Also known as: Deadly Terror (working title) Release Date: December 29th, 1993 Directed by: Rachel Talalay Written by: William Davies, William Osborne Music by: Graeme Revell Cast: Karen Allen, Chris Mulkey, Ted Marcoux, Wil Horneff, Jessica Walter, Rick Ducommun
Twentieth Century Fox, 95 Minutes
“Excuse me… a little stiff. Caught a bitch of a virus.” – Computer Ghost of Karl
I never had much urge to see this way back when it was a current movie. Even though I was a fan of horror and cyberpunk concepts, I knew that it was directed by the same woman that did Freddy’s Dead, which murdered that once great franchise. I also figured that this would be full of computer graphics fuckery and that’s probably why she was hired, after she gave us that abysmally bad CGI 3D sequence in that previous movie.
However, I’m also a fan of the worst ’80s and ’90s cheese, especially in the realms of horror and sci-fi, so I figured that I’d finally give this a watch, as it’s on HBO Max. Plus, it starred Karen Allen and Chris Mulkey and I like both of them quite a bit.
So to be upfront, I didn’t hate this and even though it was a bad movie, there was enough to enjoy in it and the “virtual reality” stuff was every bit as awful and wonderful as it is in other movies from the same era like The Lawnmower Man and Brainscan.
The CGI is primitive as hell and it dates the movie but seeing it in the 2020s, nearly thirty years later, makes it much cooler than it would have been experiencing it back then. Frankly, it made me really nostalgic for this stuff and the early days of computer animation, the Internet and the sort of unknown wonderous world of what technology could be.
I even enjoyed the pixilated killer ghost whenever he appeared in the real world and thought that they utilized the CGI well for what they were trying to achieve.
So the story is about a serial killer that works in a computer and software shop. He steals the address books of clients after his boss uses them to show those clients how his address book software works on common PCs. The killer takes out everyone on the address books before finally killing the person who owns it. However, he is killed in a car crash. Upon getting an MRI, weird shit happens to the power at the medical facility and he is essentially copied onto a hard drive and is essentially now a digital copy of the killer’s brain (and I guess soul) that can travel the Internet and effect any electronics he possesses.
While it’s an interesting concept, I feel like you could easily just trap him in a toaster, unplug him and toss it into the furnace. Also, he is able to manipulate electronics in impossible ways, like using a small microwave to essentially turn an entire large kitchen into a microwave oven.
Plot holes, plot conveniences and ridiculousness aside, some of the kills in this movie are really damn good, such as the microwave kill. The killing sequences also have a bit of a Final Destination vibe to them, as you know the person will die but it’s interesting seeing how it’s all going to unfold. Kind of like watching a Rube Goldberg machine of death.
In the end, though, this is still pretty bad. Most people will hate it and dismiss it as unpalatable schlock but for me, it had enough cool stuff in it to hold my attention and to make me appreciate the effort.
Also known as: Daredevil: A Daring New Vision (Director’s Cut title) Release Date: February 9th, 2003 (Los Angeles premiere) Directed by: Mark Steven Johnson Written by: Mark Steven Johnson Based on:Daredevil by Stan Lee, Bill Everett Music by: Graeme Revell Cast: Ben Affleck, Jennifer Garner, Michael Clarke Duncan, Colin Farrell, Joe Pantoliano, Jon Favreau, David Keith, Leland Orser, Erick Avari, Ellen Pompeo, Paul Ben-Victor, Robert Iler, Coolio (Director’s Cut only), Mark Margolis (uncredited), Kane Hodder (uncredited), Frank Miller (cameo), Kevin Smith (cameo)
Marvel Enterprises, Horseshoe Bay Productions, New Regency Pictures, 103 Minutes, 133 Minutes (Director’s Cut)
“[Director’s Cut version/Narrating] Violence doesn’t discriminate. It hits all of us… the rich, the poor, the healthy, the sick. It comes as cold and bracing as a winter breeze off the Hudson. Until it sinks into your bones… leaving you with a chill you can’t shake. They say there’s no rest for the wicked. But what about the good? The battle of Good vs. Evil is never-ending… because evil always survives… with the help of evil men. As for Daredevil, well… soon the world will know the truth. That this is a city born of heroes, that one man can make a difference.” – Matt Murdock
My review of this film is specifically for the Director’s Cut. It’s a far superior version of the movie and frankly, it’s the version that should have been released in theaters.
