work through, courtesy of Disney Plus’ Star brand.
Star launched on the Disney Plus streaming service in territories outside of the US (where Disney already has a home for adult drama in Hulu) on the 23rd of February. It’s added over 75 TV shows and 280 feature films here in the UK, including the entirety of Lost, Buffy the Vampire Slayer, The X-Files, Glee, Prison Break, Sons of Anarchy and Scrubs as well as cult favourites Firefly, Flashforward, Terriers and more. There are also some UK debuts in the form of the Star Originals listed below.
Film-wise, there’s ample reason to go back to the 90s in the form of Arachnophobia, Robin Hood: Prince of Thieves, Con Air and a host of others, plus…well, it’s almost 300 films. Chances are you’ll find something to tickle your fancy. Households with kids should know there are new parental controls to set too, ensuring that nobody gets any unwelcome surprises.
Here’s the complete list of titles so far:
Star Originals
Big Sky
From Mr TV himself, David E. Kelley (Doogie Howser, Chicago Hope, Ally Mcbeal, Big Little Lies) comes a nine-part crime thriller starring Ryan Philippe and Vikings‘ Katheryn Winnick. Based on the 2013 novel The Highway by C.J. Box, Big Sky is the story of a series of missing girls and a private detective/cop trio with a messy personal history who team up to find them. It aired on ABC in the US last winter.
Helstrom
There’s very little fanfare for this comic book show‘s UK debut, which met with mostly negative reviews on release and was cancelled after 10 episodes, but Marvel completists will want to take a look. Tom Austen and Sidney Lemmon play the Helstrom siblings Daimon and Satana, the children of serial killers who hunt down the worst of humanity.
Love, Victor
Another Hulu original making its UK debut, this teen drama spins off from celebrated gay teen 2018 film Love, Simon. It’s narrated by Nick Robinson, who played Simon in the original film, and follows the story of a Puerto-Rican/Colombian-American teen living in Atalanta. Reviews for the 10-part first season were strong and it’s been renewed for a second.
Solar Opposites
Rick and Morty‘s Justin Roiland and Star Trek: Lower Decks‘s Mike McMahan are the creators of this adult animated comedy series about a family of aliens (pictured above) forced to seek refuge in middle America. Season one was enthusiastically received, and a second run is due to air in the US in March. Read plenty more about it here.
TV Series
According To Jim, Seasons 1 – 8
Alias, Seasons 1-5
American Dad, Seasons 1-16
Animal Fight Night, Seasons 1-6
Apocalypse World War I, Season 1
Apocalypse: The Second World War, Season 1
Atlanta, Seasons 1-2
Blackish, Seasons 1-5
Bloody Tales Of Europe, Season 1
Bloody Tales Of The Tower, Season 1
Bones, Seasons 1-12
Brothers & Sisters, Seasons 1-5
Buffy The Vampire Slayer, Seasons 1-7
Buried Secrets Of WWII, Season 1
Burn Notice, Seasons 1-7
Castle, Seasons 1-8
Code Black, Seasons 1-3
Cougar Town, Seasons 1-6
Desperate Housewives, Seasons 1-8
Devious Maids, Seasons 1-4
Drugs, Inc. Seasons 2-7
Family Guy, Seasons 1-18
Feud: Bette And Joan, Season 1
Firefly, Season 1
Flashforward, Season 1
