The Jinx

The Jinx is in many ways a rather weird result of the rather underwhelming fictionalized depiction of the story of Robert Durst All Good Things. A film that found no real insight into the story, and offered a seemingly pointless summation of essentially his Wikipedia page. That film though, which Durst himself apparently enjoyed which says a whole lot, prompted Durst to contact that film's director Andrew Jarecki to offer himself up for the very rare interview. This in turn created a documentary and essentially the second chance for the same director to tell the same story, but now with the words of the subject himself at the forefront. Well what's the difference? Everything. Where the fictional film seemingly had nothing to say The Jinx is an endlessly fascinating examination of a man, and deconstruction of the crimes scenes that followed wherever he went. The series has become known for its unbelievable capture of seeming accidental confession, which is undoubtedly an unforgettable conclusion, however the entire series is the compelling and chilling exploration of it central figure. The idea though is less to show the man's guilt as a possibility, but rather explore that he clearly is guilty, since he clearly is guilty. It never explicitly states this, except the man himself stating the fact, and examines the torrid web of insanity the man's life touches. That includes the missing women, the bizarre and painful childhood of the man, his detachment yet connect to the affluent society of New York, the trial where jurors can accept him as someone who dismembers but somehow is not a murderer, the strange clue of a miss spelling, every facet is indeed worthy of the old stranger than fiction description. What is so remarkable of it all is the detail found through each episode as it unravels this mystery that only becomes all the more of oddity the more you learn from it, with the greatest oddity being at the center as essentially this serial killer who regales you his story in such affable yet unnerving way.
5/5

Creed

Creed is perhaps the proof needed to cement Rocky as an illogical franchise in some ways, but also one of, if not the, greatest. The idea of making a seventh film, to continue the story through the son of Apollo Creed could have been, and probably would have been a disaster in the making in most hands. Writer/director Ryan Coogler though manages to not only breath life, perhaps his greatest life, into the character of Rocky played at his very best by Sylvester Stallone here, but also infuse the franchise with a brand new energy through Michael B. Jordan's Adonis "Creed" Johnson. As is so often is the case it is all in the execution. Although it is true that Creed hits some familiar beats it manages to do them in a new way. This isn't merely in terms of fight chorography, cinematography and the direction in general, although that certainly is part of it, but also through the unique, and wholly new examination of Adonis's story of trying to both live up to, and live past his famous name. This combined with also interacting with the aging Rocky delivers a particularly powerful return the idea of Rocky that breaks new ground, but also uses what is already there to craft a rather special return to the underdog. It is the best Rocky film since the original, and I'd almost go further, however unlike the original Rocky that brought us Apollo, the opponent, and some of the other supporting characters are not nearly as rich as they were Rocky. It still stands as quite the achievement as is, and suggests that perhaps with enough talent there are few truly bad ideas for films.
4.5/5

Macbeth (2015)

Macbeth as one of Shakespeare's most popular plays has been adapted many times therefore it is responsibility of the filmmaker to bring something new with their own vision when bringing to the screen. On one hand technically this film is impressive from its production design, and especially a costume which are dynamic in creating this version of the film. The real alternative take though comes from Justin Kurzel at the helm attempting to do offering Macbeth less a story of a man being consumed by ambition but rather being consumed by his own dormant madness from the wounds of war and the losses in his life. This is interesting in its approach and effective in terms of the performances granted through this take from Michael Fassbender and Marion Cotillard as the Macbeths. There are brilliant individual sequences realized this approach such the addition of having Macbeth directly confronting the king's son after the murder, and the massacre of Macduff's family to which the Lady Macbeth participates in as this almost witch burning ceremony. As many outstanding choices the overall aesthetic decisions, and forceful hand by Kurzel do wear thin at times. In his Zach Snyder slow motion in the opening battle, or his purposeful choice to seemingly aggravate with his pacing, not every decision is effective nor do they even all meld together towards creating what seems to be the central purpose of this version. This adaptation in parts is incredible, however in others is tiresome. Kurzel only aims for the highest peaks as adaptation goes, and occasionally finds them, while at other moments falls off into a deep pit of lingering shots, mood music, and lifelessness.
3.5/5