The theatrical version was kind of shit and a major disappointment. The Director’s Cut, however, showed that the director had made a much better film that was unfortunately butchered by the studio, probably due to its running time. In fact, the theatrical version chopped off thirty minutes from director Mark Steven Johnson’s preferred body of work.
If I’m being honest, though, Johnson is not a great director and this film, even in its superior Director’s Cut presentation, still has a lot of flaws and feels kind of dated, even for its year of release. Although, comic book movies hadn’t really found their proper groove yet, as Nolan’s first Batman movie was still two years away and the first MCU movie was still half of a decade out.
Daredevil also didn’t have the budget that other comic book movies would get just a few years later, as it was made by a smaller studio that had to offset the licensing fees they paid to acquire the character and his pocket of the Marvel Comics universe.
Still, the performances mostly make up for the weaker things in this film. I really liked Ben Affleck as Daredevil and Jennifer Garner did well as Elektra. Most importantly, the two had tremendous chemistry, which I guess was pretty natural and genuine, as they got married a few years later and stayed together for thirteen, which is a lifetime in Hollywood.
I also really liked Michael Clarke Duncan as Wilson Fisk and Jon Favreau was a great Foggy Nelson.
My only real issue with the cast for the larger roles was Bullseye. Colin Farrell is a good actor but this version of the character was baffling and if I’m being honest, stupid. Bullseye should have been a bit nutty but he also should’ve been in his proper costume and not looked like a guy selling codeine at a rap-metal concert. But I guess Marvel editor Joe Quesada suggested to the director that Bullseye shouldn’t wear his traditional outfit. I guess that’s just another reason to dislike Quesada on top of his large part in destroying his own industry because of politics, hiring unproven talent for diversity reasons and lashing out at customers on social media. But I digress.
The film has a decent enough story, even if it feels pretty bare bones and paint by numbers. The Director’s Cut actually expands on the story, adding in more context and nuance, as well as a side plot that makes the overall experience a much better one than the theatrical version.
I especially liked the origin stuff about Daredevil as a kid. The scenes between the kid actor and his dad, played by the always underappreciated David Keith, are damn good.
Another thing I don’t like, though, is the style of the fighting in the film. It’s fine when everything feels grounded and real but it gets ruined by relying too heavily on the Hong Kong style of martial arts filmmaking. There are too many moments where it is obvious that the characters are on wires and you see them move in ways that don’t make sense in regards to actual physics. That shit doesn’t work for this sort of film. But I get it, Crouching Tiger, Hidden Dragon was a massive hit a few years earlier and Hollywood tried to emulate the Hong Kong style but kept failing miserably outside of The Matrix movies.
Daredevil – Director’s Cut is still pretty enjoyable, though. Age didn’t really improve it or ruin it. It’s mistakes are pretty clear but they were also clear in 2003.
However, I still really like the cast, for the most part, and it would’ve been interesting seeing how this could’ve continued had sequels bee made. Instead, the studio stupidly opted out of that and went with an abominable Elektra spinoff, a film that I still haven’t been able to stomach in its entirety. But I guess I should review it soon, as I work my way through all of the Marvel movies ever made.
Rating: 7.5/10 Pairs well with: other Marvel comics films before the Marvel Cinematic Universe started in 2008.
Release Date: November 10th, 1990 Directed by: Mick Garris Written by: Joseph Stefano Based on: characters by Robert Bloch Music by: Graeme Revell, Bernard Herrmann (original themes) Cast: Anthony Perkins, Henry Thomas, Olivia Hussey, C. C. H. Pounder, Warren Frost, John Landis, Kurt Paul, Sharen Camille
For being a made-for-TV movie and the third sequel in a series, Psycho IV isn’t half bad. Hell, I even like it a bit more than the third film, even if it is missing Jeff Fahey, who killed it in that picture.
The cast in this one is really well-rounded though between the returning Anthony Perkins, as well as Henry Thomas, Olivia Hussey and C. C. H. Pounder. Honestly, this is a really well acted picture that saw its main players give it their all with really solid and compelling results.
