Tag: Reviews

REVIEW: ‘Chip ‘n Dale: Rescue Rangers’ Is Nostalgia Done Right

Ever wonder what it would look like if The Lonely Island were put in charge of a Disney movie? Wonder no more. That movie is here, and it is Chip ‘n Dale: Rescue Rangers. The newest animated comedy from the House of Mouse is a perfect example of nostalgia done the right way. Director Akiva Schaffer manages to find a perfect blend between classic story of friendship and the admittedly insane amount of cameos and references pulled off during the film’s tight runtime. It’s family friendly, with lots for the little ones to love, but with plenty of jokes aimed specifically at the adult crowd as well.

Those jokes, however, aren’t necessarily the kind one might expect from a Chip and Dale picture. Gone are the high-pitched chipmunk voices of old, and in are the vocal chords of comedians Andy Samberg and John Mulaney. Naturally, this leads to a lot more deadpan quipping and observational humor than the cornball antics of the original animated series. The strange tonal pivot, which works surprisingly well, is explained away with a rather Roger Rabbit-esque revelation. Chip and Dale were never those famously squeaky detectives that folks tend to think of when their names come up. Instead, they are simply actors, living in a world where humans and cartoons co-exist peacefully. Now, decades after the end of their hit show, they’ve broken up and live relatively normal lives, working jobs that don’t exactly bring them the same kind of fulfillment as the Rescue Rangers once did.

From here, the movie gets pretty cliche. The duo’s old partner Monty, now voiced by Eric Bana, goes missing, forcing them to reunite and resolve their differences to save their friend. Most of the plot points and story beats are ones audiences will recognize, and most of what goes on is pretty predictable. It’s a really simple movie obviously designed with children in mind, paced quickly for short attention spans, making it easy to follow. However, the fact that so much of the film treads familiar water while also remaining fun for grown-ups is a testament to just how entertaining the rest of it is. Despite not breaking much new ground, Chip ‘n Dale is genuinely pretty funny from beginning to end.

The movie is injected with that specific style of new-age satire that allows it to be both earnest and self-aware at the same time. For every joke made at the expense of animation and it’s classic characters, there’s also a sense of pure love and admiration for the genre that the filmmakers so clearly grew up on. There are quite a few deep cut references to the history of animation too. Some are more on-the-nose, like Los Angeles’ slum being called the “Uncanny Valley” because it’s filled with poorly rendered CGI avatars from the “early 2000s.” Others, like a surprise appearance by the Tigra from Marvel’s flopped Avengers: United They Stand cartoon, are just weirdly obscure and specific enough to put a big smile on the face of an older audience. There are many more I’d love to get into here, but I wouldn’t want to spoil the fun of seeing it all for the first time.

Mercifully, most of the cameos and references happen in a pretty organic way. Trailers for the film made it seem like the Easter eggs may overpower any actual storytelling, but this isn’t the case. The Roger Rabbit setting allows for a litany of references and appearances to happen without anything being forced, with a multitude of famous faces popping in and out as the plot unfolds naturally. It’s essentially what many fans had hoped Doctor Strange in the Multiverse of Madness might be, without the limitations of applause breaks or fear of “being too much.” There are quite a few vocal surprises as well, with guest stars voicing different characters than were advertised leading up to the film’s release. A lot of them produced excited chuckles from myself..

Ultimately, Chip ‘n Dale: Rescue Rangers succeeds in being a heartfelt tale for kids while also being a viable entertainment option for adults. Truthfully, the movie sort of plays like a project made specifically for people who grew up on the cartoon while simultaneously introducing the characters and concepts to a new generation. Most of the best jokes and surprises are really for the parents. So, get ready to sit down and gear up for a fantastic new family adventure. Sometimes some crimes go slipping through the cracks, but these two gumshoes are picking up the slack.

May 17, 2022
REVIEW: ‘The Kids in the Hall’ Revival is Best When It’s Not Being Funny

“Well, I got a brand new pair of roller skates, you got a brand new key. I think that we should get together and try them out, to see…“

The lyrics to Melanie‘s upbeat 1971 classic, “Brand New Key,” echo hauntingly through the lifeless corners of an underground bunker. A neon sign flashes “On Air,” and water drips from the pipes above. Dave Foley, wearing a long-haired wig and eyeliner, sits by himself at a table covered in radio broadcast equipment. He casts an empty stare into nothing, his expression somehow both devoid of feeling and on the verge of tears.

“I’ve been looking around a while, you’ve got something for me. Oh, I got a brand new pair of roller skates, you got a brand new key…”

The record playing in front of Foley skips, breaking him from his trance and transforming him into a “Motor Mouth” DJ named Mike, putting on a performance for an unseen audience. A few cheesy quips reveal that a nuclear holocaust has destroyed the surface of the Earth, and Mike is seemingly speaking to nobody, simply passing the time alone. As soon as his act is finished, he returns to playing “Brand New Key,” his only record, and resumes looking into the void. Maybe, someday, somebody will hear his broadcast, but that day is not this one. Cut to opening credits.

That is how The Kids in the Hall choose to open an installment of their latest episodic reunion. The Canadian troupe that blew the doors off sketch comedy in the early 1990s with their farcical satire and deadpan absurdity are back with a revival on Prime Video, but things are a little different this time. Now, they’re old, and they have a new perspective on life. Much of the humor in the latest season comes from a place of reflection, analyzing the ups and downs of later adulthood and the world as it has come to be. It’s the kind of topical turn many comedians have made as they’ve aged past the point of youthful rebellion. No longer able to stick it to the man, generally speaking, they begin sticking it to those who do.