The Revenant

The Revenant before it even came out became known for the insanity of its production that has shades of the productions of Apocalypse Now and Fitzcarraldo. Where the filmmakers seemed to be living through their own madness in the nature and among the giant personalities as their characters are. Unfortunately there is no companion documentary for The Revenant, and perhaps it lead to certainly distaste where Alejandro González Iñárritu seemed to embrace the attention that received. After all that though there is only the film that remains, following the highly fictionalized account of Hugh Glass's unbelievable survival through the wilderness while seeking revenge. That alone is potent enough, though the anti-climax of real life I suppose leaves the desire for something a bit more potent. Iñárritu goes further than that in embracing a strong degree of spiritualism within the journey of Glass, evoking Herzog themes in a Malick manner. It's perhaps a bit stronger than that though I will say that is probably the weakest point for me. DiCaprio and visions of his dead wife being an actor's trademark is odd enough, and I think the film could have lived without it. I will say though had Iñárritu restrained himself slightly this moments of spirituality could have been very poignant, as isolated to itself Glass's dream of a reunion with his son has a definite power. Beyond that though the film is a survivalist revenge thriller and its there where it excels, whether that is in the highly entertaining yet somehow somewhat sympathetic villain in Tom Hardy's Fitzgerald, the complex and dynamic set pieces, or the incredible cinematography. The film is at its best at its simplest point in bringing to these isolated places, and within the intensity of the two central men with their own methods and understanding of what it means to survive.
4.5/5

Daredevil Season 1

Daredevil is the first of Marvel's Netflix series, that are a grittier take on supposedly the same universe as their movies. Far grittier in terms of content anyways, but this is also compared to superheroes series in general which have been pretty light in the past. This also stands in contrast to the downright terrible Daredevil solo film, that did no justice to the material. This is considerably better than that film, and is far more faithful to the source material. I think though that has given the series far too much credit overall though. Not that this is a terrible series but it is deeply flawed one at times. Watching so many shows these days, unlike many in the past, you just assume there will be at the very good performances to watch. Well that's not quite the case. There are many amateurish performances throughout and not just in side roles. Both Deborah Ann Woll and especially Eldon Henson leave much to be desired in their pivotal roles as Daredevil aka Matt Murdock's closest confidants. Now Murdock himself is reasonably well played by Cox, though I will say his performance works best depending on who he shares with. The series most lauded performance was Vincent D'Onofrio aka Wilson Fisk, though I found his mannerism got tired quickly and felt his work lacked the needed menace. There are good performances though, again Cox as well as Vondie Curtis-Hall and Scott Glenn, but it really isn't norm. Now an element that is impressive is the action, particularly within budget, and those scenes work well. What strings them together though stumbles often in its plotting that involves characters repetitious going over their individual conflicts again and again, sometimes through clunky dialogue, with the occasional terrible comedic moment thrown in now again. That isn't every scene or episode though, there is decent writing to be found but never great. It does at least deliver Frank Miller's Daredevil more or less from the comics, the action is very good, it is considerably better than some of its predecessors, but that does not make it a great series. 
3/5

Better Call Saul Season 1

Better Call Saul comes out the seasons swinging from its bleak black and white epilogue after Breaking Bad, to its opening that evokes that original seasons so effectively. Yes there is a bit of style change even the first few episodes yet it is fairly light made out from the far less intense protagonist at the center. Saul's just trying to find his way to success, there is nothing hanging over his head as there was for Walter White. Using this though it leads to a somewhat more humorous, though Breaking Bad often was rather amusing itself, series. Again the first two episode are great amplified by the return of an old foe from that earlier series, yet it does successfully set up this alternate plight of Saul, or Jimmy,  here amplified so well by Bob Odenkirk's performance. The series though loses that earlier steam. Now it has strong elements throughout including Odenkirk but also some of the new additions particularly Michael McKean and the return of Jonathan Banks as the fixer Mike. The series though suffers though from some of the bit players, never really a problem with the original series, who are outright bad playing living cartoons. The story though also suffers from an excessive amount of repetition in its storytelling through false leads in Saul's career and con after con. Certain revelations are often obvious and underwhelming particularly the revelation of Mike's background. The strengths of the series are evident and consistent, in the performances, and the visual direction, yet it struggles to find its own path away from its properly lauded predecessor.
3.5/5

Narcos Season 1

Narcos Season 1 focuses upon the life of drug kingpin Pablo Escobar and his various wildly outrageous, but true, exploits during 1970's and 1980's. It frames the story though through the exploits of two DEA agents working with the U.S. government with the Columbian government. In one way the series is often, well, a series of fascinating anecdotes about the war drugs and Escobar's personal ridiculousness. Whether it is a particular method of trafficking, Escobar's insane acolytes, or the terrorist acts by Escobar trying to keep the government off his back. It attempts more personal stories with the DEA agents but these at best are only mildly interesting. Their arc of becoming more morally compromised is also fairly thin. The more interesting character lawful character is the ground level Colonel Carillo, as his personal battle with Escobar is often the series at its most intense and compelling. The most engaging aspect overall is Escobar played Wagner Moura. He is a consistently fascinating character but the show also manages to create an emotional investment in his story despite in no way hiding his ill-deeds. His performance is captivating as are the almost unbelievable, if they weren't true, details regarding his exploits whether it is trying to become the president of Columbia or his assassination of any one who stands up to him. Escobar's story carries the season, and though the overall series is not quite great the character study around him is.
4/5