The picture starts with Norman Bates being cured but we’ve seen that in the two previous pictures until events pushed him over the edge and back towards his serial killing slasher self.
What’s different and unique about this picture is it involves Norman calling a radio show discussing boys who have murdered their mothers. He uses the name “Ed” while on the air but he talks through his past, primarily his early years, in an effort to fight off his killer tendencies from returning.
With that, this film serves as both a sequel and a prequel. It takes place after Psycho III but it spends a great deal of time flashing back to his life before the events of the original Psycho. It delves into his bizarre relationship with his mother and how it shaped him into the man he became.
Henry Thomas, most famous for playing Elliot in E.T. the Extra-Terrestrial, shows that he was a good actor and he creates a young Norman that is sympathetic yet disturbed.
However, his performance is enhanced by the talent of Olivia Hussey, who plays his mother Norma Bates. The film examines the sexual tension between mother and son and it’s really the plot of this movie that gave birth to the concept that became the Bates Motel television series. And honestly, I prefer this version of a Psycho prequel.
Adult Norman, still played by Perkins, who really committed his life to this role and who always delivers an A-plus performance, shared most of his scenes with the always good C. C. H. Pounder. While the scenes they share are over the phone, as both act out their scenes in different rooms separate from each other, the two had perfect chemistry and their discussions are emotional and believable.
But giving credit where credit is due, a lot of this also probably has to do with the quality of the editing and the overall film direction. These two actors were on completely different sets, probably filming on completely different days but their combined efforts worked and it carries the picture at its most important parts.
What’s fantastic to me, is that I never expected much from Psycho sequels. The first one is perfection and anything else, I thought, would diminish it. But I was wrong. While none of the sequels are as good as the original Hitchcock film, each is still good in their own way and every chapter feels like it enhances the larger story that is Norman Bates’ complete life.
I hope that Anthony Perkins was pleased with the end result of all these films.
Rating: 7/10 Pairs well with: The other Psycho films.
Also known as: Child’s Play 4, Chucky, Chucky and His Bride (working titles) Release Date: October 16th, 1998 Directed by: Ronny Yu Written by: Don Mancini Based on: characters by Don Mancini Music by: Graeme Revell Cast: Brad Dourif, Jennifer Tilly, Katherine Heigl, Nick Stabile, John Ritter, Alexis Arquette, Gordon Michael Woolvett, Kathy Najimy
David Kirschner Productions, Midwinter Productions Inc., Universal Pictures, 89 Minutes
“My mother always said love was supposed set you free. But that’s not true, Chucky. I’ve been a prisoner of my love for you for a very long time. Now it’s payback time.” – Tiffany
Initially, I didn’t know what to make of this movie when it came out in 1998.
Over time, I grew to love it though, as I mostly see it as a black comedy, which is how it’s really intended to be seen. It’s not so much a parody of the Child’s Play movies, as it is a true vehicle to just let Brad Dourif’s Chucky be unrestrained from trying to make a more serious slasher film.
Bride of Chucky goes beyond horror accented by comical one-liners and evolves the franchise into something more in-line with its star character’s personality. Overall, it’s less scary and less terrifying but it makes up for that in its coolness. And it really does get nuts in the best way possible.
Now with that being said, I don’t like it as much as the original three films but it is more energetic and more fun, overall. Without, I feel as if it has more replay value than most of the movies in the series.
I love the inclusion of Jennifer Tilly as Tiffany, Chuck’s actual bride who also becomes a killer doll. And of course, this leads to the sequel Seed of Chucky, which focuses on the offspring of the killer dolls. Most people seem to hate that movie but I kind of love it too for what it is but I’ll get into that when I review it, specifically.
Ronny Yu did a fine job of giving life and energy to Don Mancini’s script and frankly, I thought he was a wise choice. I also love his Freddy Vs. Jason, even though some people think it sucks. But fuck those people, as Yu understands how to turn these slasher franchises into something beyond the norm, which was kind of needed in the time that he made this film and FvJ.
The best part about this (and its sequel) is the chemistry between Tilly and Dourif. It’s f’n spectacular. Where I originally wasn’t keen on the concept before seeing the film, Tilly won me over almost immediately and proved she was a perfect choice for the role. And she has since become nearly as iconic as Chucky.