Luckily, the Kids in the Hall avoid falling into the regular “old man trap” of cantankerously complaining about the way times have changed. Instead, they often make themselves the butt of the joke, using their own humility to get the point across. Their sketches are just as much about how well they have, and haven’t, adapted to the changing landscape of culture as they are about their thoughts on those changes at large. What exactly those thoughts are appear to be somewhat subjective, but the unanimous decision made by all five members seems to be that, at the very least, their sense of humor refuses to change. These are the same Kids in the Hall you remember from thirty years ago, even if what they’re talking about is not at all the same. For all intents and purposes, the group are Dave Foley sitting in a bunker as civilization crumbles around them. Still wearing the clothes and makeup they did in 1989.

Though interestingly enough, many of the season’s highlights happen in ways one wouldn’t quite expect. Like the strange, off-putting bit outlined above, most of the Kid’s best new moments come in the form of weirdly serious, left-field sketches that aren’t exactly outwardly funny. Maybe it’s the modern influence of successful alternative comedy shows like Tim Robinson‘s I Think You Should Leave or Nathan Fielder‘s Nathan For You, but it’s likely the sketches played for confusion or stupidity that will end up appealing most to the younger audiences of today. Of course, it could be argued that the Kids in the Hall pioneered that exact form of hilarity, and credit is due where it’s due. When the Kids commit to the cringe bit, it’s all sorts of wonderful. There are skits with bouncing male genitalia, waiters who can’t comprehend the mind of a tasteless dinner guest, and a neighborhood watch who can’t quite put their finger on what’s actually wrong with their environment. Each of these succeeds because none of their characters show any sign of realizing their actions are increasingly ridiculous. They aren’t trying to be funny, which in turn is hilarious.

Unfortunately, the Kids’ latest batch of episodes can’t stick to this format for its entirety. It feels like every time an episode hits its stride, it comes crashing down at the behest of a sketch that insists on laughing at itself. A drunk father manages to become a hero in Toronto, a workplace Zoom meeting is interrupted by natural desires, and a man loses his job for culturally appropriating a clown co-worker. These all fail, at least in my own eyes, because they acknowledge that what’s happening could be construed as funny. The Kids and their cohorts play the characters in these sketches as knowing caricatures surrounded by other knowing caricatures. Everyone is in on the joke, which causes the joke as a whole to flounder. Nobody likes to be told when something is funny, they just want to laugh.

Thankfully, the majority of The Kids in the Hall‘s five screener episodes manage to lean toward the former vibe of unconscious absurdism. It’s not a perfect season of comedy, but it is exactly what fans of the crew might be expecting from their favorite funny Canadians. Even viewers with little-to-no prior knowledge of the group will probably find themselves amused by a lot of what they have to offer. There have been much worse attempts at a comeback made by comedians circling retirement age. Here’s hoping the last couple of episodes, still yet to be seen by critics, live up to the whispered promise that the Kids still have what it takes to shock and delight.

May 12, 2022
REVIEW: Sam Raimi Did It Again With ‘Doctor Strange in the Multiverse of Madness’

Sequels aren’t always a sure thing. For every The Empire Strikes Back, there’s a Speed 2. Sequels to superhero films have the benefit of a little more freedom in telling a good story as they are no longer shackled by the weight of the “origin”, but they don’t always hit the mark either. In 2004, Sam Raimi delivered what many consider to be the best superhero sequel of all time in Spider-Man 2. It featured a flawed protagonist and a sympathetic villain; it featured what were, at the time, some of the most well-shot action scenes of any film in the genre. Not just that, but it also featured a story that stirred emotions across the spectrum. In 2022, Raimi has done it again.

The path to Doctor Strange in the Multiverse of Madness was about as chaotic as Stephen Strange’s trip through the multiverse in the first act of the film. Scott Derrickson, who helmed 2016’s Doctor Strange was set to be back in the director’s chair, but in January of 2020, Derrickson dropped out of the film when it became clear he and Marvel Studios had two entirely different films in mind. A month or so later, Marvel Studios began putting together a new creative team made up of Michael Waldron, whose work on Loki thrilled the folks at Marvel, and Raimi, who had been out of the superhero game since 2007’s Spider-Man 3. COVID delayed the start of filming and then the film underwent significant additional photography. Perhaps no Marvel Studios film caused more preemptive hand-wringing than this film did, but the end product makes it clear that Waldron, Raimi, and the rest of the team were truly taking their time to deliver the best possible version of this film and that’s exactly what they did.

Marvel Studios’ Doctor Strange in the Multiverse of Madness (2022)

The film opens up in media res and introduces the audience to a Variant Doctor Strange who is protecting Marvel’s newest young hero, America Chavez, from a pretty terrifying demon. Amid a brutal assault on Defender Strange, we learn that this demon is in pursuit of Chavez because it wants her powers, which allow her to travel the multiverse. Chavez and Defender Strange are not only trying to evade the demon but also get their hands on the film’s big MacGuffin, the Book of the Vishanti. When things get ugly, so does Defender Strange, setting the stage for one of the film’s running themes: that no matter what universe we’re in, Stephen Strange is a danger and can’t be trusted. Using a star-shaped multiversal portal, Chavez escapes and finds her way to the MCU’s Prime universe and is under attack once more. After battling the beast, Strange and Wong realize that the source of its power is different from theirs and decided to seek out a magic-user with a similar set of powers: Wanda Maximoff.

Doctor Strange in the Multiverse of Madness is the first MCU film that has the Disney Plus series as “required viewing”, especially when it comes to Wanda. While fans could have skipped WandaVision and figured things out as they go along, having been along for the ride is helpful. It’s here, with Wanda, that Marvel makes one of their boldest choices to date: having one of their core Avengers turn heel, just as she did in the comics. Following a brief conversation with Strange, Wanda reveals that she is after Chavez’s powers in order to find a way to reunite with her sons. A conversation between Strange and Wanda leads to a confrontation in which the Scarlet Witch unleashes a shockingly brutal attack on Kamar-Taj, which rounds out the first act of the film, sending Strange and Chavez on their trip through the multiverse.

