Victreebong Reviews

Scott Pilgrim vs. the World (2010)

Gen Y The Movie

[10/10 · 3 March 2024]

The epitome of a cult classic. It completely bombed (Sex Bo-bombed) at the movies in 2010, only for us to realize how utterly awesome it was years later. Only after every single actor in it has had multiple leading roles, and Edgar Wright (Hot Fuzz, Shaun of the Dead, Baby Driver) continues his under-the-radar dominance have we come to realize that the over-the-top spectacle in Scott Pilgrim is as welcome as it is cringy.

Story is simple: boy likes girl. Girl has history of obstacles. Boy must get past history of obstacles. Adapted from a comic, and then made into a Netflix animation, the movie works like a combination comic, arcade game, and rom-com. In live action. Think Speed Racer (2008), but not nearly as aggravating.

The performances are hyperbolic because the whole affair is hyperbolic. People jump 20 feet in the air and deliver punches akin to Adam West's Batman. Shouting and hysteria are common, nothing is nuanced. (When you're a Level 5 Vegan, you've ascended past mere mortal acting.)

Splashed throughout is pop-culture references like Smashing Pumpkins, Ameoba Music, Sonic, Mortal Kombat, things Gen X and Millennials grew up with or know about. This is less for advertising and more for just kindred nostalgia. It's nice seeing things you can relate to, and I'll admit I'm biased. Also, this is one of those movies that's big on LGBTQ+ awareness. Scott's roommate is gay and they sleep in the same bed despite not being intimate at all. Scott's pursuing an openly bisexual girl with a history of serial intimacy, and polyamory. One of our many movies from the 2000s-2010s that openly include gender fluidity and were stepping stones to today's social paradigm. It also pokes fun at it the same way it pokes fun at veganism and other subcultures ("I'm in lesbians with you.")

Give it a try. It's not for everyone, but given the sheer talent, the zaniness, and the social awareness mixed with satire, Scott Pilgrim Vs. The World is one of those movies you don't forget.

Dune: Part Two (2024)

The Spice must flow.

[10/10 · 1 March 2024]

Beyond expectations. Masterclass in storytelling and cinema. This is why we go to the movies. From the gorgeous cinematography instantly iconic in each scene to the rib breaking score by Hans Zimmer, the knee deep flood of A-list actors peppering the screen bringing every ounce of talent, this movie hits like Dark Knight, Rise of the Planet of the Apes, and Infinity War.

My only grief (if I'd even call it that) is that even at 2 hours and 46 minutes this movie flies by. It's clear that a little exposition has been cut and I'm sure there's an extended cut waiting for home release as is standard for WB and Legendary. And you can tell by the brisk pacing that they needed to fit in Dune's larger world building by trimming a little fat. But for those who felt like Part I was slow, this is THE roller coaster ride. From start to finish.

The conflict rages on as Paul (Timothy Chalamet) cements his position with the Fremen to gain control back for the planet Arrakis from the Harkkonians. Mentored by a budding love interest with a fierce Fremen warrior, Chani (the ever popular Zenaya), and further mentored by a senior believer Stilgar (Javier Bardem), Paul starts feeling inner conflicts of being heralded as a prophesied savior or a blasphemous interloper. Compounding the conflict is Paul's mother (Rebecca Ferguson) who has secrets to be revealed, the Harkkonians responsible for destroying House Attreides building their forces, and the emperor's decreasing grasp on Spice production. I cannot say anymore than that because it'll start spoiling the movie.

Far and away my favorite scene is Paul's baptism by fire with Arrakis' native megafauna. Anybody familiar with the story knows what I mean, but it is one of those moments that you never forget. Like Arnold Schwarzenegger being pursued by a semi in the LA canal, Paul's Fremen trial will define the series.

I know reviewers have already posted this, but this is this decade's Empire Strikes Back. One to own and definitely not to be missed.

Drew Carey's Improv-A-Ganza (2010– )

Half-baked

[4/10 · 25 February 2024]

WLIIA is formulaic, but it's worked since the 80's. Gave this series a six episode try and it's just not that good. The skits go on too long, and even though they share a lot of the same games, most fall flat. The hardest part is that this has the entire male cast of Whose Line involved, and somehow it just doesn't hold up. Ryan, Colin, Brad, Jeff, Jon, Greg, Wayne, Drew, they're all in it. Usually the stage is slammed with six performers. But somehow it just didn't mesh. It always feels like the show got cut short, or the previews fill up lack of time, and there seems to be some rough cuts. Almost like jump cuts. Not a whole lot of celebrity guests, unless you count Charlie Sheen right after his "WINNING" spiral post Two and a Half Men. (Remember, this was 2010-2011.) This also was the start of Drew's strange healthy transition. And it is strange. We all grew up watching the Drew Carey Show and especially early 2000's Whose Line where jovial, crew cut Drew made us smile and cringe simultaneously with his flat punchlines and occasional dead shot repartees. Here, he's like a new age hipster punching above his weight class. With a soul patch.

I'm glad things worked out and Whose Line came back with Aisha while Drew took over for Bob on Price Is Right. This was not the show to invest in. At the time of this writing CW is releasing the final season of Whose Line, but I'm sure something will come along in the same vein as this entity between projects. And I'm sure it will do better.

Whose Line Is It Anyway? (1998–2007)

Staying abreast.

[10/10 · 7 January 2024]

A time capsule for those of us who lived through the early aughts. Pure talent. Wayne, Ryan, and especially Colin are THE BEST in all of improv, and their mandatory attendance in over 20 seasons of the show is proof of said statement. Greg, Brad, Jeff, and Chip are also standouts from this era. Kathy Greenwood is the most frequent female improv artist from this time of the show, and she keeps up with the antics of the otherwise male dominated cast. But there's guest appearances from Steve Colbert and Whoopi as improv actors, and many celebrity guests throughout the eight seasons.

The show is fairly formulaic with segments like News Flash, Blind Date, Scenes from a Hat, Irish Drinking Song, Props, and especially Hoedown. Regardless, the cast is on point with on the spot jokes, situational transitions, and turning phrases. It is a testament to the human response time and the amount of intelligence required to understand humor. Wayne's ingenuity with song and dance causes a lot more segments to be sung since his addition to the cast (Brad and Chip are also great with this). He's also credited for bringing the series stateside and to ABC. Drew Carey is the sounding board for easy fat jokes as host, and I feel sorry for him because they use him as the butt of jokes often in these seasons. It's all good fun.

