Rapid Reviews || Hawkeye || The Power of the Dog || The Wheel of Time || The Witcher
There are an overwhelming amount of movies released every year. With an
average of over 700 movies released every year, the wealth of
entertainment available is practically endless. This isn't even mentioning
the plethora of series and shows released every single year, most of which
are just as prestigious as the big, noteworthy Hollywood releases. With
such a wide selection of content to dig into and only a finite amount of
time to do so, what is one critic do?
It is from that question that Rapid Reviews was born. The idea is for this to be a semi-regular feature that will collect smaller reviews covering a wide range of movies and shows that might not be otherwise discussed due to time constraints. And make no mistake - some of these shows and movies need to be talked about!
Hawkeye [Season 1] || Disney+
Directed by: Rhys Thomas, Bert & Bertie
Written by: Jonathan Igla, Elisa Climent, Katie Mathewson, Tanner Bean, Erin
Cancino, Heather Quinn, Jenna Noel Frazier
Starring: Jeremy Renner, Hailee Steinfeld, Tony Dalton, Fra Fee, Linda
Cardellini, Simon Callow, Vera Farmiga, Florence Pugh, Alaqua Cox.
Score by: Christophe Beck, Michael Paraskevas || Cinematography by: Eric Steelberg, James Whitaker
After the experimental, yet ultimately disappointing Eternals and Marvel's What If...?, there was admittedly some concern on my end about the quality of the Marvel Studios' programming going forward with their shift to a significantly higher volume of output than normal. With more movies being released per year and the additional pull of focus for Disney+ series, had Marvel Studios finally reached beyond their means, therein over extending themselves?
After the experimental, yet ultimately disappointing Eternals and Marvel's What If...?, there was admittedly some concern on my end about the quality of the Marvel Studios' programming going forward with their shift to a significantly higher volume of output than normal. With more movies being released per year and the additional pull of focus for Disney+ series, had Marvel Studios finally reached beyond their means, therein over extending themselves?
The answer, luckily, is no. Or at least that doesn't seem to be the case
just yet. With the closely released combination of
Spider-Man: No Way Home (in
theaters now - feel free to check out our spoiler-free review) and
Hawkeye, Marvel Studios delivers a one-two punch needed to reassure any
doubtful fans out there.
Hawkeye sets its narrative
sights on the Avenger that no one was really asking for more of - Clint
Barton (Jeremy Renner). One of the boldest (and most shrewd) moves this
series pulls is in its narrative centering around a "Hawkeye" that
audiences might not be familiar with. That's right. Though Clint Barton
plays a significant part in the storytelling (specifically with the
consequences of his briefly touched upon outing as the murderous Ronin),
this is primarily Kate Bishop's story. There's nothing to worry about
though - Kate Bishop (Hailee Steinfeld) is immediately likable,
charismatic, and fully realized. Steinfeld fully embodies Kate's style and
attitude from the comics, instantly understanding what makes Kate Bishop
so engaging as a character.
Kate's origins and interpersonal dynamics with her family make for a
dramatic and grounded narrative through line that provides some clever
commentary around privilege and identity that feels fresh within the
context of the greater MCU. Another novel touch added to
Hawkeye is in its holiday
setting, taking place in a festively decorated New York - it helps this
street-level tale from feeling too familiar to previous street-level MCU
stories. It also gives the series an overtly "Die Hard" feel, which is only ramped up by Renner's solid performance as a
particularly exasperated and "over-it" Clint - the perfect foil for
Steinfeld's energetic and a-little-too-confident performance as
Kate.
There are many more surprises and things to love in
Hawkeye - including new and
returning characters that are sure to drum up excitement about the MCU's
future - but that all essentially amounts to the cherry on top of an
already phenomenal series.
Hawkeye is a perfectly-crafted
passing of the torch story filtered through the cinematic lenses of
Die Hard and
Lethal Weapon - in other
words, there's no way it could be more suited to me and my tastes.
Hawkeye is an easy
recommendation and stands as one of Marvel's best offerings on Disney+
along with the equally brilliant and surprising
Loki.
Film-FTW Rating || 9 Stars out of 10 "Amazing / Exceptional"
The Power of the Dog || Netflix
Directed by: Jane Campion
Screenplay by: Jane Campion || Based on: "The Power of the Dog" by Thomas Savage
Starring: Benedict Cumberbatch, Kirsten Dunst, Jesse Plemmons, Kodi
Smit-McPhee, Thomasin McKenzie, Genevieve Lemon, Keith Carradine,
Frances Conroy
Score by: Jonny Greenwood || Cinematography by: Ari Wegner
One of the most succinct reviews I've seen for The Power of the Dog perfectly summed it up in two words: Brokeback Sociopath.