Marvel Studios’ Doctor Strange in the Multiverse of Madness (2022)

Fans may never know what Derrickson‘s film would turn out to be, but Marvel Studios should be damn glad that Raimi wanted to make this version. From beginning to end, this is a Sam Raimi film. Sure, he’s telling a story within the confines of Marvel Studios’ shared universe, but he’s telling it in classic Raimi fashion and appearing to have a whole lot of fun in doing so. Multiverse of Madness looks like a Raimi film; it delivers his signature (and surprisingly violent) horror; it delivers, most importantly, the most complete and emotionally stirring story of Phase 4. After a decade-plus away, Raimi showed that he understands now, maybe more than ever, that a good superhero story has to have a heart, especially when someone is trying to rip it out.

Lizzie Olsen’s Scarlet Witch holds nothing back as she attempts to do just that. Much as with Doc Ock in Spider-Man 2, Wanda’s turn as a villain works so well because the audience wants what she wants: for her to have her kids back. Corrupted by the Darkhold, however, the lengths to which Wanda is willing to go to get them back allowed for some of Marvel Studios’ most innovative and interesting action scenes to date where Raimi and crew got to have a whole lot of fun devising fascinating ways to show magic being used on screen. Olsen’s performance continues to demonstrate her total command of the character. It’s the subtle head tilt here, the smirk there, and the changing tones of her voice that come across as truly terrifying.

Marvel Studios’ Doctor Strange in the Multiverse of Madness (2022)

Opposite Olsen and in her way is Benedict Cumberbatch’s Stephen Strange. Cumberbatch is given much to do here, playing multiple versions of his character, and puts together easily his best turn as the character so far. Following the 2016 origin film, the character hasn’t had much room to grow. Here, Strange’s path through the multiverse, where he learns the stories of other Stranges, forces the hero to look inward, providing the growth necessary to propel the character forward into whatever story he’s placed into on Marvel Studios’ shared tapestry.

As strong as its lead performances are, the film is enhanced by the knockout performances of Rachel McAdams, Benedict Wong, and Xochitl Gomez. McAdams is particularly surprising in her return as Christine Palmer, who has much more to do here than one might have expected, including some of the film’s strongest statements about Stephen Strange. It’s the moments like these that Palmer, Wong, and Chavez spend with Strange that build an emotional currency within the audience and a master like Raimi knows just how to spend it. This is a huge film that makes big moves within the MCU, but Raimi manages to balance that with a series of small exchanges between characters that resonate because both the audience and Strange know he is flawed.

Marvel Studios’ Doctor Strange in the Multiverse of Madness (2022)

For the MCU to continue to thrive, the aforementioned big moves need to continue to be made. In that sense, Doctor Strange in the Multiverse of Madness seems to be to the MCU what Captain America: The Winter Soldier was in 2014. Not only does this film feel as different from its predecessor as Winter Soldier did from First Avenger, but it also comes out swinging with an almost merciless 20-minute deluge of information that’ll be sure to have fans wanting to head right back in for a second showing and heading to Wikipedia after that. If you thought Marvel Studios gave it all away when they teased the Illuminati in a TV spot, you’re sorely mistaken. This film is a game-changer and the most direct setup for the MCU’s next big event film.

In the end, it all comes back to the magic touch of Waldron and Raimi. They delivered on characters, story, and action to make the most complete film of Phase 4 and maybe one of Marvel Studios’ most complete films to date. Fans of Raimi‘s work will have plenty to smile about as well, with a few references sprinkled in and the obvious influence of Raimi on some of the creature and character designs. Against all odds, he came into a project that seemed to be held together by a thread and by capturing that old magic formula, made one of the best superhero sequels of all time.

May 3, 2022
REVIEW: ‘Moon Knight’ Episode 5

After the hard twist at the end of the previous episode, Moon Knight managed to channel the momentum into arguably one of the best episodes of Marvel or Marvel Cinematic Universe television to date. It does so by leaning almost exclusively into the emotional and mental health elements of the character rather than the superhero aspect. Such an angle will always be divisive among fans of the superhero-based franchise, but when the series handles the character work of a complex character this well there really is no loss. In the short term, Episode 5 is simply an excellent episode and piece of Moon Knight. In the long term, it serves as a brilliant and colorful foundation for the hero that is mostly unrivaled in the MCU.

While Episode 5 certainly feels fresh, it is reminiscent of WandaVision’s penultimate episode in terms of plot advancement and structure. The bulk of Episode 5 involves Marc Spector and Steven Grant working through Marc’s memories—in the form of rooms in a mentally-projected psych ward—that reveal the bigger picture of who Marc Spector is and how he ended up in the position we see him in in Moon Knight. It is confirmed that Marc’s background as a mercenary and his original connection to Khonshu is virtually the same as his comic book origin. Khonshu asked him to be his avatar while Marc was dying at the foot of the god’s statute after his ex-partner (and classic nemesis) Bushman massacred a team of archaeologists, including Layla’s father, in a raid. Even this memory and revelation is somewhat rushed, making room for a much more human perspective.

Meanwhile, an indulgent and high-stakes plot plays out throughout Episode 5, yet it does not steal the show still. We learn early on that Marc and Steven are supposedly on a journey to the Egyptian afterlife, traveling on a dramatic ship while trying to balance their hearts on the scales of justice in order to be admitted into paradise rather than succumb to the sands of the Underworld. As Marc revealed more of his past to Steven, he presumably makes himself more complete and more favorable on the scales. Still somewhat confusingly, the scales only balance once Steven sacrifices himself overboard to save Marc from the sandy unbalanced soul monsters. Up until that point, the fact that the scales were imbalanced seemed like a clear indication that the third alter (presumably Jake Lockley) would need to be revealed. So, Marc’s entrance into the Field of Reeds raises a lot of questions. Is Marc “whole” because his alter “died”? If so, considering all the evidence points to a third alter existing, why is their absence not preventing the hearts from balancing? Otherwise, is it just an unfortunate timing issue or the work of an outside influence? It is highly doubtful that this is where the main characters remain through the end of the series, so those questions will likely get answered soon.