I've got to give a shout-out to my dude Colin. He's in EVERY episode of the series and he is an absolute legend. He works well with the other actors, he reacts soooo well to situations, he keeps it 100% professional and gives 100% effort, every time. Ryan and Wayne are often times the favorites, and Colin a constant bald joke, and it doesn't phase him in the slightest. That's confidence. Also, you may not realize it until the guest segments, but the entire cast is absolutely huge. Most everyone is over 6' with Ryan towering at 6' 6"!

22 minutes long an episode, and it never feels long enough. At the time of this writing they are ending the series with season 20 (Aisha hosted), and it's an absolute crime. If you liked this series in the past or have seen it sporadically on Comedy Central, it's every bit as awesome as it ever was. I strongly suggest streaming it on HBO and supporting it on social because loosing these guys would be a loss to our Americana. Hoping that the increased streaming views will cause WB to have a change of heart and pay the actors as writers.

Selena + Chef (2020– )

Okey-dokey, Selly G

[10/10 · 20 August 2023]

Don't even know where to begin. If you can find a silver lining to the pandemic, it's all the personal attempts that celebrities cashed in on at the time. Book clubs, mock GoPro fights, cooking shows, actors tried a lot of ways to maintain relevance during quarantine, but this show transcended the lockdown to become another breakout angle of Selena's ever growing success. And I am addicted.

Selena + Chef is intimate. Even though there may be some scripted parts for the charity plug, cooking instructions from the chefs, or introductions, the rest of the show is pure Selena with her friends and/or family. She messes up ALL the time. She also salvages attempts constantly via the direction of the professionals. From the first episode with her Ross special anodized knives to her crash course with the infamous Gordon Ramsey in the S4 finale, she is learning and imprinting the trade. Her knife skills go through their own character development arc. I think she cuts herself five times throughout the four seasons so far, and every time she gets right back on the horse. As stated by other reviewers, Selena has lupus which hinders (among many things) her hand strength, and struggles with bipolar syndrome which sometimes hinders her emotional state. We get to see a side of her like never before. The viewer learns as well with all sorts of neat tricks like "the first knuckle with rice water" trick, or knife rocking, or one-handed egg breaking, the list goes on.

Then there's her family and friends. Her grandfather "Papa" gets summoned whenever there's something that requires a little more muscle or homeowner advice (like checking a gas valve on the gas line) than afforded by the ladies. Raquelle is one of Selena's close friends who doubles as the comic relief. A lot of reviewers have complained about Raquelle, but realize that the she is a foil on the show for Selena. Raquelle is not the star of the show- Selena is, and if her friends stepped in too much then the show wouldn't be SELENA + Chef. So yes, it's okay if they make jokes about her sitting around on her phone texting when Selena's struggling with a sauce pan: it's played for laughs. Raquelle is yin to Selena's yang. Her other friends include about seven crew members from Gomez's inner circle that rotate throughout the episodes, with Theresa and Kelsey being the other standouts. Theresa is jocular and has a similar disposition to Raquelle while Kelsey is smoking hot with infinite blue eyes that instantly draws the camera's focus from everyone else. The producers need to rethink Kelsey because she could easily steal the show. All of the friends jump in from time to time for performing menial tasks and to mix things up. Most of the time they are Andy Richter grabbing pine to Selena's Conan O'Brien.

The guest list will be very familiar to a lot of people. Just look at the episode titles to find a chef you recognize. My favorite episodes are too many to list, but ones with Aarti, Candice, Marty, Blais, and Ludo really stand out. Most of the chefs are patient, some are very lax and just go with the flow of a learner. Some are overbearing. Ludo in particular is a benchmark for Selena's progress being both her first chef and her first repeat chef in S4. He's also more strict with instruction AND is a Frenchman. Comedy with frustration ensues. If Ludo is a midterm, Ramsey is the driving test on your wedding night. He doesn't stop being Ramsey for Selena Gomez. Perfect finale for four seasons and drives home the message of what industry Selena Gomez has got herself into.

The show has all sorts of stuff in it like charity work, running jokes, wild kitchen accidents, surprise guest stars, scenic beach views, nude cooking in after credits, dogs stealing food, it's just uplifting fun. Good for watching, good for rewatching, good for having on in the background, good for realizing that Selena Gomez is most definitely another human being just like you and me, but makes way more money. I'm hoping in S5 they continue the Rachel Ray and Aarti trend by bringing on more Food Network stars. Alton Brown, Giada, Guy, Emeril, all fair game. I have a feeling less of it will be Zoomed because COVID's winded down, but it's still a good dynamic I hope they keep. Highly recommended.

Katherine Ryan: Glitter Room (2019 TV Special)

Too much on the defensive.

[6/10 · 7 July 2023]

I love her first standup on Netflix (In Trouble) because she's so varied, smart, extremely quick, you can tell she's definitely a top comedian. Can handle heckling flawlessly and turns a heckler into her own material. That's a comic and that's true here too, but in this special she's waaay too defensive about the being single and raising a child alone lifestyle. At the time of me writing this, she's married and has two more kids. In the scheme of things, men are still important to her, which makes you wonder why two thirds of the show are spent saying how men exude toxic masculinity, are a rarity in her home, and a commodity that she doesn't require or look for. It was simply untrue. She's an excellent feminist but so much of the show was spent validating choices and bashing on men instead of covering more topics that it just alienates half of the audience. I'm the product of a single mother, so don't talk to me about the lack of appreciating single moms; I'm a successful person because of one. Men are people. Women are people. People suck and people will make your lifetime worth living. I hope more female comics get this.

Amanda Seales: I Be Knowin' (2019 TV Special)

You are either in or out.

[10 May 2023]

As a preface, Amanda tells everybody watching with her own preface who her special is for.

Now, going in with that information, you can decide for yourself if you are in those camps or not. But for me, Amanda's special is smart, sassy, exclusive, offensive, cathartic, roaring, informative. It was not a comedy routine for me. Not because it wasn't funny, she is insanely sharp and humorous. Her target audience shares similar experiences that she's been through personally; the tribulations of young African American women living in our American society. Dealing with the struggles from her perspective. I don't fit that mold, so again, her comedy special wasn't really for me.

