Categories: Movie and Series Reviews, Drama

True Detective: Season 4 (2024) 2.5/5

Season 4 of True Detective benefits a lot from its cast, with everyone involved turning in great performances. Kali Reis and Jodie Fosters, the leads this go around, give nuance to their characters that make them compelling to watch. Reis has to play it a bit more straight while Foster gets to come across more as an antihero, and it is legitimately fun to watch. Reis does get an interesting romantic relationship though that flips what we are used to seeing and that was exciting.

Not all of the supporting cast can say they get as much to do. Christopher Eccleston is a presence that is around until he suddenly isn’t, and Fiona Shaw is mysterious and underdeveloped for the role that she plays. Again though, nobody does poorly with what they get.

The first episode sets high expectations and is truly unsettling. Unfortunately it did not pay off, and the final episodes explanation just made me wonder if these were really True Detectives if so much went unnoticed. What is worse is the use of horror-like elements sometimes come across cheap. An orange can be a powerful way to connect ideas together and imply something going on with a persons mind, but what are we to think of random spirits behind our characters that they never see? There is no story there, unless the implication is that the audience is hallucinating or going through something spiritual.

Benefiting the show is its cold atmosphere, set in the remote town of Ennis, Alaska. The sets are great and become a bit of characters themselves. Visually, the show should be commended. It really sells this cold setting and the cast leans into it.

Jodie Foster’s character asks people around her to ask the right questions, but you aren’t rewarded for doing that here as the audience. Why was there a need for secrecy in these two peoples relationship? There wasn’t. Why did that guy sit up in his bed and say what he said? Spooky vibes. And on and on. The show wants to be really smart, but it does not stand up to even the most basic questions.

By the end of it all, I felt a bit cheated. It never reaches Lost levels of not paying off, but it doesn’t slouch either and its final explanation and whimsical sendoff did not feel good. This is a story that promises a lot and delivers very little. If you can survive on vibes alone though, they are there and they are good. I’m not really mad, just feeling a bit let down. For a show that started so strong, and felt like it had something to say, it could have gone with a much stronger writer to make it all feel connected. I may never know who wrote, or had the time to write, “we are all dead,” but I certainly died a bit from the lack of cohesion.

The Knick: Season 1 and 1/2 of Season 2 (2014-2015) 3/5

The Knick is treated to an excellent cast and some incredible direction leads to scenery that is captured in fantastic ways. However, I couldn’t bring myself to finish the series even after so much time invested. It was just sitting there, and I did not want to look at it.

There is an interest in the first season that is inherent. Seeing medicine in a period of time and without reservations is compelling. The drug fueled medicine feels unique, even in a world where House exists. Clive Owen, the shows center-focused lead, is both awful and endearing as he threatens to sew a nurses mouth shut. None of the other cast members are slouching either.

Still though, season 2 just was not the same for me. The concerns of the show seemed to have changed and my interest went with it. I think I deserve credit for sticking it out, I believe, a good five or six episodes before sort of wandering off. I had the time, but I just did not want anymore. Perhaps if it were sewn as tightly as the first season.

Old Henry (2021) 5/5

Old Henry feels like a throwback to rarely seen westerns. It lacks a lot of flash and for some that could feel as tired as Henry himself feels, but I think this western works so well because it keeps things simple.

Tim Blake Nelson gives an amazing performance, capturing a look and feel that sells the character. The supporting cast is no slouch either.

If anyone has patience for an economical story like this, then they will not regret it. The director and writer, Potsy Ponciroli, is someone to look out for. This is a movie that could bridge the gap between grandmas wanting to watch their westerns and the modern movie goer.

Fallen (1998) 2.5/5

Carried largely by an idea and a stellar cast, Fallen is unable to bear the weight of talent. People like to do hypotheticals about movies that could use a remake, and this is a high candidate in my opinion.

Despite its failings, its uniqueness make it still an enjoyable watch and I am a sucker for its vibes. If only it were a little tighter in its writing, rethought its camera tricks, and came across just a bit smarter.

Speak No Evil (2024) 3.5/5

The theme of masculinity runs through the film, and I can see a lot of people misplacing frustration at certain characters actions and missing the point. It is definitely more of a slow moving train, but its actors all do a job of carrying that pace.

Forrest Gump (1994) 5/5

Living in a timepiece of America through Forest and Jenny is as touching today as it was back then. It is not just a touching story about overcoming adversity, that would be far too small for this grand tale.

Run Hide Fight (2020) 0.5/5

I did not know what this was before going into it. I picked a random movie and just went. It took very little time to be know it had to be some politically driven film. Then it gets way worse with all the speeches.

I don’t care who makes the movie, but this was so in-your-face trying to stroke its hero complex to full attention. Uneven acting and poor direction add to the films problems. I see some people calling it Die Hard in a school, how dare you.

The biggest thing? For a movie that tries to be shocking, it really is dull.