But the lingering contents of Episode 5 that exist beyond the more pressing plot are surely Marc’s childhood memories. It is revealed that his dissociative identity disorder developed from the loss of his little brother and ensuing trauma. In a nutshell, Marc’s little brother drowned while the two were on a playful adventure—one in which Marc roleplays as Dr. Steven Grant from the VHS movie we saw last episode. After the death of the brother, Marc’s mother blames him and harbors extreme anger and resentment towards the young child. She screams at him when he tries to attend the funeral, refuses to acknowledge him, and actively accuses him of purposefully killing his little brother for years. Ultimately, it is revealed that Steven’s personality was developed in an episode where he was beaten (presumably not for the first time) by his mother as a means of escape.

His story is absolutely heartbreaking and arguably one of the darkest and saddest backstories in the MCU that we’ve seen play out. The way it is presented in this episode adds to the inherently sorrowful nature of the story and makes the cut so much deeper. For example, the highly stressful and desperate moments where Steven is in the flooding cave trying to save the children is on another level. There is something so much more brutal, heartbreaking, and gut-wrenching about childhood loss and abuse, particularly when it is not as filtered as much as a similar project with such wide appeal might be expected to. Marc’s story is obviously not the first of its kind both in general and in the MCU, but it is showcased in a way in Moon Knight that hits harder than the target audience is likely used to. While superhero origins and later stories often involve themes of escape, the typical picture is the hero prevailing over the adversary and the suffering—here, Marc was in such anguish in a situation he could not escape that his mind created a separate person to try and do so.

What is framed as a major revelation is likely not a shock to many viewers. Marc Spector, not Steven Grant, is the original personality and Steven Grant is the alter. Despite a straightforward approach, the psychological torment it puts Steven through, and the mental warfare on the part of Ethan Hawke’s excellent performance as Dr. Arthur Harrow, allows for the episode to substantially develop not one but two personalities at the same time. We do learn specifically about Marc’s violent past. Interestingly, his time as a mercenary is not what haunts him here. Instead, it is the people he killed during his work as Moon Knight under Khonshu’s guidance. Themes regarding rebirth are present in a number of ways, but Marc’s obvious discomfort with his past work as a “superhero” seems to be signaling a changing of ways—at least on Marc’s part.

Oscar Isaac remains supreme in terms of his MCU performance. Despite the fact that the final product had to constantly handle two of him on screen at the same time, it felt seamless and almost natural. Not only does Isaac have to play two separate physical entities that exist and interact with each other, he plays two unique people as well that come with specific accents and affects. The way Episode 5 captures Marc and Steven’s dynamic would have been extremely impressive if it involved two separate actors for two characters. Obviously, Isaac’s solo performance goes far beyond even that in this episode and in the series as a whole.

The penultimate episode of Moon Knight is an emotional punch to the face in the best way. It manages to succeed on delivering that aspect in a way that most stories, MCU or not, cannot quite reach. The series’ arc has blossomed into a rather beautiful story and introduction to the titular character. Moon Knight as a costumed persona happens to be part of it, and that phrase “happens to be” is bound to lose a few fans. However, Episode 5 demonstrated more than anything that the series is creating its own origin story for the MCU’s Fist of Vengeance that may define the character more than any other character in the universe that we have so far seen. One of the biggest and routine questions remains, perhaps with even more on the line, of whether the series can stick the landing. The progression of episodes has the right momentum, but there are so many potential threads, twists, and writing choices that make the fact that there remains only a single episode a bit daunting.

April 27, 2022
REVIEW: ‘Moon Knight’ Episode 2

The second episode of Marvel Studios’ Moon Knight follows up Episode 1’s prologue with masterful pacing and at least the fundamental pieces of a plot. While the caped crusader’s concept might leave a bit to be wanted in this episode, Oscar Isaac absolutely shines in the main role as both Steven Grant and Marc Spector. While overall Episode 2 shows that the series has its rockier components, it truly excels as a character piece with the backdrop of a darker, peculiar story of Egyptian gods and their human employees.

While the last episode found Steven Grant in a mysterious and confusing situation, Episode 2 begins to lay out, presumably, the series’ plot. It does not spend much time mincing words that Marc Spector and Steven Grant exist in the same body. We learn that Marc and his (separated) wife, Layla, have been working together to track down the golden Scarab, which seems to act as a guide to the Egyptian god Ammut’s lost tomb.

All of that matters because Marc is the avatar of the Egyptian lunar god Khonshu. In other words, Marc is Khonshu’s muscle on Earth. Ethan Hawke’s mysterious cult-leader villain, Arthur Harrow, is apparently a former avatar of Khonshu’s. His disdain for Khonshu’s methods led him to worship Ammut, who supposedly can eradicate evil before it is committed. Harrow essentially embodies the classic debate of whether it is moral to punish someone before they do something if you know it’s coming. He has a magic cane at his disposal that seems to sense whether people are worthy of living and can also open up some sort of portal to the underworld.

We also get a glimpse of Khonshu’s personality—he’s not particularly respected by the other gods, likes to throw temper tantrums, but also chooses avatars with strong moral compasses. Marc and Khonshu seem to have a fairly rocky relationship, each resenting the other but seeing one another as necessary. Layla comes into play not only as a worthy partner in all of the madness but also as part of Marc’s motivation to serve Khonshu—apparently, the moon god is eyeing Layla as his next avatar and Marc’s replacement.