One of the most succinct reviews I've seen for The Power of the Dog perfectly summed it up in two words: Brokeback Sociopath.
The Power of the Dog is a
dark and disquieting movie-going experience. It's pensive and gorgeously
shot, filled with sweeping vistas that you would come to expect from
modern-day and classic westerns. Though I'm admittedly not familiar with
director Jane Campion's previous movies,
The Power of the Dog seems
to be a great showcase of her talent. I'm always a fan of a slow-burn
movie when handled with care - something Campion seems to agree with,
crafting a casually unwinding mystery story that revels in its
subtleties.
At the center of
The Power of the Dog is an
exquisite performance from Benedict Cumberbatch as Phil Burbank - a
bitter misanthrope who actively takes pleasure in bringing down those
around him. Anyone perceived as weak is fair game according to Phil, and
it's only through a second-act second-act reveal that we're able to
begin to understand why Phil is just so abhorrent. It's at about this
time that it becomes clear that Phil is a deconstructionist take on the
standard western "man's man" character - a fascinating angle to
explore.
Through the addition of the character of Peter (Kodi Smit-McPhee), more
of the movie's commentary begins to reveal itself. The dynamic between
Phil and Peter allows the movie to explore the concepts of masculinity
and femininity, while also touching upon issues surrounding identity and
sexuality.
The Power of the Dog is
thematically strong and heartbreakingly tragic in its study of meanness.
It's a ravishingly shot, revisionist western with strong direction from
Campion, and a fittingly nerve wracking soundtrack from Jonny Greenwood
that perfectly matches the disharmony of its cast of characters.
Film-FTW Rating || 7 Stars out of 10 "Very Good / Compelling"
The Wheel of Time [Season 1] || Amazon Prime
Directed by: Uta Briesewitz, Wayne Yip, Salli Richardson, Cirran Donnelly
Written by: Steven Levenson || Based on: "The Wheel of Time" Series by Robert Jordan
Starring: Rosamund Pike, Daniel Henney, Zoë Robins, Madeleine Madden,
Josha Stradowski, Marcus Rutherford, Barney Harris, Kate Fleetwood,
Hammed Animashaun
Score by: Lorne Balfe
Amazon's
The Wheel of Time is a
strong beginning for what promises to be a bold new fantasy franchise,
though it is admittedly a bit messy throughout its eight episode first
season. Much like the first season of
The Witcher, the budget and quality of the effects are noticeably inconsistent
from episode to episode - odd considering the high-budget afforded
to The Wheel of Time. Equally inconsistent is the pacing. Sometimes the show gets the
pacing perfect, purposefully giving moments time to breathe and allowing
for natural world-building - such as with the episode focused around the
funeral of a Warder. It's an episode filled with character moments and
small details that flesh out the politics of the world of The Wheel of Time. Then there are moments that are rushed over, seemingly without rhyme or
reason. A handful of characters are abruptly killed off without any
build up - thereby lacking any real emotional or narrative payoff.
Likewise, the introduction of a healer threatens to nullify any fear
that characters might suffer any real harm when they can be revived
without much consequence. I'm hoping subsequent seasons can find a
better rhythm to their storytelling and overall pacing now that all the
players have been established and the world more fully-fleshed
out.
What does work exceptionally well in
The Wheel of Time is its
strong cast of characters, portrayed by a young and relatively unknown
group of actors - the strongest of them being Nynaeve al'Meara (Zoë
Robins), both in terms of character and performance. Together they are led by Rosamund Pike as the mysterious and magical
Moiraine, an Aes Sedai - one of several female-only magic wielders. The
magic inherent to the world of
The Wheel of Time has been corrupted in a way so that any man who uses it will
inevitably lose his mind and go insane. This small world-building detail
pushes
The Wheel of Time into
something wholly unique, offering an exciting shake-up of the standard
gender dynamics typically found within fantasy stories.
The Wheel of Time is not quite the self-serious fantasy that The Lord of the Rings or Game of Thrones aimed to be, nor is it the campy fun offered by The Witcher. No, The Wheel of Time is trailblazing its own path through the fantasy landscape and I am here for what it's offering. Though its first season had some growing pains as it was finding itself, The Wheel of Time is a promising start for what might become a truly boundary pushing fantasy series.
