|Image courtesy of A24|
July 31, 2022
July 26, 2022
Somewhat unsurprisingly, instead of being a breakneck adventure, Vengeance fits in with Novak’s repertoire as a steadfast comedy/drama, without endeavoring to subvert genre or break the story mold that Novak has worked his way into.
|Image courtesy of Focus Features|
Last fall Novak, former writer and star of The Office, debuted the first season of his anthology television series called The Premise, where each episode tells a single character-driven story about a current world issue. Vengeance feels like an extended episode of that bizarre series, exploring big concepts and the complexities of human nature in a story that defines itself on those merits, and not much more.
July 24, 2022
July 19, 2022
|Image courtesy of Sony Pictures|
July 17, 2022
“The Boys” Has Become an Intensely Engaging, Reality-Driven Nightmare (Spoiler-Free Season 3 Review)
And through the influx of sub-genre entries, The Boys is still king. In June, its third season burst onto the scene after a two-year hiatus, and it’s like no time has passed at all. The world still feels lived-in, with the characters fulfilling their respective roles — even though circumstances change faster than usual in Season Three.
|Image courtesy of Amazon Prime|
A year after the events of the previous season, the titular group has gone straight, working for the Bureau of Superhero Affairs to track down potentially dangerous Supes. The conflict with the major superhero group the Seven, led by the murderous Homelander (Antony Starr), is on hold, until Boys leader Billy Butcher (Karl Urban) decides to hit the “play” button when he begins searching for Soldier Boy (Jensen Ackles), one of the first-ever superheroes and a more bigoted version of Captain America. Butcher intends to find a way to kill Homelander for good, a nigh-impossible mission that could yield fruitful results. Meanwhile, Hughie (Jack Quaid) is working for mysteriously homicidal congresswoman Victoria Neuman (Claudia Doumit), and internal changes at superhero corporation Vought threaten the security of their confident facade.
July 12, 2022
The same is true for Resident Evil, which Netflix has adapted for long-form television. This is the story about a pandemic that ravages the world and drastically reduces the sane and living population — and that makes it feel a little too real. The dystopian setting naturally lends itself to the horror genre, but it’s less traditional jump scare-focused horror and more along the lines of something you could genuinely see happening; perhaps not to this extreme, but it’s all become much more tangible after the events of the last two years. It’s more relatable, and therefore scarier.
July 11, 2022
July 8, 2022
Travel the Galaxy with Space Vikings in Refreshingly Unique “Thor: Love and Thunder” (Spoiler-Free Review)
|Image courtesy of Disney|
July 6, 2022
The first is SIX, which unites the six wives of King Henry VIII for a modern musical extravaganza that blends genres and breaks down walls. It’s not story-driven, as it functions more like a pop concert. The Queens tell their stories and compare horrible life experiences, which seems pretty par for the course in the era that they lived. However, this is actually a competition; they’re trying to see who suffered the most, and therefore who should become the group’s lead singer.
SIX takes back the power and establishes the Queens as characters separate from Henry. Historically, they’re always bundled together with the King, because he’s the only thing that ties them together — when in fact, his wives are the only reason Henry is as famous as he is. I couldn’t tell you a thing about his religious reform or his investment in the Royal Navy, but even before seeing SIX I was well aware of his Queens, their basic life stories, and how they died. SIX gives them the agency they deserve as main characters, and not just supporting players in the Royal narrative.
July 1, 2022
|Image courtesy of Netflix|