The Fosters, Seasons 1- 5
The Gifted, Seasons 1-2
Glee, Seasons 1-6
Grey’s Anatomy, Seasons 1-15
The Hot Zone, Season 1
How I Met Your Mother, Seasons 1-9
Inside North Korea’s Dynasty, Season 1
The Killing, Seasons 1-4
LA 92
Lance, Season 1
Lie To Me, Seasons 1-3
Lost, Seasons 1-6
Mafia Confidential
Maradona Confidential
Mars, Seasons 1-2
Modern Family, Seasons 1-8
O.J.: Made In America
Perception, Seasons 1-3
Prison Break, Seasons 1-5
Raising Hope, Seasons 1-4
Resurrection, Seasons 1-2
Revenge, Seasons 1-4
Rosewood, Seasons 1-2
Scandal, Seasons 1-7
Scream Queens, Seasons 1-2
Scrubs, Seasons 1-9
Sleepy Hollow, Seasons 1-4
Snowfall, Seasons 1-3
Sons Of Anarchy, Seasons 1-7
The Strain, Seasons 1-4
Terra Nova, Season 1
Terriers, Season 1
Trust, Season 1
Ugly Betty, Season 1-4
Ultimate Survival WWII, Season 1
Valley Of The Boom, Season 1
Witness To Disaster, Season 1
WWII Bomb Hunters
The X-Files, Season 1-9
The 2000s: The Decade We Saw It All, Season 1
24, Season 1-9
24: Legacy, Season 1
The 80s: The Decade That Made Us, Season 1
9/11 Firehouse
The 90s: The Last Great Decade? Season 1
9-1-1, Season 1-2
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TV
WandaVision Episode 7 Theories Explained
By Kirsten Howard
TV
Gina Carano Was Fired from The Mandalorian, But Should Cara Dune Live On?
By John Saavedra
Films
The 13th Warrior
42 to 1
9 to 5
Adam (2009)
The Air Up There
The Alamo (2004)
Anna And The King
Annapolis
Another Earth
Another Stakeout
Anywhere But Here
Arachnophobia
Australia
Bachelor Party
Bad Ass
Bad Company (2002)
Bad Company (Aka: Tool Shed)
Bad Girls (1994)
Bad Times At The El Royale
Baggage Claim
The Banger Sisters
Be Water
Beaches
Before And After (1996)
Belle
Beloved (1998)
The Best Exotic Marigold Hotel
Best Laid Plans
Big Trouble
Billy Bathgate
Black Nativity
Borat: Cultural Learnings Of America For Make Benefit Glorious Nation …
Boys Don’t Cry
Braveheart
Breaking And Entering
Bringing Out The Dead
Broadcast News
Brokedown Palace
Broken Lizard’s Club Dread
Brothers In Exile
Brown Sugar
Bubble Boy
Bulworth
Bushwhacked
Can’t Buy Me Love
Casanova (2005)
Catch That Kid
Cedar Rapids
Chain Reaction
Chasing Papi
Chasing Tyson
Choke
The Clearing
Cleopatra (1963)
Cocktail
Cocoon: The Return
Cold Creek Manor
The Color Of Money
Come See The Paradise
The Comebacks
Commando (1985)
Con Air
Conan The Barbarian
Confetti
Consenting Adults
A Cool Dry Place
Cousin Bette
Crazy/Beautiful
Crimson Tide
The Crucible
Cyrus
Damien – Omen Ii
The Darjeeling Limited
Dark Water
Dawn Of The Planet Of The Apes
The Day The Earth Stood Still (2008)
The Day The Series Stopped
Day Watch
Deadpool 2
Dead Presidents
Deceived (1991)
The Deep End
Deep Rising
Deion’s Double Play
The Devil Wears Prada
Devil’s Due
Die Hard 2
Die Hard With A Vengeance
Double Take
Down And Out In Beverly Hills
Down Periscope
Dragonball: Evolution
Dreaming Of Joseph Lees
Drive Me Crazy
The Drop
Duets
The East
Ed Wood
The Edge
Encino Man
Enemy Of The State
Enough Said
Evita
Exodus: Gods And Kings
The Fab Five (2011)
Far From The Madding Crowd (2015)
The Fault In Our Stars
The Favourite
The Final Conflict
Firestorm (1998)
The Fly (1986)
For The Boys