While all of that seems nutty to explain, what makes it even more interesting is that the Egyptian god plot is mostly the foundation that the true story about Steven and Marc plays out on top of. But yes, Marc does moonlight as a costumed hero-type, presumably known as Moon Knight. It is revealed that Moon Knight is merely a costumed Marc, rather than a separate personality like he often is in the comics. Plenty of fans may be a bit disappointed by that, but it highlights the Marc-Steven dynamic in such a strong way. As explained, Steven is also technically the Fist of Khonshu, but when he attempted to summon his Khonshu-divined armor, he ends up looking like an all-white bank robber in a suit.

Mr. Knight, who also isn’t actually named at this point, is similarly just a dressed-up Steven. Honestly, it’s a pretty genius way to fully develop the two personalities. Steven’s vigilante comes out as an odd, sort of awkward, out-of-place character in contrast to Marc’s hooded and caped persona. Both personalities get to play out as avatars of Khonshu, which makes their roles much more potent than if they were competing with a separate Moon Knight.

The great news about those roles being so meaningful is that Isaac is phenomenal in his portrayal of them. The use of mirrors and reflective surfaces is a smart way to allow Marc and Steven to be in constant bickering communication without awkwardly adding in another off-screen voice or bulking up the screen with a second “imaginary” Oscar Isaac. The way Isaac just changes his face while switching alters is exquisite. And he wears each face so convincingly, without much help from outside influences like makeup or effects. The two personalities also interact with each other in such a grounded, realistic, but intense way that seems appropriate for two people unhappily and unwillingly sharing the same body.

The pacing of this episode is absolutely phenomenal. It moves fast enough for everything to feel urgent and exciting, but it does not take all of its supernatural and complicated elements too far in any given moment. It does not seem like it would have been easy to make sure the human element stayed at the same solid stride with the gods, canes, and Scarabs. A major piece that is a bit off in the episode, though, is how much necessary Moon Knight background is completely skipped over. There’s definitely a benefit to not trudging through an origin story, but Khonshu and Moon Knight feel like somewhat minor side characters at times despite being—at least in theory—extremely important to Moon Knight.

The action scenes with Moon Knight and Mr. Knight also felt a bit off at times. There will probably be a lot of conversations about the quality of the visual effects, but overall the choreography at least felt decent. But the episode chose some odd moments to go into slow motion and it can come across as too forced. Mr. Knight fighting the invisible Jackal is fine until it isn’t, and eventually, Mr. Knight flailing around lost its charm without anything extra to sort of organize it. And yes—anyone dying to watch some “brutal” violence will likely not be satisfied.

While some of the major changes the series makes from its source material will almost certainly disappoint fans, Episode 2 demonstrated that Moon Knight’s own strengths are vying to make up for that. While a history lesson with respect to Marc and Khonshu feels much needed, the episode moved at a very smooth, steady, and lively speed that makes the story much easier to be a part of and much more enjoyable. Isaac brings something truly special to his now dual role as Steven and Marc, and their dynamic is undoubtedly the heart of the series.

Moon Knight is now streaming on Disney+.

April 6, 2022
REVIEW: ‘Moon Knight’ Episode 1-“The Goldfish Problem”

Moon Knight doesn’t hit the ground running as a superhero show. There’s certainly supernatural mystery in the air, but it is all very open-ended up until the actual Moon Knight reveal. We didn’t enter the realm of Captain America, Hawkeye, or even Thor, and it feels like the show exists in its own pocket universe within the greater universe. No one thing explains that feeling, but it certainly doesn’t rely on existing structures or even narrative themes and patterns. In that way, Moon Knight, if nothing else, feels fresh. The premiere episode certainly felt like a prologue and an introduction into some sort of outlier corner of the MCU. But the possibilities are practically endless.

This is an episode about Steven Grant. Steven Grant is an awkward, kind of fumbling, lonely, cowardly guy. But he’s also quippy. And the consistent humor Oscar Isaac brings to the role is truly the bedrock of everything that happens around Grant. The funny personality type does sort of feel like the MCU—letting the underlying character shine with or without the suit. Moon Knight in this episode is still a far cry from being as dead serious as the character historically can be. Grant, who does not know what is happening to him here, is like a mirror to a viewer who also is meant to be in the dark. But he will help you laugh a bit too.

But the underlying story is without a doubt serious, and it’s heightened by not only the obvious supernatural evil presence of Ethan Hawke’s Arthur Harrow, but also by the suspense and tension of Grant’s mental state. While Grant’s other personality, Marc Spector, is not revealed until the end of the episode, the screenplay is brilliant to tease out areas where Grant lost control of his body to Marc. Grant sort of reawakens with jarring editing to a similar setting but with violence and bloodshed around him. While more than one personality of the main character will be explored over time, the episode’s focus almost exclusively on Steven Grant gives the series the ability to tell a Moon Knight story without starting from scratch while taking advantage of quite the character piece it has built right in.

The larger sequence where Grant finds himself awakened in a foreign place, where he meets Harrow, emphasizes how important Grant’s mental narrative is to the show. While Harrow’s background and goals are still a mystery, using Grant as the lens into this particular moment of the story gets rid of the origin story lag. It also is designed to make the viewer question what is and is not real in the show, and that is an exciting bucket of worms that is so characteristic of the character in his comic book history. And while this episode still has to lay some groundwork, the series has the potential going forward to have some phenomenal pacing and tell a story without skipping a beat. While the costumed Moon Knight only makes a very brief appearance at the tail end of the episode, the quick transition to him and the final shot being him on the move does quite a lot in terms of setting up the rhythm of the series.

Despite being fronted as an MCU superhero adventure, at this point, the series looks like a story about an unstable man who happens to find himself surrounded and overwhelmed by a foreboding evil plot involving Egyptian gods. The first episode of Moon Knight certainly shows off that it has the potential to be a very intriguing, suspenseful, and fresh story for the MCU. It can pretty much move in any direction, and that is not something a lot of comic book series can boast—it’s exciting.