Bride of Chucky is an enthralling entry into a series that didn’t have much left in the tank. It reinvented what a Child’s Play movie could be and it left the door open for more, which allowed the Dourif era to flourish for three more films.
Despite my distaste for the 2019 Child’s Play reboot, I’m glad that the Dourif version of Chucky still isn’t dead, as there is a television show in-development, which will continue to build off of this movie and all the ones before and after it.
Rating: 7/10 Pairs well with: all the Child’s Play movies except the 2019 reboot.
Release Date: April 26th, 1996 (Hollywood premiere) Directed by: Andrew Fleming Written by: Andrew Fleming, Peter Filardi Music by: Graeme Revell Cast: Fairuza Balk, Robin Tunney, Neve Campbell, Rachel True, Skeet Ulrich, Cliff DeYoung, Christine Taylor, Breckin Meyer
Columbia Pictures, 101 Minutes
“Girls watch out for the weirdos.” – Driver, “We are the weirdos, mister.” – Nancy
Man, I hadn’t seen this in a long time but I used to take a copy home to watch a lot when I worked at a video store in the ’90s. I’ve also seen it on television a bunch of times. But I came across it on my Starz app and thought, “Hmm… I haven’t seen that in ages.” So I decided to fire it up.
The Craft is about four teenage girls that dabble in witchcraft, which was pretty normal for some high school girls when this came out. I went to a few schools and there was always some sort of neo-pagan clique hanging about. I don’t know if that’s still the case because if I hung out around high schools now, I’d get arrested.
These girls take their dabbling to all new levels and their magic starts to work pretty effectively. The jerk guy at school obsesses over one girl, the racist mean girl starts losing her hair, the burnt girl gets healed and becomes a slut, the psycho girl just starts magic murdering people and ocean life. It all culminates in the psycho girl embracing her psycho tendencies and getting into a magic cat fight with the only rational character in the entire group.
The movie is cheesy but it’s the right kind of cheese and now it’s well aged and has a thick layer of nostalgia around the edges. Point being, this was still enjoyable and I was pretty tuned in from start to finish.
The four main actresses all did a good job and Fairuza Balk owned her character’s insanity and gave one of the most memorable performances of her career. In fact, she still kind of frightens me because of this movie.
I thought Robin Tunney also gave one of her best performances, as she was the one beacon of light in the evil witchcraft storm. She had a good presence and was still able to offset some of Balk’s over the top antics and keep things mostly grounded.
The Craft has its hardcore fans. Or, at least, it used to. I don’t hear people talking about it much these days. I was never a hardcore fan but I always thought it was a solid way to spend 101 minutes of my time.
Rating: 6.25/10 Pairs well with: Other ’90s teen horror movies: Idle Hands, Scream and The Faculty.
Release Date: April 30th, 1999 Directed by: Rodman Flender Written by: Terri Hughes, Ron Milbauer Music by: Graeme Revell Cast: Devon Sawa, Seth Green, Elden Henson, Vivica A. Fox, Jessica Alba, Jack Noseworthy, Robert Englund (voice), Fred Willard, Connie Ray, Kelly Monaco, The Offspring
Licht/Mueller Film Corporation, Team Todd, TriStar Pictures, Columbia Pictures, 92 Minutes
“There is evil out there, and I’m gonna kick its ass!” – Debi
Idle Hands is a bizarre and fun movie.
It follows a stoner and his buds. The main stoner, played by Devon Sawa, who was a hot commodity circa 1999, has a possessed hand. His hand murders his parents very violently while he is asleep. The rest of the film sees him trying to control his hand, as it yanks him around like a rag doll while looking for more people to murder.
This isn’t a film that did well when it came out and critics weren’t kind to it. It is sort of a niche movie that found its audience once it hit video stores. I remember that it developed a cult following pretty quickly and when I was in my early twenties, this was on the TV at a lot of parties. And rightfully so, as it is unique, cool and has a certain charm to it.
I have always been a fan of horror, especially when it has a comedy element to it. This film has the right balance between its scares and its laughs. It is also pretty gory, which was still fairly normal in 1999 before the ’00s brought tame PG-13 horror.