How it all goes down is completely exclusive. She doesn't sugarcoat anything. If you are not of the intended audience, you get a sense of being left out of the group. Dissonance. Instead of trying to include others into the group, words and phrases that aren't explained are thrown at you. Lyrics that you have never heard are sung between audience and performer in call and response. Her performance style is different from other comics who would normally explain something if it wasn't intuitive or moderately known. This was the first time hearing about the Black National Anthem in 30 years. I would never know the lyrics, and by her own admission in the special she hadn't even known about it until a certain age. I think her point was that it isn't well celebrated or taught about in standard ed to the degree it should be, but the way it comes across is that we're ignorant for NOT knowing about the Black National Anthem. Song lyrics from several different songs, maybe you know them, maybe you don't are sung through the routine. Half the audience is participating, half are as clueless I was. "Vagenda" is a term she throws out toward the end to distance herself from excluded suitors. I'm sure this was intended to be funny with some tongue-in-cheek merits of self-defense, but how it comes across is completely mean spirited. A small list of minor slights that makes you completely ineligible as a person. Lastly, a part I really dislike is when she says that "black women are well aware that people don't like yelling at them movie screen. We don't care!" Not only is this a massive stereotype, it's also unapologetic. If you want somebody to care what you think, you should at least attempt to return favor. If the whole point of your special is awareness, it doesn't make sense to feign unawareness.

On the plus side, her delivery is quick. Her vernacular is strong. Her confidence is beyond peaking, and she can obviously rally a crowd. She's a masters student from Columbia, and you can tell. Where I think she shines is when she bounces back how passive aggressive people can be when she is simply direct. And sympathizing with other members of the audience who had the same experiences was beautiful to see. Like "the only black girl at the slumber party". These parts were more counseling and cathartic than comical though. I'm hoping in her next special she doesn't narrow it so much to one demographic. I'm hoping she goes for traditional setup-punchlines and "bringing it back around". They're tried and true, and would fit in with her sassy wit. Otherwise she may not be the comic for me.

Curb Your Enthusiasm (2000–2024)

Curb Your Irritation

[7 April 2023]

If you enjoy the suffering of Ben Stiller or Jerry Seinfeld, you'll adore CYE. It's the genre on steroids, with CONSTANT bantering. Intravenous pessimism. I'm not going to score it because you either love it or hate it. Kind of like opera, and like opera it has tragic characters. In fact, it would be a perfect ten and the poster child for the tragic character trope. If you get irritated by this type of media, Curb is going to be death by a thousand paper cuts.

Everybody, and I mean everybody is in this show. The big hitters typically keep their actor names while the second strings have similar names (usually keeping first name) to their actual names. Some people have stage names. The acting is on point, so if you can stomach constant awkwardness, raging arguments, frustrating social scenarios, and lost causes, Curb is worth the eleven seasons. But remember, just like David's first born, it is also a show about nothing.

Stranger Things: Chapter Seven: The Massacre at Hawkins Lab (2022) Season 4, Episode 7

Masterpiece.

[10/10 · 10 July 2022]

If you felt the burnout from S3 or the slow start of S4, this is THE episode that keeps you reeling! It is S1 levels of greatness, and master class writing at its finest. Episode 7 of S4 is where everything clicks for the season, and even more things click for the series as a whole. The payoff is immense. You have been warned: do not skip this episode. I'm not going to spoil anything, just watch.

Ad Astra (2019)

The Horror of... Space...

[10/10 · 22 September 2019]

A lot of reviews have hit the nail on the head already for this one. Sins of the father, journey to the underworld, pragmatism, isolation, bleak futures, Apocalypse Now, all of these describe Ad Astra quite well.

Enter Roy; an A-list pragmatic and stoic Captain tasked with convincing a rogue astronaut to end a militant quest for extraterrestrial life at the outer rim of the solar system. If Gravity and The Martian are stories about the lengths it takes to get back safely to Earth and survival, Ad Astra is the antithesis on how far someone will go putting themselves in the path of the cosmos for a goal. Brad is on a mission, and the revelation on what he's saving is no where near as grand as what he has to do to get there. Space is quiet, cold, unforgiving, and in a very real way, the same reality we have already on Earth. Ad Astra takes a page from Elysium and The Expanse, examining dystopia in space. Whether it's vandalism, advertising, profiteering, social strife or politics, it winds up following humanity no matter where people wind up.

Brad's the real draw here, but don't dismiss the supporting cast during this film. Between being plot devices and obstacles, most are there as stepping stones on Pitt's quest, but almost every one of them has a revelation whether spoken or quietly demonstrated in jest. That being said, my boy just cannot get enough screen time in. Every shot of Pitt is a new side that we haven't seen before. This isn't the arrogant Tyler Durdem or the alcoholic Mickie. No sad Benjamin Button, no worrisome Louis, no vengeful Agent Mills. This is Brad Pitt in weaponized form. Always one step ahead, always cool and collected. Plot armor for days, and yet completely vulnerable to a self-destructing chaos around him. His wife can not penetrate him, his colleagues cannot control him, the ****ing solar system cannot impede his conquest. Brad Pitt, aka Captain Roy McBride is the astronaut on fire. There's one scene where he's stoneface to the point of catatonia and a single tear roles down his right cheek. Be on the lookout during award season...

The visuals are somewhere between Gravity and Apocalypse Now. I know that's been said a couple of times, but it's the truth. Long sequence shots are taken of Brad in vulnerable states whether succumbing to internal struggles, dealing with isolation anxiety, or any number of intense psychological symptoms catastrophe instills. A lot of shots are blink and you'll miss it, or forewarnings of what lies seconds ahead; empty satellite corridors and pod doors with telltale signs of psychotic breaks. Most of the film is slow paced and mixed with exposition, but the action sequences between are dynamic. I think every sequence with conflict was a new trope that hadn't been fully explored yet. One in particular involving lab test animals is so (graphically) accurate with real world accounts, it almost sickens viewers. And for those who want to argue about explosions or sounds in the vacuum of space, just remember that our sun explodes 24/7 and makes LOTS of background noise.