Show Me A Hero

Show Me A Hero is a six part miniseries focusing on the tensions revolving around the opposition against mandated public housing within the city of Yonkers. The series itself focuses mostly around one of the mayors of the city during this conflict Nick Wasicsko played by Oscar Isaac. The series carefully focuses upon that man's personal story even as the main story continues even past his part of the story. The series also shows random personal stories of the various eventual residents of the housing. I will say that though the intention is obvious in the stories, to give life to those changed by the housing, this are the weakest aspects. They are just very standard stories with nothing particularly interesting or notable about any one of them. Although they can be normal, the problem is they are indeed boring in their normality. Every time it cut away, despite the purpose being there, it felt like we were cutting away from the actual main story. That is the case as the main story focusing on Wasicsko's personal story, which has the needed drama, and the story of the housing is compelling throughout. The drama is there particularly in Wasicko's story due to Isaac's heartbreaking performance. The problem is if you probably got rid of all the side stories except Wasicko's you could probably reduce to a feature length film which would have been engaging throughout which this mini-series is not.
4/5

Fargo Season 2

Fargo 2 dares again not only to somehow continue being the greatest show ever inspired by a film, but also somehow making a prequel not feel tired or inspired. In fact the sequel is only greater in scope and ambition, and leads to one of the greatest television seasons ever made. Season 2 switching back to the 70's and this is not just an aesthetic choice. It is intelligent narrative and thematic choice as explores the ideas of the paranoia after Watergate and as well as a changing in America itself. This is represented, with proper subtly, through the central conflict between the family business of the criminal Gerhardt family against the corporate crime group wishing to move in on their territory. The series again feel no constraint in its title instead cleverly moving on to include elements from other Coen brothers films particularly Miller's Crossing and No Country For Old Men. Again though this is never as simple as having it, they blend in all into its always effortlessly compelling narrative and style. This season is also worth noting for its incredible cast where every single member is on their A-game giving a three dimensionality to even the most minor role. No one feels a throwaway and in doing so makes the season all the more complex and emotional even when we have technically one group of bad people killing another group of bad people. It is so much fun, yet always investing again in that it uses tropes we know always as strength by either using good ways, using them in new ways, or subverting them in a most clever fashion. The season is a masterpiece which proves just what is capable within the medium of television.
5/5

True Detective Season 1 and Season 2

It is best to look at both season of True Detective together as that is the easiest way to see how season 2 could go so wrong after season 1 went so right. Both seasons are written with thick philosophical dialogue within in its long convoluted plot. Season 1 thrives in this regard as it importantly grants the dialogue to characters marked around death that being Matthew McConaughey's Rust and the killers they find deep in the swamps of Louisiana. The dialogue seems fitting to the minds of those men and also all the performers, particularly McConaughey make it natural in spoken form. Season 2 is less careful giving often to random characters such as Vince Vaughn's gangster who is only strangely poetic and it does not help that Vaughn struggles with the lines. They never seem natural to those who speak it and little sense is given to how odd they all sound. Now in neither season does the plot flow as smoothly as say a L.A. Confidential or a Chinatown. Season 1 though you can follow it fairly well, maybe only lost a point here or there. Season 2 the whole plot is thick yet wholly unengaging so even though the information is said it is hard to care. Both focus on the character's personal lives yet the first season has two characters of contrasting values, and though Woody Harrelson's Marty is also troubled he outwardly seems happy. In season 2 the series bluntly hits you with four main characters all desperate in one way or another that comes off as almost a parody of a gritty cop show. One of the most damning elements of season 2, and one of the strongest elements of season 1 is the directorial vision. In season one there was the singular vision of Cary Joy Fukunaga which created such a vivid and captivating horror atmosphere out of its setting. The direction amplified the writing and even helped to overcome some of it weak points. There is no cohesive direction in season 2 leaving it often a lifeless affair and making nothing out of its urban world, after making such a rich one during season 1. Another unfortunate loss was in that otherworldly horror hinted at in season 1 that helped make the series unique, while this is almost wholly dropped in season 2 for an often rote story about corrupt cops trying to cover their tracks. Season 1 was not a flawless series but it was series that was able to even wear its flaws well. Season 2 is a deeply flawed series that has the occasional inspired moments muted by those flaws.
5/5 - Season 1
2/5 - Season 2