Seth Green has played a lot of good characters, the best of them always seeming to be an extension of himself. Here, he plays maybe his best character as one of the stoner buds. After he dies, early in the film, he is basically a zombie pothead with a bottle lodged into his forehead. The other stoner, who walks around holding his decapitated head, was played by Elden Henson, who modern audiences will probably recognize as Foggy Nelson from the Daredevil series on Netflix.
Jessica Alba is also in this, as the apple of the stoner’s eye, and she’s never been more adorable. Most guys my age fell in love with her in the TV show Dark Angel but it was Idle Hands that got me crushin’ on her hard.
I also love that Fred Willard is in this, albeit briefly, as the father of Sawa’s character. He meets his violent demise pretty quickly in the film but Willard is enjoyable in everything. Here, he is a straitlaced dad that’s sick of his stoner son being a useless coach potato with no ambition.
This movie has really good style. I love the set design, the characters’ looks and the score is actually pretty damn good.
I love the opening theme by Graeme Revell, as it truly sets the tone of the picture. The rest of the film is accented by Revell’s score mixed with a lot of notable ’90s rock. The Offspring even play the school dance, where they cover The Ramones “I Wanna Be Sedated”.
Idle Hands is just a good time if you are into horror comedies with a good amount of gross out moments.
Rating: 6.75/10 Pairs well with:Disturbing Behavior, The Faculty, Can’t Hardly Wait, Brainscan and Final Destination.
Also known as: Frank Miller’s Sin City Release Date: March 28th, 2005 (Mann National Theater premiere) Directed by: Frank Miller, Robert Rodriguez, Quentin Tarantino Written by: Frank Miller, Robert Rodriguez Based on:Sin City by Frank Miller Music by: John Debney, Graeme Revell, Robert Rodriguez Cast: Jessica Alba, Benicio del Toro, Brittany Murphy, Clive Owen, Mickey Rourke, Bruce Willis, Elijah Wood, Alexis Bledel, Powers Boothe, Rosario Dawson, Michael Clarke Duncan, Carla Gugino, Josh Hartnett, Rutger Hauer, Jaime King, Michael Madsen, Nick Offerman, Marley Shelton, Nick Stahl, Tommy Flanagan, Devon Aoki, Rick Gomez, Frank Miller (cameo), Robert Rodriguez (cameo)
“Most people think Marv is crazy. He just had the rotten luck of being born in the wrong century. He’d be right at home on some ancient battlefield swinging an axe into somebody’s face. Or in a Roman arena, taking his sword to other gladiators like him. They woulda tossed him girls like Nancy back then.” – Dwight
When Sin City came out, it was a bit of a phenomenon. Well, at least with fans of comic books and especially those who love the work of Frank Miller.
I haven’t watched this in a really long time and I wanted to revisit it after spending a lot of time delving into classic film-noir, which this picture takes some major visual cues from. Well, the original comic this was based on used a lot of noir visual flair, so it was only natural that this film adaptation followed suit.
As an overall cohesive story, the film doesn’t work that well. I get that it is a linked anthology with overlapping characters but it feels like it is just running all over the place. Frankly, this would work better as a television show where all of these characters could be better developed and jumping around with the narrative would just seem more organic.
This is still a cool movie with cool characters but sometimes they feel more like caricatures of pulp comic and noir archetypes. There isn’t really any time to get to know anyone beyond what’s on the immediate surface. Nancy and Hartigan are the only characters with any sort of meaningful backstory and even then, it is pretty skeletal and doesn’t have the meat it needs to really connect in an emotional way.
The film is highly stylized and while it looks cool, it almost works against it, as the grit and violence almost becomes too comic book-y. But this is supposed to be the comic stories coming to life and it represents that with its visual style. And I like the visual style but this is still a live action motion picture and it sort of forgets that.
I’m not saying it can’t have immense and incredible style but it needs to have a better balance between what would exist on a black and white comic book page and what works best for the medium of film. Being that this is the first film to sort of use this visual technique, I think people looked past its faults. I also think that once it was done here, the initial surprise and awe was gone, which is why no one cared much when the sequel came out and why the visual flare didn’t work to hide the faults of Frank Miller’s very similar film, The Spirit.