Ad Astra isn't for everyone. There's no silver lining. No comedy, except for cynical social satire. The plot is simple and the narrative straightforward. But if you can get around those Ad Astra is the closest movie in 40 years to capturing the harrowing reality of where our species is going and why it's ultimately the same dreary consequences. It will bring you down at the same time that it lifts you into the heavens.

Alita: Battle Angel (2019)

If this is how we get to a live screen Akira, we have nothing to fear.

[10/10 · 16 February 2019]

Alita could be the tipping point from mediocre American anime adaptation to most ambitious undertaking in big budget film making. This movie was in the veins of Avatar. THIS movie is how I envisioned Ready Player One would wind up.

Let me just start off by saying this has not one but FIVE Oscar acknowledged actors in it, with three wins and two noms! And they're not even the lead character!! Rosa will be 2019's breakout star this year thanks to Alita who seamlessly displays range through mo-cap technique. And while I'm boasting over performances, Ed Skrein has been under the radar since Game of Thrones. But in this, he goes above and behind his bad guy role in Deadpool with a villainous role that makes him as memorable as Stephen Lang from Avatar.

The story is one we know too well: amnesiac wakes up to caretakers only to find out they're the chosen one to end a multi-century long war between classes. If that spoiled anything for you, don't play Zelda, Final Fantasy or watch any fantasy movie from the 80's. The difference between Alita and the usual chosen one trope is that Alita is a young (old) lady and she just wants to be a young lady. This is a beautiful love story with a father figure mixed with choosing your own destiny.

Where this movie shines is in the in-betweens. Alita remembering who she is, realizing what's around her, and over coming adversity. Make no mistake, Alita is not bulletproof. The first scene is of a destroyed female torso, and she's partly synthetic. Her emotions are just as fragile as she's a cyborg (aka human and machine), NOT a robot. It's those moments of realization and especially the emotional ones that make this a blockbuster. She's sensitive, cares about how other people see her, empathetic to animals, and curious about new things. For a battle hardened femme fatale, she's an awfully big sweetheart. And it won't surprise anyone if I say that she also has a love interest.

But for all the action and anime fans out there like myself, this movie is a masterclass attempt to behold! The spectacle in Alita Battle Angel is gripping to say the least, and this was the best use of 3D tech since Gravity. Metal, shrapnel, braided cables, kicks, explosions, sword slashes and impacts are brutal and well executed. Without spoiling things, my favorite scene is during a sports event in high pursuit that leaves you glued to what's going to happen to who next.

This will be a movie that sticks with me awhile. I loved Wonder Woman, and I'm afraid Alita has also cast a spell on me. I recommend Alita to anime fan and casual moviegoer alike. Also, I'm anxiously awaiting the sequel announcement!

Ocean's Eight (2018)

A swanky return to the heist world.

[21 January 2019]

Leave the arguments for/against the female empowerment agenda behind, and you have a slick caper. Bring them back, and you have a slick caper, but with almost no difference. People have been so caught up with the casting that they've forgotten all about what made these movies shine. The blink and you'll miss it inbetweens, the double speak, the obvious foreshadowing that's not always obvious, the unanticipated fuddle, the banter, the team work, the steal and the reward. Not to mention the spoils, which are always more than they seemed.

Sandra and Cate lead this ensemble to success, with familiar stars like Mindy, Rhiannha, Helena, Sarah and of course Hathaway tagging along. But (mild spoilers) some familiar faces from the Ocean's world will show up to lend a hand. This one feels more like the 2001 movie than any of 11's sequels. Partially because it's introducing the cast, but also because it's a legitimate revenge plot. It's stylized and a bit posh, but don't let the world of fashion detour you. Very little of the movie is focused actually on style, most of it is devoted to the bread crumb trail.

If I could change one thing, I would have added another member and given Akwafina (sp?) and Mindy's characters more to do. Sarah Paulson's character was also a little left out. Despite the cast being small, the camera was not equally shared. Also, I have a feeling this greenlit for a sequel. Recommended to those who loved the trilogy.

Replicas (2018)

Not a 2, but a clunky third act hurts it.

[7/10 · 13 January 2019]

A lot of people have written "poor acting" and "bad CGI", but I disagree. Reeves has always had a stoic disposition. The three other main actors span between sociopathic, culpably invested, and literally brainwashed. So range of emotions isn't supposed to be light-hearted and cheery. As far as CGI... the movie could have used a little more polish in the end but the first and second act have CGI similar to Iron Man's HUD.

The movie follows the plot line of mad doctor obsessed with bringing back the dead. The Frankenstein trope. Keanu plays a greiving father who loses his family during the start of a family vacation. He is of course a lead scientist for a secretive biotech facility. His coworker who is a fellow genetics tech and family friend (an Igor if you will) comes to his aid during the eve of the incident. The obvious ensues.

The movie's strengths are in the first and middle act, where Reeve's copes with loss and balances the forces against him. At no time did the movie feel out of sequence, and it actually moves along fairly well. The third act though, is when plot A and B cross paths, and then a plot C somehow evolves through the middle. It goes from drama to a chase, and ultimately something out of iRobot. The finale is straight up absurd, but it's science fiction. Not science fact. My guess is they were torn between how to end it.

I'd recommend this to anybody who has lost loved ones or sci-fi buffs. It may feel familiar, but it was definitely not a waste of time. Keanu is never a waste of time, catch it at Redbox or on Netflix if you don't see it in theatres.

Red Sparrow (2018)

IMDb needs better mods

[9/10 · 28 March 2018]

As a preface, this is not the only JenLaw movie to get unnecessarily slammed by sham reviews. Since The Fappening, people have been on a mission to smear her image. (The personal comments about the president haven't helped.) But throw all that out, look at this film objectively, and you will be pleasantly rewarded with a spy thriller that's cunning, sexy and disturbing all at once.

Lawrence plays a Soviet op who is conned into a femme fatale lifestyle of cutthroat operatives when her ballerina career is ruined from an injury. She crosses paths with Edgerton, an agent in the middle of a career SNAFU, as he attempts to redeem his status with the CIA after getting made during his cover. Romance and espionage ensues. The movie is one part Lawrence learning to survive covertly and two parts not trying to turn on her government to aid her mother, friend, and colleagues.