March 30, 2022
REVIEW: ‘Moon Knight’ Is Everything The Marvel Netflix Shows Should Have Been

There exists a version of Moon Knight in the streaming multiverse that sees a live-action version of the character anchored by the realism that served as the mantra for the Marvel Netflix shows. In this variant Moon Knight series, the story takes place in just a few alleyways, rooftops, and office buildings. Oscar Isaac’s Marc Spector is a rich guy who wears a makeshift vigilante costume that occasionally has psychologically dissociative episodes. The show then spends an inordinate amount of time reckoning whether these episodes are a manifestation of something more fantastical or maybe just a case of dissociative identity disorder, only for it to be ambiguously revealed in the final episode, alongside a costume.

With Marvel Studios’ Moon Knight, the series not only exhibits a full understanding of the character’s rich and complex history but also unabashedly glorifies its weirdness in spectacular ways. And central to this understanding is the overall vision for the show, wherein series writer Jeremy Slater takes the comic’s superhero idiosyncrasies and synthesizes them with the globetrotting adventures of pulp forefathers. The character, relatively known to be tethered to the cityscapes and underworld of the Marvel Universe as Daredevil would, sees himself traverse the globe in a sweeping adventure of might, magic, and vengeance by virtue of Neil Gaiman’s American Gods.

To bolster the series’ pulpy adventure sensibilities, directors Mohamed Diab, Justin Benson, Aaron Moorhead come together to craft the most gorgeous looking images this side of a post-Chloe Zhao era of Marvel Studios. Scenic panoramas of Jordan stand in for Cairo and are captured beautifully. It’s through these sweeping shots that the scope and scale of the show are inspired, immediately surpassing the purported global scope of The Falcon and The Winter Soldier. Elaborate and ornate sets of ancient Egyptian caves and tombs invoke a true sense of adventure and wonder, showing Marvel Studios’ commitment to immersing audiences in this unseen corner in the MCU.

It’s taken Marvel Studios more than a decade to get to an era of Celestials, dragons, infinite multiverses, time-traveling, and now, divine pantheons. Slater and his team introduce the idea of Egyptian gods walking among mortals through their avatars, a concept so distanced from the alienification of Asgardians in 2011 that the early Thor films feel like embarrassments, and even take it a step further by pitting them against each other in a war to preserve their peace. When Arthur Harrow, an avatar for the imprisoned god Ammit, threatens to unleash his god’s ruthless judgment on the world, the moon god Khonshu strikes one final deal with his avatar, the mercenary Marc Spector, to stop Harrow. Unfortunately for Steven Grant, the hapless gift shop clerk living inside Marc Spector’s head, he knows nothing of this yet is inevitably drawn into this grand adventure against his will.

Such a sweeping premise would not work without an entry point to ease audiences in and Slater makes perfect use of Marc Spector’s alter-ego, Steven Grant, to do this. Slater writes Grant as his own being, autonomous and independent of Spector, which in turn allows Oscar Isaac to treat him as a completely separate character. Much has been said and laughed about Isaac’s British accent in the early trailers and while it’s undeniably funny, it surprisingly manages to be sweet and endearing. Isaac gives Grant such a feeble presence that when the character is forcibly drawn to big superhero action moments, it’s highly entertaining. And when Grant is given his own agency as Mr. Knight as the season goes on, it pays off like a delight.

As Khonshu’s primary avatar and the baseline persona of the character, Marc Spector is ironically sidelined in the four episodes sent to press, with only one episode heavily featuring him as the active persona. And in the handful of times Spector comes to light, it’s played mostly straight by Isaac. Spector is the persona most tied to the mythology of the narrative and has little to do but brood and scowl. For Isaac, Spector might be where he gets to do the least so it never matches the watchability of him playing Steven Grant. Even when Spector suits up as Moon Knight, it’ll be the arresting look of the costume or the comic flair of the fights that will leave audiences breathless, not Isaac. Nonetheless, key moments in the script that allow Isaac as Spector to go broad and bounce back between voices make it a worthwhile performance. Because of it, Moon Knight ultimately accomplishes the one thing its comics haven’t: making you care about the character’s personalities.

Marc Spector’s alternate personalities make up the lack of ensemble but so do Ethan Hawke and May Calamawy. As Arthur Harrow, Hawke’s words beam with constant pain, darkness, and disenchantment. His past is enigmatic; a puzzle waiting to be deciphered and Hawke subdues heavy emotion to maintain the illusion. The text of the narrative does little to obscure the malice in Harrow’s actions yet Hawke’s performance makes you feel indifferent to them. Playing the leader of an ancient doomsday cult, Hawke rightfully channels the terrifying charm that makes real-world cults so alluring. Harrow displays warmth and compassion to his followers while also exhibiting a wealth of understanding about the world as he as experienced it. His convictions are fueled by his vindications which makes his endgame unwavering and righteous. A step is never lost as Hawke performs all these nuances.

Calamawy’s Layla El-Faouly, an excellent reimagining of Moon Knight staple Marlene Alraune, serves as the foil for both Spector and Grant. While Spector is brooding and guarded, El-Faouly is brazen. While Grant is helpless, El-Faouly is efficient. Much of El-Faouly’s characterization is connected to her professional and romantic history with Spector. A renegade in her own right, the character boasts connections to the underworld that help Spector fulfill his deal with Khonshu. Calamawy has the thankless job of cushioning the whiplash from Isaac’s eccentric performances, something she does in stride.