Additionally, sometimes the comic book elements seem very heavy handed and forced. The scene where Marv escapes the SWAT team may work in the comics but it felt bizarre and goofy in the movie. It would have been more effective if it was toned down and reworked, as opposed to Miller and Rodriguez trying to copy the comic panel by panel. This never works well, which was also why 2009’s The Watchmen had a lot of problems. Personally, I’d rather just stick to the comics if the filmmakers want to just recreate everything panel to shot.
Another problem with directly adapting comics is that the dialogue that works in one medium sometimes sounds terrible in another. Some lines when delivered on screen were cringe worthy moments. Still, I mostly liked everyone’s performance in this despite the sometimes questionable direction and script.
Sin City didn’t blow my mind like it did when I first saw it thirteen years ago. That’s fine. It is still pretty damn good and enjoyable but at first glance, way back in the day, I probably would have given this a nine out of ten rating. But at its core, it just isn’t that good of a film, even if it caused me to fanboy out in 2005.
Rating: 7.25/10 Pairs well with:Sin City: A Dame to Kill For and The Spirit.
Also known as: Chucky 2: El Muñeco Diabólico (Mexico), Chucky 2 – Die Mörderpuppe ist zurück (Germany), Brinquedo Assassino 2 (Brazil) Release Date: November 9th, 1990 Directed by: John Lafia Written by: Don Mancini Based on: characters by Don Mancini Music by: Graeme Revell Cast: Alex Vincent, Brad Dourif, Christine Elise, Jenny Agutter, Gerrit Graham, Grace Zabriskie, Beth Grant, Catherine Hicks (archive footage)
Universal Pictures, 84 Minutes
“Surprise! Did you miss me, Andy? I sure missed you. I told you. We were gonna be friends to the end. And now, it’s time to play… I’ve got a new game, sport: It’s called “Hide the Soul”. And guess what? You’re it!” – Chucky
Child’s Play 2 is my favorite film in the Chucky franchise. While the first is probably considered the superior film in quality, this is the one that I think is the perfect Chucky movie and back in the day, this chapter resonated with me the most. So let me get into why.
To start, we know who and what Chucky is. In this film, he comes back to life and just goes for it. No waiting, no building of suspense for 45 minutes, just pure unadulterated Chucky, ready to kill anyone standing between him and his “best friend” Andy (Alex Vincent). And why? Because he needs young Andy’s body before his soul is permanently trapped in his doll form.
The true highlight of this film though, is the big grand finale in the Good Guy Doll toy factory. We get to see our surviving heroes run through mazes of dolls that look like Chucky. We get to see the heroes crawl through industrial machinery and try to outwit the pint-sized plastic killer. We also get to see Chucky get run through the ringer like never before and really, he’s never got his ass kicked quite like this again. Andy and his older foster sister Kyle (Christine Elise) make a formidable duo. I’m actually really glad that they are now both back in the franchise, two and a half decades later.
As a guy that has seen a shit ton of horror movies, the finale in Child’s Play 2 is one of the best final battles I’ve ever seen in the horror genre. Although, the county fair showdown in Child’s Play 3 is also pretty damn good.
I also like the casting in this film. The foster parents were Jenny Agutter, who I adored in An American Werewolf In London and Logan’s Run, and Gerrit Graham, who always makes me smile, even when he’s sort of just a snarky douche. I loved him in TerrorVision and C.H.U.D. II: Bud the Chud, as well as his multiple appearances in the Star Trek franchise. Then you have Beth Grant, who is always perfect, in a small role as an elementary school teacher that gets in Chucky’s way.
Child’s Play 2 is the peak of the original trilogy of films for me, back before the franchise got a lot more comedic with 1998’s Bride of Chucky. It’s a perfect Child’s Play film and has Chucky at his brutal best where he still gets in some funny one-liners without the film being overtly funny and still having a good amount of actual terror in it. And there is just something about that Chucky-Andy relationship that almost makes the Andy films feel like the only ones that actually matter.