The crux of why people are turning this down is the violence and graphic nudity. The violence is no worse than Fight Club and about as disturbing as Black Swan. Those are your benchmarks. As for the sexuality... yes you get to see a penis, some breasts and butt, but at this point you should know Jen is human. Body parts do not make the actor. The acting makes the actor.

Lawrence does a pretty convincing job pulling off a Russian dialect, but it's being sociopathic while undercover where she shines. It's a tale of espionage. She starts off scared and green, but over the course of 2 hours she is brutally beautiful in her façade. Edgerton is handsome and sweet. He is excellent as a supporting actor and he only makes Jennifer that much more focal in the story. One of the other standouts here is Rampling, the stoic mission driven school commandant who effortlessly instills guile in her students through psychosexual manipulation. She is equal parts mechanical and overtly invasive in finding sexual quirks. There's another standout performance in Red Sparrow, but I promised I wouldn't spoil the movie in my review.

I'm sorry I'm late with this review, but if you plan on Redboxing the movie or catching it before the theatrical run ends, do so! It is not a first date movie, but is definitely sensual, very engrossing and yet another star for both Lawrences' track records. I hope these two continue to work together for years to come.

Web Therapy (2008–2014)

Hurry up and bring it to physical!

[9/10 · 23 June 2017]

Yes you can watch this online, but since it's got such an odd separation between the original skits, and the seasons on Showtime, they just need to release the entire series in one compilation.

This show was wonderful! I didn't get into until recently because I REALLY needed a Phoebe Buffet fix, and this was like a fresh chocolate soufflé. The setup is Lisa interviewing a client (typically a well known A-list actor or B-list supporting actor) and within seconds the "therapy" derailing into personal agendas, tirades, cathartic resolves, the works.

If you're looking for loose, flaky, free spirited Phoebe, go back to Friends. If you're looking for Kudrow in complete control of her mannerisms, expertly timed dialogue and wit mixed with exceptional improvisation, bam. As Fiona Wallace, Lisa completely encompasses what it means to be typical professional person (READ, not just woman or man, person) in today's self-destructive and overwhelming Web 2.0 society. A waning marriage, sibling rivalry, suitors, judgmental peers, generation gaps, tech disability, all while trying to stay afloat. Those who enjoy satire like Curb Your Enthusiasm, Seinfeld, Arrested, you'll love it. This part of the series is smaller segments, typically 3-8 minutes in length. The Showtime continuation sticks the skits into clumps that average 24 minutes. You don't have to go in order, most things can be gleaned from just the few seconds of each set.

My favorites have got to be the Steve Carell guest skits, and the ones with her ex husband. Julie Claire's cameos also show huge range for both actresses and are a mix of awkward and straight awesome. My only beef is the lack of support on physical media; there needs to be a Blu-ray release or the rest of the series on DVD besides seasons 1 & 2.

Oz (1997–2003)

Yup.

[10/10 · 13 May 2017]

IMDb reviewers are not wrong. Oz is phenomenal. I don't normally review a show until I've watched every minute of it, but Oz is a series that will stand tall in premium television history.

This show gets compared a lot to Orange is the New Black because they're two shows centered on penitentiary systems. Where Oz waivers from OitNB is how characters have minor backstories and most of the camera time is spent with the infinite twists and turns. Both shows can be graphic, sexually, violently, with lots of drugs use, but Oz has a focal point on the visceral.

This is neither a dark nor an uplifting show. It is as real as a series can get while still being acted. People come in, you get hooked on them, sympathize, and minutes later they're stabbed. A protagonist one minute, a serial offending villain the next. Nobody's ever a hero, even those touted such as the Imam.

I'm huge for JK Simmons. He's a mans' man and he defined a comic book character better than the original with his patented Jay Jonah Jameson in Raimi's Spider-Man trilogy. And it is almost baffling how the guy we have come to expect on Farmer's commercials is a dominating (as in top) white supremacist who runs the Caucasian unit of Oz's Emerald City. Many familiar faces from other series pepper Oz, a slew of them you'll recognize from House M.D. cameos. Eddie Falco from Nurse Jackie fame is another alum to come from Oz.

So if you're in the mood for tension, drama, superb acting, friendly faces, violence and lots of graphic nudity, Oz is a show that you need to dabble with. Scratch that. It's a show that you'll try and immediately bing all weekend.

The Neon Demon (2016)

Poetic, stunning, violent, cult.

[9/10 · 25 February 2017]

First off, this is not a feel good movie. This is a WTF kind of film. If you loved Drive but cringed when Cranston got his arm cut, prepare for another visceral endeavor. Neon Demon starts off cautionary, transcends surreal (several times), and then goes full on horror/thriller. The conclusion is absolutely WTF.

From the minute the shutters flash in the beginning with Jesse (Fanning) posing for an amateur shoot, we're aware that she's in way over her head. Naïve, underage, beautiful, vulnerable, she's a girl chasing a dream about to be swallowed by a world all too used to eating through potential starlets; Hollywood, CA. She befriends Ruby (Malone), a Sapphic make-up prof who moonlights as a morgue assistant at night. Ruby is intermingled to a posse of veteran models who already know the ropes of the Hollywood machine and take no time sticking Fanning in her place to avoid a potential talent uprising. Drama ensues.

Being the attractive magnet that she is, Jesse must play smart in a world full of cutthroat talent scouts, agency reps, love interests, rapist motel clerks, and jealous peers. But will she use intuition to avoid the malaise of the glamorous, or be sucked into it's vapid vortex? You'll need watch Neon Demon to find out for yourself, but the conclusion (while fairly obvious) is startling.