Grace is the word best used to describe Moon Knight’s fight sequences. The scenes lack the intricacy of the Bourne-era of action that modern action films/shows have tried to emulate nor are they concerned in recreating the viscera of Daredevil fights. Rather, Moon Knight displays an affinity for tapping into the iconography of the comic splash page; compositions of Moon Knight freefalling from a building as he throws a crescent blade at a chasing monster and Moon Knight backflipping in slow-motion as he takes several goons out take precedence over shaky-cam action. The lack of intense action may irk fans wanting more choreographed complexities, but the stylized fight scenes successfully establish the character’s pause-worthy screen presence.

With a show as ambitious as Moon Knight, it takes a while for the pieces to fall together. The first episode functions like a glorified version of the trailer as it understandably trudges through the essentials that introduce Steven Grant’s mysterious predicament. The second episode, on the other hand, is quick to realize the full scope of the series. In just under an hour, the episode manages to bridge the gap between the street-level vantage point of the heightened, larger-than-life scope of comic books before dovetailing into a pulpy adventure. As the story continues, the tone of the series nimbly shifts from transgressive character study to unsettling thriller to slapstick superhero comedy to awe-inspiring adventure. The disparate reversals between Mr. Knight and Moon Knight are playfully realized. Much like the character, Moon Knight is a prism of clashing personalities that have no business being together but cooperate harmoniously.

The streets of Marvel have come a long way from sluggish hallway fights, skirmishes with goons in parking lots, and blatant attempts to obscure anything remotely heightened. These days, the MCU has never been prouder of its weirdness and with Marvel Studios’ Moon Knight, the future of street-level characters has never been brighter and more ambitious. Moon Knight is an indelible benchmark in Marvel Studios’ playbook.

March 29, 2022
REVIEW: Parmaount+’s ‘Halo’ Pilot is a Decent Jump Pad for the Series

After one of the most infamously long production cycles for a TV series, the live-action adaptation of Halo has finally arrived. Pablo Schreiber takes on the daunting task of bringing Master Chief to life in the Paramount+ series. Video game adaptations have always had an uphill battle, and with an IP as famous as Microsoft’s Halo series, it seems like a daunting undertaking. With hints that the iconic Spartan will also reveal his face for the first time, breaking a long-time tradition of the games, the project had quite a few eyes on it how it may bring the classic sci-fi series to life.

One thing the series makes clear early on is that this isn’t a 1:1 adaptation of the original game series. Instead of going down The Mandalorian route of focusing on our masked main character, a lot of this episode’s story is told through Yerin Ha‘s Quan Ah. Not only does it ease us into the story while spending time with a human resistance faction trying to get by, but it also sets up a very different look at the Spartans. We spend the games through the eyes of Master Chief as he heroically takes on the Covenant. The UNSC is shown as a darkly flawed system with people in it willing to make sacrifices for others for the sake of their own goals. As such, the Spartans have also been twisted into something very different ahead of their initial introduction.

It sets up an important dynamic between Ah and Schreiber‘s Master Chief later. We see a desperate organization trying to paint themselves in a positive light during the war, but making rather dark decisions. We get glimpses of some bigger storylines, especially one pertaining to Cortana and Chief’s relationship with Natasha McElhone‘s Dr. Catherine Halsey. Especially with the character’s actions later in the film, they are setting up a mysterious connection between the two and further exploring his humanity.

The big opening action shot shortly after meeting Ah gives us a feeling of the series fight choreography and how it brings these super soldiers in the form of Spartans to life. It has some great moments, but some aspects of the action were quite rough. The Covenant look impressive and are translated pretty closely from their gaming counterparts. Yet, there are long stretches where the CG work looks rough and out-of-place. Some of the aliens just stand out in the wrong way and Master Chief jumping around at times seems too weightless. They were pushing the most they could out of the budget they have, but the CG work really could’ve used a bit more tweaking. Still, the action is easy to follow and we get some nice moments from the Spartan team.

We even get a brief first-person callback to the game which was a bit gimmicky but was used as a way to show us how the Spartans see the world. So, it worked in more ways than just a neat Easter egg, especially with the payoff later on. The sound effects were a joy to hear, as we get everything from the way the Covenant’s weapons sound to Chief’s armor replenishing. While the team said they didn’t look to the games for reference, they did add in enough trinkets to keep those fans happy. The best part, the fan service doesn’t overshadow the actual story.

The biggest selling point is Schreiber‘s Master Chief, as he does give us some softer moments with the character. He does show a lot of emotion through his helmet and after interacting with a strange artifact, we get to see him slowly break away from his bio-engineered programming. They are setting up an arc and the episode does end in quite a bold move that highlights this series’ new direction based around the original franchise’s lore.

The episode length does drag at times due to the number of characters it’s trying to introduce and set up for later storylines. Some of the CG work could use some additional tweaking but it’s still great to see these designs in a live-action setting. Schreiber is the standout in the series’ pilot episode and I am excited to see where he takes the character moving forward. It’s a decent start and it’ll be interesting to see how they build up this new take on a classic franchise.

March 24, 2022
REVIEW: ‘How I Met Your Father’ Episode 10 – “Timing is Everything”

How I Met Your Father‘s Season 1 turned out as expected, but with giant twists that will definitely have giant repercussions for the future. As you may remember from the last episode, viewers were left with Sophie waiting for Jesse on their big date after finally giving them a shot. Charlie and Valentina were in a good place, while Ellen was in a bad place, and Sid and Hannah were on shaky ground. The characters all had different drama brewing in their lives, but the finale managed to turn that all on its heels, resolve a lot of issues, and leave an exciting premise for Season 2.

Coming into the finale, it seemed like Jesse and Sophie would be getting together, but then Ian came back to put a knife in the plan. Valentina and Charlie would become a stronger couple, while Ellen would find some sort of happiness, and Sid and Hannah would break up. Almost none of this happened, though. It gives fans a look as to how the team on How I Met Your Father is approaching the story, both intending to make it more interesting and to keep viewers in the blind. With most shows, I break down the play by play of the episode in terms of humor, drama, story…etc. That looks to be the wrong approach here, however. Instead, let’s break off each character’s journey as they are truly what makes this franchise great, and so we can see what works, and what doesn’t.