Release Date: November 1st, 1991 Directed by: Wes Craven Written by: Wes Craven Music by: Don Peake, Graeme Revell Cast: Brandon Adams, Everett McGill, Wendy Robie, A.J. Langer, Ving Rhames, Kelly Jo Minter, Sean Whaler
Alive Films, Universal Pictures, 102 Minutes
“Yeah, and maybe the President will make me Secretary of Pussy.” – Leroy
People Under the Stairs is a movie that I did not like when it came out in 1991. In fact, as much as I loved a few of Wes Craven’s films, the majority of them were like this, just weird and uninspiring without much to care about.
Having seen this film for the first time in a long time, I still don’t like it. However, it wasn’t as bad as I remembered. But it was still weird and uninspiring, as well as boring and pointless.
I don’t understand what this film was trying to be. I guess it’s part horror, part comedy, part social justice, I don’t know. It’s a confusing mess and adding in two cast members from Twin Peaks doesn’t give you the license to be bizarre for the sake of being bizarre. It also doesn’t excuse a stupid picture.
No, actually, the more I think about it, I still hate this picture.
I hate it because its ugly, lame and insulting. Wes Craven is way better than this unless A Nightmare On Elm Street and The Serpent and the Rainbow were just flukes.
The monsters are awful, the psycho people are awful, the characters are awful, the plot is awful, the acting is awful, the direction is awful, the whole damn film is awful.
Yes, this is getting put through the Cinespiria Shitometer. Well, what we have here is a “Type 7 Stool: Watery, no solid pieces. Entirely liquid.”
Original Run: September 22nd, 2014 – current Created by: Bruno Heller, Danny Cannon Directed by: various Written by: various Music by: Graeme Revell Cast: Ben McKenzie, Donal Logue, David Mazouz, Zabryna Guevara, Sean Pertwee, Robin Lord Taylor, Erin Richards, Camren Bicondova, Cory Michael Smith, Victoria Cartagena, Andrew Stewart-Jones, Anthony Carrigan, John Doman, Jada Pinkett Smith, Morena Baccarin, BD Wong, James Frain, Jessica Lucas, Chris Chalk, Drew Powell, Nicholas D’Agosto, Michael Chiklis, Maggie Geha, Benedict Samuel, David Zayas, Cameron Monaghan, Richard Kind, Natalie Alyn Lind, Peyton List, Crystal Reed, Alexander Siddig
Primrose Hill Productions, DC Entertainment, Warner Bros. Television, 66 Episodes (thus far), 42 Minutes (per episode)
*originally written in 2015, near the end of season 1, plus additional updates written later.
I was going to wait until the end of the first season before reviewing this show, as I do with most new shows. I just can’t get that far and don’t think that waiting till the season ends will change my assessment. I’ve tried desperately to get this to work for me. I’ve tried a hell of a lot harder than most of my friends and Batman fans, who all gave up on this a long time ago. I saw some promise here and there but this show fails in just about every way. In short: it is pretty goddamned awful (*note: I no longer feel this way as revealed in the final update).
There are actually only a few things that this show has going for it but I’ll get to those shortly.
If you barely know anything about the Batman mythos and you find pleasure in watching mediocre cookie cutter detective shows, I can see where you might find this watchable. However, if you are a Batman fan and love and respect the franchise, this is a very painful experience.
On one hand, the producers are trying to spoon feed the audience with fan service in every episode but it is forced, poorly executed and unnecessary. In fact, it feels as if the producers read a couple Wikipedia articles about Batman and thought they had an intimate grasp. And the way they handle certain characters, goes to show that they don’t understand them at all. At times it just feels like a cruel joke and it is Fox trolling the shit out of their audience.
For instance, Edward Nygma doesn’t need to speak in riddles every scene, Harvey Dent doesn’t need to display a split personality every other appearance, you don’t need to have constant Joker teases across multiple unrelated scenarios, you don’t need to show a little ginger girl playing with plants every time she’s on screen and Selina Kyle doesn’t need to parkour off of every object whenever she makes an entrance. I also don’t need to be reminded every five minutes about how Jim Gordon is a good cop and every other cop on the force is tainted by something. It is fucking overkill.
The acting is questionable, the writing is more often than not atrocious and despite the over abundance of horribly executed fan service, the show is just plain stupid on its own. It is an obvious attempt at being a cash cow and a ratings grabber and somehow it has worked in that regard, as it is coming back for a second season.