Pacing is on track, scary, then scarier, then startling, and then ultimately "how the hell did they film this?" moments. Acting is also on point, in particular Malone and Hendricks are my absolute favorites. Hendricks unfortunately doesn't have a lot of screen time in this, pretty much limited to one scene, but this is about the most believable role I've seen her in. Malone, dear God. This is THE girl we need to watch out for. If you thought she stole the show in Catching Fire, see her in this. Keanu plays a character that is simply dripping with slime. And while the models are absolutely plastic, the gravitas in their performance is nothing short of a forewarning about what modeling in the fashion world is really like. Harrington and Glusman are equally as empty, portraying a world in which superficiality is the ONLY thing (incredible casting for Harrington, you're almost afraid of him the first time you watch the movie). Lastly, Fanning is a delight. Clean, sweet, pretty, fragile, and then at one point develops into The Demon, she changes at the same pace the movie unfolds. This is a surreal flick (it is a Refn film), so expect flash montages, saturated vibrant colors, glitter, body landscapes, pools of blood, moonlight, pure white, the most perfect blacks, liquids, slow-mo, nipples, vulvae, absolute violence, beautiful decay, the gorgeous. The movie's soundtrack could have its own introduction, bass thumping, soft undertones, electronica, and just about anything you can think of on the catwalk present. This IS a cult title in the same vein as Scanner Darkly, Spring Breakers, Traffic, Blow, Boogie Nights, and any other film that tells you what the real price is for living in the fast lane.

You've been warned.

Suicide Squad (2016)

Short on concept, rife with stereotypes, bad one-liners, re-shoots, we saw this coming.

[5/10 · 30 January 2017]

If the daily set photos and re-shoots were not red alarms, the first fifteen minutes of Suicide Squad will quickly set them off. Suicide Squad is a mess.

The first act is very poorly edited. I chalk this up to lose foreshadowing for later on, and the director getting panned by WB to keep it PG-13. Rough jump shots occur to introduce characters that are somehow NOT introduced well, with the ensemble getting shafted to give Robbie and Smith the most screen time. The the initial premise is totally unbelievable; CIA operative trying to recruit the baddest of the bad to take down... Superman? Batman? JL? I'm not too sure, because Batman is part of the recruiting process in this. Predators has a more convincing plot than Suicide Squad. If the Suicide Squad is the "contingency plan" then why are they using Bats to get them and nixing their own agents? It's a huge WTF.

Second half, the bad guys start bonding, and we get the rebel with a heart of gold syndrome. Problem is not all of them are on-board. Only two of them are remotely likable because the others have been snubbed for screen time, and it's hard to convince us one minute that Harley Quinn gives a sh*t and the next she wants to run off with Mista Jaaay. This goes into the third act as well until the finale.

Third act has the least issues and I think this is what Ayer really had in mind; the villains cooperating to take on something bigger. Unfortunately, The Dragon in this movie, sucks. I won't spoil who it is, but come on. Screenwriters have got to start setting up villains properly over the course of multiple movies. One-shot-evil-just-because doesn't work. Not in Marvel, not in DC. If you disliked Whiplash in IM2, you won't be too keen on the real antagonist. (Also, why the weird dancing? If it's too recreate Santanico Pandemonium, try again.) I did kind of like Robbie in this, she's very attractive with her glasses on. But she was overall just annoying. And surprisingly, Hernandez and Jai Courtney for once are the most standout. The other (including Smith and Leto) are just bleh. Smith didn't play Deadshot. Smith played Will Smith. Killer Croc was a huge racial stereotype, Leto growled at people and acted like a weird drug lord (NOT an anarchist), and the other supporting cast were just not quite there. They actually decapitate a Native American guy (who can apparently climb anything) who's part of the Squad without introducing him! Move over NAACP, NCAI would like to talk with Warner.

Lastly, the one liners. The effing one-liners! Stahp. My only theory is they were trying to recreate the magic from The Dark Knight trilogy and wound up somewhere around Batman & Robin.

So yeah, not my CB movie of the year. Ayer has done better, and I suspect that WB (yet again) tied his hands. He has admitted that the character concept for Joker wasn't right. Hoping, but not holding my breathe for Affleck's Batman movie. But if MoS, BvS, and now SS are any indication, we may not be to far off from another re-re-reboot.

Bad Moms (2016)

Kunis may be the new Aniston...

[9/10 · 27 January 2017]

(I have to admit something upfront. I am utterly in love with Mila Kunis and Katherine Hahn. So this is going to be biased, but I have good reason!) First off, both of these gals (and of course Bell, Applegate and Pinkett Smith) have stellar varied track records and are welcome familiar faces. Whether they're all supporting anchor men, fighting the Matrix for Zion, smoking weed with friends, or ruling the corporate consulting market, they have always held up others with their on screen support as costars. Well now it's the ladies turn and all I can say is good lord; why aren't they in leading roles more often?! Kunis is a knockout in this. A recently singled mother trying to balance her millennial filled work with her family, she befriends several other mothers who span the spectrum between married pushover to serial bar hag. Amy (Kunis) is somewhere in the between as a down to earth parent who's just had enough, whether it's dealing with a deadbeat husband, an overbearing school body, or a naïve hipster boss. When she's not trying to find her pacing on her own, slapstick, faux pas, and awkward social attempts occur. But never once do you feel like she's faking it. When she laughs, you laugh. When she's in pain, it hurts. When she's betrayed, you just want to beat the sh*t out of the person who wronged her! And getting hot coffee in your face is never fun. I don't know if they were actually drunk during those scenes, but there are some lushes afoot.

The ladies mesh the best when they're all on screen together. Usually this is accompanied by heavy drinking (girls' night out style drinking, NOT self-medicating alcoholism) or bonding in their respective social clicks. This may sound cliché as some reviewers have stated, but I want to point something out. They're not doing it for the sole purpose a male's affections. There is a love interest in this movie with Amy, but it's never the A plot, only a minor B or C story line. The main grab is Amy trying to get her life back on track while taking on Gwendolyn (Applegate) as the president of the parent school body after her children were deemed unacceptable for the school's extracurricular activities. The overarching story line is not being a bad mom, but simply taking a moment for themselves so they don't actually turn into terrible parents. Whether this is letting a kid do their own studying, preparing lunches and actively participating in school activities, or standing up to a spouse to take on more responsibility, the women are trying to set their lives a little straighter. And if that sounds TRITE to you, get a better outlook on self-improvement, and a sense of humor.

The pacing is great in this movie as there's an exhaustive mix of comedy, empathy, struggle, drama and catharsis. In the beginning, it's like one big giant .gif train of slow-mo party shots. Again, there's a lot of slapstick in this. If you like movies such as Forgetting Sarah Marshall (another flick with Kunis and Bell!), Knocked Up, or self-indulgent mom humor, you'll get a big kick out of this flick. The second one just got announced for this winter (2017), I cannot wait. And Mila Kunis is of course gorgeous.