Let’s start with Charlie and Valentina. The two made great strides during the season, from being selfish and unwilling to change, to developing into a strong couple that seemed to be able to move past everything. Unfortunately, a serious conversation comes up with major repercussions for their future, which turned the couple from an amazing developing duo to one that might not know what’s next. While I came into the episode thinking they would end up in a happy place after a pretty great season for them, turned into some sad moments as we watched the pair have to face a serious reality. I loved this approach, even if a little borrowed, but I feel their story isn’t quite over.

Ellen’s ending was very sitcomy, and not in a good way. After going all season to a pretty dark place, getting used to a new city, not having friends, and being in a terrible situation with her love life, things just manage to magically work out in the end. I understand the season can’t focus on all characters equally, especially with only 10 episodes, but Ellen ended up being a glorified side character at the end of things. The only redeeming element for her story is that she is in a place to have a more interesting story in Season 2. Maybe we will see her blossom later on, but as of right now, she has potential as a character, but the story just isn’t there for her yet.

Sid and Hannah left off in a bad place. Finding out they had even more time needing to be away from each other, feeling a lack of trust and confidence, the pair definitely seemed to me as heading the route of Marshall and Lily and breaking up in the first season. This was the case even more at the start of the finale when wedding planning managed to set off their other relationship issues. However, throughout the episode, they don’t get a lot of screentime, but the pair makes a comeback with a pretty big moment for them at the end. Of course, it seems their story is far from over, and rocky water may be ahead, but as of now, they are in a good place. The two just seem so real with their issues, even if some parts are largely exaggerated, they are very relatable.

Finally, onto Sophie and Jesse. The two came into the episode strong, and I was sure that Sophie was about to get stood up on their date. This didn’t end up becoming the case, with the two going through a lot. The episode is titled “Timing is Everything” for a reason. It is a central theme in both the original and new show. As Robin says in How I Met Your Mother, “You got chemistry, you only need one other thing… Timing. But timing’s a bitch.” This rings true for the pair. No spoilers of course, but as the return of Jesse’s ex, Sophie’s new career developments, and Sophie’s two past relationships for the season, with Drew and Ian, timing is as important as chemistry, and the pair are left in a great place for their characters, but maybe not the best place with each other.

Thanks to some incredible story developments, amazing twists and turns, and a few pretty big cameos from How I Met Your Mother, the finale delivered on a great season. The show started off in a pretty rocky place, but throughout its 10 episode run, it truly managed to deliver a great story, with so much potential for the future.

March 17, 2022
REVIEW: ‘How I Met Your Father’ Episode 9 – “Jay Street”

The two-part finale of How I Met Your Father begins with giant setups, new drama, and a surprising cameo. Following a season of twists and turns, the love triangle that formed over the last few episodes gets even messier with Jesse’s ex, Meredith, throwing a curveball into things. Let’s unpack that, shall we?

Going into the episode, my expectations for Sophie were to see her choose between two–or possibly three–men to get into a relationship with. Although I was anticipating one to begin, I will state that this does not mean I believe this relationship will lead to Sophie’s son being born. The episode’s entire runtime is setting up the events of the finale, complete with a “to be continued” at the end. What was already a messy situation with Sophie dating Drew but then ending up kissing Jesse, has gotten worse, as Jesse’s ex put a wrench into things when she released her new single, admitting to missing Jesse. From the start, things look great for Sophie and Jesse but all that changes is when he hears that Meredith regrets leaving him.

Obviously, I’m not going to spoil what happens from that point on. You will need to watch yourself to get the full picture, but let’s just say that the entire situation has changed since we checked in with Jesse and Sophie last week. I already thought we’d be in for a great finale, but things are looking even better than expected. Stakes are high, and things are uncertain for our leading lady. Outlook on her relationships is suddenly out of her control, yet, a progression in her career may help lessen the blow. Although we don’t have a clear picture of what the next episode will look like, I have a feeling things are going to center on that career change, but once again, you will have to watch yourself to see what that is.

A surprise cameo made this week’s episode for me. Although I was emotionally invested and on the edge of my seat with Sophie’s love story, a callback to How I Met Your Mother will always stand out for me. Not only did we get one cameo, but two due to the circumstances surrounding the two characters showing up, and no, it isn’t who you think it might be. The two characters were supporting cast in the original show, but two stand-outs that I’m sure most fans loved as much as I do. I call out the cameo now because, as I said before, the finale might connect with her new career step. I’m not entirely sure how all of this will tie together, as there are still a lot of loose ends that seem to be coming to a close.

Although plenty of loose ends are looking like they will be tied, even more, seem to be unweaving as we lead up to the show’s confirmed second season. Of course, with a television show, not everything can be tied until the final episode. Sophie still has multiple possible suitors in addition to Drew and Jesse. New twists have developed for Sid and Hannah, Ellen is interviewing for a job, and Charlie is feeling homesick. All of these things get the spotlight in this episode, and that is definitely not the sign of a slowing plotline. While I believe we will definitely see an outcome for the relationship troubles, there is still plenty to leave open for next season, and that is what will keep me coming back.

While the humor wasn’t there in this episode, at least not like with other traditional sitcoms, this was much needed for the story they are trying to tell. This is the same approach How I Met Your Mother took with many of its important episodes, which works really well to keep the emotional moments flowing without interrupting with weirdly placed humor. The show definitely still feels like a sitcom, but the humor was able to take a backseat to the plot, and I definitely enjoyed that. The show has once again left me wanting more and more. Viewers will be left at the edge of their seats in anticipation of the final episode next week, but until then, all I can do is recommend you watch and stay tuned for what’s yet to come.

March 16, 2022