Mad Max: Fury Road

Mad Max: Fury Road is probably the greatest action film ever made, but the question there is of course why. Well in terms of a film it is fascinating example of a when a director gets to go back to their own property, with real enthusiasm, and finally perhaps to get the film they always wanted to make in terms of budget and the allowances of current technology. Although one can wax nostalgic for Road Warrior, Fury Road is the superior film, but then again it is superior than perhaps all films in its genre. Fury Road in a way is pure cinema and is such an accomplishment in that sense. Now I mean pure cinema in the way so many silent films are but also in terms of being a story told in a way only possible in film. Fury Road is even a film that would not be possible in say television as its pacing is part of its splendor. The film runs like a Swiss watch, in utter perfect timing as it is one of the best edited film well ever. Every sequence flows so naturally and fluidly, and they even flow naturally and fluidly from one to the next. There are no pitfalls or bumps. The set pieces are all daring in their own ways, thrilling in their grandeur, yet intense as they need to be. There are no missteps. Fury Road though has actually led some to claim there is no story, the same people who probably complain about films with too much exposition as well, but there is the exact story the film needs. The plot is technically simple but the world is expansive and vivid that it works within it. The development of this apocalypse takes predecessors of the originals yet is wholly original in itself in its development of the various factions and cultures present. Nothing is left just to be, everything has a story within that the film makes vivid through the important though minor details and its minimalistic yet meaningful dialogue. The film does not forgo character at any point. This includes the central leads who all have their own arcs crafted so beautifully and with such emotion even though they only ever flow along with the film. The side characters though are never dismissed as the film provides ample understanding to each, even side henchman are surprisingly vivid in their realization. The film shows what film itself is capable of, and is masterpiece of cinema.
5/5

Wolf Hall

Wolf Hall tells the story of Henry VII's tumultuous decision to divorce his first wife, and break off from the Catholic church in order to marry the ambitious Anne Boleyn. This story has been told several times before, but this offers a new approach by placing in the perspective of Thomas Cromwell, who was often portrayed as an amoral schemer in the past iterations. An interesting approach to be sure as it breaks the events down to the nearest extremes in terms of political maneuvers given that our lead, played to absolute perfection by Mark Rylance, is a pragmatic political soldier for the King. Now the weakest elements of the show probably is in the somewhat reactionary writing basically as a Man For All Seasons. Where that made Thomas More to be the saint and Cromwell to be the villain, this series reverses the order in basically the same way. That being it plays up the heroes better historical qualities while hiding his shortcomings, while focusing squarely on the villains less savory qualities. I'd say this is the series' greatest weakness, in that More almost comes off as a straw man at times, not the mention it does force one scene not to make a great deal of sense in order to keep Cromwell as a non-torturer, Anne Boleyn's musician's confession comes from being locked in a room for a night, eh that's a bit of a stretch. However past that it's a terrific show in that it makes the story compelling through its focus on the power plays, all through the guide of a quiet yet extremely assured individual. The production is great to look at naturally as well, and very well acted almost across the board. It ends up being a rather fascinating view into the period through its unique perspective, and I certainly hope the story continues through into the rest of Cromwell's story.
5/5

Game of Thrones Season 5

Now the show was never perfect but it did not matter as it was so compelling that any imperfections could easily be ignored. Well this season refusing to allow one to ignore anything. Now it should be noted that no story line is completely terrible. There are good elements to found no matter what, as again the technical skill is still there, as is the acting well for the most part. Well again story by story is best. Jon Snow's continued maturation combined with trying to fulfill his duties is pretty outstanding with quite the high point in the battle of Hardhome. That high point is actually one of the high points of the series as a whole. There also Arya's story line which is not the most dynamic, as she deals with the bureaucracy of faceless men, but at least it seems to working towards something interesting. The King's Landing elements focusing on Cersei this which is strong especially thanks to the addition of Jonathan Pryce. Unfortunately then there's the rest. Tyrion basically feels like he's between story lines, though there are good moments to be found there still. Daenerys Targaryen's story line still has questionable elements as usual, but some strong ones in there as well. The Boltons and Sansa goes almost off the rails, despite some strong moments in there particularly due to Alfie Allen once again. Ramsay Bolton becomes too omnipotent of a villain and they decide to send Sansa's character development right back. With Stannis we get some downright amazing build up, thanks to Stephen Dillane being MVP of the Season, but then it all falls apart and is wasted in a messy apparent rush to get rid of the character that the show runners have always hated. Then there is Dorne, oh my. Alright actually buddy cop duo of Bronn and Jaime has some enjoyment to be had and Prince Doran as played by Alexander Siddig is pretty awesome. Then there are the Sand Snakes. They have some of the worst acting one will ever see in the series and there whole concept is extremely questionable. They are one element of the season which is downright bad. Now considering all the story lines together this time the series does many things wrong. Deaths are common in the series, but here they stop potential where pretty much all previous deaths created it. The story lines are this time disjointed. Some important characters are sidelined like Little Finger, and Brienne, and everything feels rushed. This is the one season that does not stand on its own at all leaving too many extreme cliffhangers for its own good. It's a season rife with problems. I'll admit though it is still very watchable. This is because there is still greatness and plenty of goodness in there.
4/5