Samurai Girls (2010)

Skillful warrior girls obsessed over one guy...

[8/10 · 8 January 2017]

Sound familiar? The trope has thoroughly established itself, but this show is still one of the best. Samurai Girls excels in areas where others in this genre dither.

The animation, is outstanding. It has an unrivaled water color, calligraphy appeal to it. Not a single scene suffers from budget constraints. Blots of ink litter the scene and landscapes have depth with buildings, characters, etc. Even the enemies are well thought out, human or other. Beauty is too low a word for this show.

It has a plot. Not a huge one, and the story line gets a little run over in favor of relationships and fan service, but it does have a plot about the warriors establishing bonds with a single General (or Shogun) to establish rule for a parallel Japan, set in a modern day Edo Period. Naturally, the Generals are males (Japan, go figure). The voice actors (J and E) get to be a little annoying due to the harem nature.

But what you really want to know about is fan service. Bare breasts are all over this show, so there's plenty of nudity (but no trim, never trim). It is directed strictly to men. In battle a shirt will spontaneously explode to reveal (in graphic detail) the women's natural forms. The women obsess over the main protagonist, several vying for his affections, so suggestive encounters happen in every episode. Take it for what it is.

So if you love gorgeous anime with superb production, plenty of eye candy, shipping, set in Feudal Japan, Samurai Girls is the best in the genre. The six shorts on the second disc are straight up ecchi fan service.

Queen's Blade: Rebellion (2012–2013)

Awkward to watch and will leave you frustrated at times.

[6/10 · 8 January 2017]

This show has gotten a lot of ire in the past. It sets the gold standard for the 2010s of ecchi anime released in the US, mostly because there are few. Queen's Blade is about the female form, and nothing else.

This part of series shows the Queen without her tournament, power, and the buxom warriors wandering in search of overthrowing the crown. Or at least that's what you'll get out of trying to sift through the exposition. The reality is, we follow one or two warriors who meet up with other new vixens, have calamitous battles where clothing gets strategically torn (but never any cuts on the skin), and the ladies find themselves in compromising situations. At one point, an octopus fondles several warriors' genitals. I'm not making this up.

The animation is in the top 80% of anime TV shows. It's not the greatest there is, but the production is better than most shows that utilize offshore Korean studios for in-betweens. Real challenging angles are reserved for gratuitous pantie shots and some action, otherwise most scenes are straight forward.

The dubbing is poor in this outing as the voice actors don't give a lot of emotion. It's also in Dolby 2.0 format for both English and Japanese.

The newer characters are a mixed bag, with the new exotic girl from the cover (the Moon Princess) being a huge staple. She is dripping with tantalization. The fact that her garment consists of beads across her v*lva, a ph*llus on top of the beads, and two clothes drifting over her breasts (which conceal nothing) are proof positive that her character was solely created for er*tica. She also turns dark tan when aroused and has spontaneous tentacles.

So if you need an escape to watch proportionately impossible vixens battle one another exposing their bodies, the third season of Queen's Blade continues the trends of the franchise. The plot is marginal and not easy to follow, the animation is fairly great, the sound is sub par, and the whole show is an exposition of the female form. It is what it is.

Zoolander 2 (2016)

Don't trust reviews.

[7/10 · 21 September 2016]

There's three things I've learned from watching Dumb and Dumber Too, Anchor Man 2, and now Zoolander no. 2. First, comedies do work better as stand alone endeavors unless they're buddy cops. Two, Millennials have absolutely no sense of humor, whatsoever. And three, IMDb reviewers are too harsh on movies in general.

Zoolander no. 2 somehow got marred as a bad and unoriginal sequel to the original poorly received Zoolander. DVD sales after release proved that Zoolander was actually more than what critics and movie goers pinned it as. Indeed, it's reached both cult and meme stardom for its social commentary and unique plot. Zoolander 2 was obviously not going to have the same surprise factor because the characters and settings have been established, but does it make it bad? Not at all.

This time around, Derek and Hansel have to get their groves back after a single event turned them into has-beens. Hansel has suffered a career ending, facial disfiguring half-centimeter scar on his cheek, while Derek has somehow lost touch with his family. To regain their career status, they need to reinvent themselves at a en vogue fashion mogul's gala. Drama ensues as an underground plot is hatched to not only eliminate both models, but change the face of fashion forever. If this sounds like the first movie, it should. But it is not the same plot line as Zoolander, only the premise.

Celebrity cameos riddle this movie from the very beginning to the calamitous culmination in the third act. Some feel a little more phoned in than others, but all are for good laughs. This is a series that doesn't take itself too seriously, and you shouldn't either! While the first defied the conventions of the modeling word by turning two vapid egos into sensitive heroes, the second is a quirky follow-up that reminds us that you can always make a comeback. But if you're somehow flustered by sequels for their familiarity, then don't watch sequels!

Cowboy Bebop (1998–1999)

Unrivaled.

[10/10 · 7 September 2016]

No doubt you have either caught a few seconds of Cowboy Bebop on Adult Swim, or have some mixed feelings about it that brought you here. The truth is, Cowboy Bebop is GENRE DEFINING. It is not over-hyped, it is lauded for a multitude of reasons.

We'll start off with main cast. We have a go-to overly confident tall handsome antihero with a dark past. Spike Spiegel drives a spike through the word "cool". He's polite, cunning, charming, talented, a bit of a klutz, good with the ladies, better with everyone else, he's a great guy. He knows how to kickass, but he definitely gets his ass kicked a couple of times too. His partner in crime is levelheaded ex-cop with a handicap; Jet. Then there's a Welsh corgi (Ein means one in German people), a hot gambling super bitch (the lovely Faye Valentine), an air-headed pre-teen hacker chick who has no reserve or inner monologue (Ed), Cowboy Bebop has quite the cast of tropes. (By the way, "Ein" is "one", Ed has two letters, Jet has three, Faye has four, do I need to tell you who has five? Even in the names of this series there's a meaning!) And yet, they blend right in with one another! The best episodes, the one's that really get viewership and make the Bebop a family are the ones in the middle of the series where everyone interacts with each other. And what do they do, hunt down cons for moola of course! Which brings us to setting. Beautifully, almost poetically the creators set this series in and around our solar system, not just on Earth. A fatal accident during early stages of hyper speed space travel caused a gate collapse which destroyed sections of the moon, causing large boulders to bombard Earth. So civilization seeks refuge from Venus to Saturn. The leftovers live subterranean. The result is artistic license of moons and planets of solar system envisioned in ways that exaggerate what we're accustomed to on Earth. For example, Venus has toxic gases that can only be mitigated by pills from plants foreign to the planet, Calisto has a frozen tundra similar to the Ukraine, you get the idea. Meanwhile, lots of space means lots of room for crime just like on Earth.