Four Falls Of Buffalo
French Connection II
The French Connection
From Hell
Gentlemen Broncos
A Good Day To Die Hard
Good Morning, Vietnam
The Good Son (1993)
A Good Year
The Grand Budapest Hotel
The Great White Hype
Grosse Pointe Blank
Guilty As Sin
Gun Shy
The Happening
Here On Earth
High Fidelity
High Heels And Low Lifes
Hitchcock
Hoffa
Holy Man
Hope Springs (2003)
I Heart Huckabees
I Love You, Beth Cooper
I Origins
I Think I Love My Wife
Idiocracy
In America
In Her Shoes
Independence Day
Independence Day: Resurgence
Inventing The Abbotts
Jennifer’s Body
The Jewel Of The Nile
John Tucker Must Die
Johnson Family Vacation
Jordan Rides The Bus
Joshua
Just Married
Just Wright
Kingdom Come
Kissing Jessica Stein
Kung Pow: Enter The Fist
Ladyhawke
The Ladykillers (2004)
Last Dance (1996)
Le Divorce
The League Of Extraordinary Gentlemen
The Life Aquatic With Steve Zissou
Live Free Or Die Hard
Looking For Richard
Mad Love (1995)
The Man From Snowy River
Margaret
The Marine
Marked For Death
The Marrying Man
Martha Marcy May Marlene
MASH
Max Payne
The Maze Runner
Medicine Man
Melinda And Melinda
Metro
Miami Rhapsody
Miller’s Crossing
Moulin Rouge (2001)
My Father The Hero
Mystery, Alaska
The Namesake
Nature Boy
Never Die Alone
The Newton Boys
Night Watch (2006)
No Mas
Nothing To Lose
Notorious
Office Space
One Hour Photo
Oscar And Lucinda
The Other Woman (2014)
Our Family Wedding
Out To Sea
Pathfinder (2007)
Phat Girlz
Phone Booth
Planet Of The Apes (1968)
Planet Of The Apes (2001)
Pony Excess
The Poseidon Adventure (1972)
Post Grad
Powder
The Preacher’s Wife
Pretty Woman
Primeval
The Puppet Masters
The Pyramid
Quills
Quiz Show
Ravenous
Rebound
Renaissance Man
Revenge Of The Nerds Ii: Nerds In Paradise
The Ringer
Robin Hood (1991)
The Rocker
Romancing The Stone
Ruby Sparks
Runaway Bride
Rushmore
Ruthless People
The Savages
Say It Isn’t So
The Scarlet Letter
Sea Of Shadows
The Secret Life Of Bees
Separate Lies
The Sessions
Shadow Conspiracy
Shallow Hal
Shining Through
The Siege
Signs
Simon Birch
A Simple Twist Of Fate
The Sitter (2011)
Six Days, Seven Nights
Sleeping With The Enemy
Solaris
Someone Like You
Soul Food
Spy Hard
Stakeout
Starship Troopers
Stoker
Summer Of Sam
Super Troopers (2002)
Surrogates
Swing Kids
Taxi (2004)
Terminal Velocity
Thank You For Smoking
There’s Something About Mary
The Thin Red Line (1999)
Three Billboards Outside Ebbing, Missouri
Three Fugitives
The Three Stooges (2012)
Titan A.E.
Tombstone
Toys
Trapped In Paradise
Tristan & Isolde
Up Close & Personal
V.I. Warshawski
Veronica Guerin
The Village (2004)
Von Ryan’s Express
Waiting To Exhale
Waitress
Waking Life
The War Of The Roses
The Watch (2012)
The Waterboy
The Way Way Back
What’s Love Got To Do With It
When A Man Loves A Woman
White Men Can’t Jump
William Shakespeare’s Romeo + Juliet
Win Win
Woman On Top
Working Girl (1988)
The X-Files
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The X-Files: I Want To Believe
Disney+ UK, now including Star is available for £7.99 per month
The post Disney+ UK Star Launch: Complete List of New TV Shows and Films appeared first on Den of Geek.
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