The Wheel of Time is not quite the self-serious fantasy that The Lord of the Rings or Game of Thrones aimed to be, nor is it the campy fun offered by The Witcher. No, The Wheel of Time is trailblazing its own path through the fantasy landscape and I am here for what it's offering. Though its first season had some growing pains as it was finding itself, The Wheel of Time is a promising start for what might become a truly boundary pushing fantasy series.
The Witcher [Season 2] || Netflix
Directed by: Stephen Surjik, Sarah O'Gorman, Ed Bazalgette, Louise Hooper
Written by: Declan de Barra, Beau DeMayo, Claire Higgins, Sneha Koorse, Haily
Hall, Matthew D'Ambrosio, Mike Ostrowski, Lauren Schmidt Hissirch || Based on: "The Witcher" by Andrzej Sapkowski
Starring: Henry Cavill, Freya Allan, Anya Chalotra, Joey Batey, MyAnna
Buring, Anna Shaffer, Kim Bodnia
Score by: Joseph Trapanese || Cinematography by: Jean-Philippe Gossart, Gavin Struthers
The Witcher proved to be something of a runaway success when its first season was released in 2019. Game of Thrones had just finished, leaving not only a sour taste in the mouths of many fans, but it also left a gigantic opening in the television fantasy realm. A void that many studios rushed to fill with their version of the "next big fantasy show"! The only question was which studio would get to it first and what would be the "new Game of Thrones". Well, Netflix was the first out of the gate and though audiences quickly took a liking to the show (Netflix itself claiming it was the most-watched first season of television on the streaming platform), but The Witcher wasn't exactly the "new Game of Thrones" either.
The Witcher proved to be something of a runaway success when its first season was released in 2019. Game of Thrones had just finished, leaving not only a sour taste in the mouths of many fans, but it also left a gigantic opening in the television fantasy realm. A void that many studios rushed to fill with their version of the "next big fantasy show"! The only question was which studio would get to it first and what would be the "new Game of Thrones". Well, Netflix was the first out of the gate and though audiences quickly took a liking to the show (Netflix itself claiming it was the most-watched first season of television on the streaming platform), but The Witcher wasn't exactly the "new Game of Thrones" either.
Instead of trying to emulate Game of Thrones, The Witcher ended up feeling more informed by Hercules: The Legend
Continues or Xena: Warrior Princess - but with an R-Rating. By offering these campy, yet clever monster-of-the-week stories filled with some unique creature designs that just went for it - even if the budget couldn't keep up. The
storytelling was mostly successful, following its two well-defined and charismatic lead
characters in Geralt (Henry Cavill) and Yennefer (Anya Chalotra). The
first season ended promisingly, with a climactic sorcery battle
and Geralt and Princess Cirilla, or Ciri (Freya Allan), finally meeting up
as fate had earlier determined. Though messy and often goofy, The Witcher's first season was likable and different enough to keep me coming back for following seasons.
Season two ends up feeling just as messy as the first season in terms of
its storytelling, as if no lesson was learned. Instead of a twisted narrative timeline for a structure, the second season chooses to lay its events out in a more linear fashion - something that didn't really affect the show one way or the other for me. My issue with the narrative in season two is that all of that momentum and build-up in season one feels like it was abruptly halted to do some 'splainin and world-building. Sure, The Witcher's second season continues the primary story of Geralt and Ciri training at Kaer Morhen, but the narrative is equally focused on secondary (and even tertiary) characters who just don't feel fleshed out enough to be given the screen time that they are. It's a move that signals that these characters will a play larger part in future seasons but the writers didn't have a more graceful way to weave them in organically - the renegade fire mage Rience and the head of the Redanian Intelligence, Sigismund Dijkstra, are key examples.
Honestly, the focus of the narrative feels so scattershot, seemingly in order to begin world-building and set up future seasons (and even spin-offs, like the recently announced The Witcher: Blood Origin). And while there's
nothing in season two that is outright awful - though Dandelion is only a hair away from being unbearable and Yennefer feels entirely wasted altogether - all
of the narrative pieces feel like just that...pieces. Loose, unconnected
pieces, that will hopefully be connected at some future point.
It should go without saying that I was a little disappointed with The
Witcher's second season, but I did ultimately find more good in it than
bad. Due to the short, eight episode seasons, The Witcher is still worth a look, especially if you're a fan of fantasy or the games.
Film-FTW Rating || 6 Stars out of 10 "Better Than Average /
Moderately Successful"
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