Which brings us to plot. Cowboy Bebop is about people. Of all walks of life and colors. While Spike, Faye, Ed and Jet may be Japanese in basis, the rest of the cast is far from it. This is a melting pot similar to what we see everyday in the U.S. This is the first show I can recall that in all seriousness displayed homosexual men and a transgender individual in all seriousness, and did it very well. The bounties range from a child whose paralyzed controlling a computer network, to an elderly man seeking revenge against a corporation that caused the gate accident, all the way to love interests of the main cast. They are not homogenized Japanese or Caucasian. And there's good ones mixed with plenty of corrupt ones.

Which finally gets me to character development. Bebop is gloriously and frustratingly short. It is heralded as the only anime that ended too soon. And although we could watch Spike and Ed's antics for years, what was given to us is concise, precise and deliberate. We see everyone's back history, where they are going, and why from start too finish, while still imagining what else could be in store. There is no scene in this show which is filler, it never overstays its welcome. If there's one trick to staying a hip cat like Spike Spiegel, its not being the last on to leave the party. Cowboy Bebop stays true to form.

So if you're on the fence about the show, watch at least a few episodes if you haven't already. It has a mix of Americana and music from several walks of life (each episode is an actual or very similar title of a famous song that plays to the theme of the episode). The animation is extremely well done, the tone is noir mixed with funk, and the whole series is just a masterpiece.

"You're going to carry that weight."

Bad Words (2013)

Bateman's Id

[10/10 · 6 August 2016]

We all know Bateman. He's won us over as the only sane person in Arrested Development, we've sympathized with him wanting to kill his boss in Horrible Bosses, we've pitied his life in This is Where I Leave You. Jason Bateman is the official face of the Middle American male. A leading protagonist, half in, half out, great hair, voice of reason, and still wants to get laid. A mild underdog.

Well now we get to know Jason's dark side! Not only does Bateman lead in Bad Words, he directed it, and it is a glorious debut.

Enter Jason Bateman's Guy Trilby, an acid tongued Joe Schmoe savant with a knack for completely obliterating words in the English language. A true linguist. Wronged by several forces in his life, he seeks revenge on a national spelling bee championship for the title, to satisfy his personal motives which play out through the movie. As passive aggressive and self-serving lone wolf as Guy is, he's followed by two accomplices on his quest; a prying floozy reporter eager to divulge Guy's mysterious agenda, and a fellow competitor in the bee who's been overburdened by stifling parents. Naturally, the sparks fly when organizers and parents of the bee's competitors watch in discern as a 40 year old man out-compete their aspiring pedigree children.

This is a dark comedy through and through. Thrilby is a bear getting poked from every stick in the park. But it's important to mention that Thrilby generally acts out on people who wrong him first; only twice does Thrilby pick victims who are undeserving. You have never laughed so hard at the misfortunes of Jason Bateman. At least this time he gets back, with an evenness that we all wish we had a week to think of and execute.

If you have a pension for watching antiheroes, Bad Words is for you. If you liked the hijinks of Bad Santa, Bad Words is for you. If you have a deep seeded obsession with Katherine Hahn (like I do), Bad Words is for you. If you like voluptuous black women, Bad Words is for you. If you have an appreciation for unreal instances of people spelling insane words that they seemingly pulled out of their a*ses... Bad Words is for you. And finally, if you love the comradery of a big brother meets little brother bonding story (ala Shane Black), Bad Words is MOST DEFINITELY FOR YOU. Channel your inner grievances and revel in the accomplishments of one man's trials to overcome advisories, with Bad Words.

FLCL (2000–2001)

The definitive turning point in anime.

[3/10 · 4 March 2016]

I'm sorry, I've tried. I've tried to like this 6 episode series, I've tried to link the beginning to end, I've tried to like the characters, the WAY overthetop animation, the erraticism, the niche, the "Fooly Coolly" too Coolly for Schooly everything. No. This anime is the straight schism between what anime had been, and what it is now.

The animation is like Bebop took a mountain of cocaine loaded into a pile of thirty strippers various crevices, slapped C4 in the pile, through the pile on a rocket ship, and had Donald Trump shout at the rocket while blasting into space doing line after line of blow out of said women. You know those erratic camera angles that occur when Spike fights someone in Bebop, yeah those happen WAY too often in this series. There's sick, and there's trying too hard.

That's before we bring up Haruko. The epitome of millennial YOLO counter culture, this chick is like every spunky Weezer fan with a trust fund in one annoying amalgamation. Completely carefree, violent, no talent, strings along horny men, hit's people on the f*cking head with her guitar...

Which is the worst plot device in the history of anime! The protagonist is some poor boy who's surrounded by manipulative teen females that get's smacked on the forehead to shortly thereafter grow a large phallic protrusion that turns into robots fighting one another. I'm not making this up. They explain JUST WHAT I TOLD you in a little more detail by episode 5, but it's about four more words than what I just said to avoid spoilers.

Along with these two is a couple more of said manipulative girls, an apathetic horny father, full on uzzi battles where people don't get completely blown to shreds, a creepy chain smoking school girl, a REALLY weird spider-mech battle with a young girls legs, forehead, crotch and panties turning into weapons (again, not making this up), I don't know how many hand motifs. This show is just weird. It's obviously not for everyone, how it's linked to Evangelion and Cowboy Bebop is beyond me. The one cool thing about the show is the mysterious robot who's plot device is never fully understood/explained. Oh well, he makes a cool PVC collection figurine. Until he somehow poops... :/

Bring back my classics where villains act like villains, heroines and heroes are relatable (not hate able), drawn camera angles don't turn into Bayformers on speed, and toss this wannabe hipster millennial anime in the garbage. Also, Vespas are ****.