The whole premise of the show makes it a failure from the get-go.
To start, the worst part about most live-action superhero adaptations is the origin. The audience usually finds themselves roughing it through the early bits in an effort to get to the comic book action. Also, how many times has Batman’s origin been told? Now we are given a show that is an overly extended version of the lamest part of Batman’s tale. Who knows how long this could stretch: ten seasons, maybe? Hell, one has been enough.
The other main part of the show, is Jim Gordon trying to “save the city” and destroy corruption. Well, he’s doomed to fail because if he were to succeed, why would Gotham City need the Batman?
As far as characters, Bruce Wayne is okay and I like him being a little shit challenging authority and taking on the evil adults of his world but it isn’t enough to anchor a need for him on this show. Selina Kyle is awful and pretty much a caricature that just happens to look like a young Michelle Pfeiffer. The Poison Ivy character is unimportant and so far useless. All the villains who show up are poorly done and easily defeated. Barbara Kean is the worst character on television. Where did Renee Montoya go? Fish Mooney is sometimes great but mostly terrible. However, I don’t blame these actors, I blame the atrocious writing.
When it comes to positives, Robin Lord Taylor is amazing as the Penguin. In fact, at first, I hated that he was way too skinny to be the Penguin but he’s so good in the role that I don’t care. He is by far, the most interesting part of the show. Almost as good as Taylor is Donal Logue as Harvey Bullock. Then again, when isn’t Logue anything short of great? Ben McKenzie does a solid job as Jim Gordon and I do like Cory Michael Smith as Nygma, the man who will become the Riddler – even though the writers force riddles into every situation he finds himself in. Lastly, Sean Pertwee makes a fine Alfred Pennyworth and is my favorite live action incarnation of the character. Pertwee also looks a lot like his father in his older age and seeing him in action reminds me of the Third Doctor from the classic Doctor Who series.
The show is often times too distracted by its own mess and diverts away from characters with potential to focus on too many small parts in a machine that is too large for its own good. When the show is at its strongest is when the Penguin is on screen, Alfred is kicking ass or when it focuses more heavily on the crime families of Gotham City. The episodes pitting Sal Maroni against Carmine Falcone with a little Fish Mooney and the Penguin mixed in are the best that this series has offered up so far.
I still watch this show because I want to buy into it, I just can’t. The good parts keep me engaged but they are too far and few between. I don’t believe that the show will get better but there is enough good stuff to expand on and save it from being the generally uninteresting mess it is currently. But I probably won’t watch the second season on a weekly basis, as I do now. I’ll wait a year for it to be over with and then binge watch it over a weekend. If it picks up steam and corrects itself, consider me reinvested. If not, I’ll find better ways to spend my time.
Season 2 of Gotham has been infinitely better than the first. The shows is finding its footing and it now knows what it is trying to be. I like that it is creating its own world and veering away from being trapped by the expectations from an already established Batman mythos. The show is doing its own thing and honestly, at this point, I wouldn’t be surprised if Bruce Wayne is killed off before even becoming Batman.
At the end of Season 3, the show has corrected a lot of its early mistakes.
Cameron Monaghan, who plays Jerome Valeska, who may or may not be the Joker but is probably the Joker, is the best version of Batman’s greatest villain I have ever seen in a live-action story. The kid is magnificent and really captures the magic of the comic book version of the legendary character better than anyone I have ever seen. Yes, he’s better than Heath Ledger and he has the same spirit as Mark Hamill who has voiced the character for decades.
Additionally, the show just becomes more interesting as it rolls on, even though it has some dumb plot threads. But when you don’t take this show seriously and just embrace its insanity, it works.
Most of the villains have evolved solidly, especially the Penguin and the Riddler. I also really liked the Mad Hatter story, as well as the plots that focus on Hugo Strange.
Gotham is far from a perfect show but it bounced back, in my opinion. It also works if you just take it for what it is and don’t try to force it into the box that is the already established comic book mythos. I see it now as an Elseworlds Tale, which is a title DC Comics gives to their stories that take place in different realities.
I’m glad I stuck with it as long as I did. For others who have, their dedication has paid off.