“Locke & Key” Review!

Netflix’s Locke & Key opens a doorway into an expansive world of dark, cosmic magic that can only be described as deep: there are keys that lead to other keys, which open doors within doors, which then lead to puzzles, which connect back to clues, which are all supposed to interlock(e) – the problem comes toward the middle of the ten-part series, when it becomes clear that there’s no good way for everything to come together, because of a single plot point that splits the series’ focal point in two rapidly diverging directions, which never reunite (and never seem likely to, assuming there is a second season – there’s certainly set-up for one).

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Without getting into spoilers, I’ll explain it like this: after a couple of really strong episodes, Locke & Key introduces an idea that immediately forces the adult characters – including the series’ most compelling character, recovering alcoholic and traumatized widow Nina Locke (Darby Stanchfield) – and the teen or young adult characters – specifically her children, Tyler (Connor Jessup), Kinsey (Emilia Jones), and Bode (Jackson Robert Scott) – to pursue two very different paths. The adults are left with many of the hard-hitting emotional and dramatic moments, but the kids have to awkwardly carry the horror/fantasy plotline to its conclusion. This divide is…uncomfortable, to say the least, and it also makes both parties look bad: the adults seem naive and negligent for barely ever interfering in their kids’ lives; the kids come off as idiotic and downright mean for never going to the adults for help or advice. And again, this is all because of one plot-point that is never even properly explained: this particular plot-point also seems oddly kiddish in a series that tries to be more edgy, dark and mature than it probably needs to be.

That darker vibe, while inconsistent, does allow for a somewhat memorable antagonist: the beautiful, haunting demon lurking in the well, whose actual name – “Dodge” – is far less threatening than either of her nicknames, “Well-Lady” or “Echo”. Portrayed by Laysla De Oliveira, the ancient demonic entity is able to do a fair bit of damage and wrack up an impressive kill-count, all with style and grace, even while being restricted by another very specific plot-point that forbids her from murdering absolutely everybody in her path towards…whatever it is she’s fighting for (it’s never actually explained what that is, making her sudden shift from “haunted house ghost” to “immortal Lovecraftian shadow goddess” inexplicable, yet still entertaining).

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Like Dodge, the entire series gets an upgrade about halfway through – which is both a blessing and a curse, as it simultaneously raises the stakes for all the protagonists while also closing the door on the fun, spooky treasure-hunt adventure that made the first few episodes so unique. The central trio of Locke children splits up, with the two older kids pursuing the main plot with their rapidly expanding group of high-school friends and enemies, while Bode (the most interesting of the three by far) is left at home, shoved to the sidelines, and kept in the dark…despite being the one who initially found the keys and unleashed Dodge. This series has a hard time remembering who its main characters are, at times. The high school story is intermittently dull, with subplots related to clam chowder, charity fundraisers, poorly-developed love triangles and generic bullies. It’s no coincidence that this coincides with the sudden, strange decision to make the story all about Tyler Locke, the most boring, familiar, and downright annoying of the main trio (he seems to have a smoking addiction in the first episode, yet turns on his mother for drinking later in the series: hypocritical much, Tyler?) and the one who seems to have the least interest in the plot.

I might sound like I’m coming down hard on this show. But the series does have moments – sometimes even scenes – of true greatness: especially when it comes to the many inventive or witty ways in which the characters use their magic keys, either for good, evil, or stupid pranks. Kinsey using the Head Key to step inside her brain and battle it out with the personification of her own fears and insecurities? Excellent stuff. Dodge using the Anywhere Key to order breakfast at a small-town diner, go shopping at a high-end fashion mall, pull off a diamond-heist and attend a nightclub party all within a few moments? Fantastic. Anything involving the Ghost Key? Brilliant.

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Unfortunately, the scenes involving magic often require…magic, a.k.a. a CGI budget that this show clearly does not have at its disposal. The fight scenes with monsters, ghouls and demons are often all too brief, and darkly-lit (probably for the best, as the notable exception to this rule, involving a zombie-type creature attacking someone in broad daylight, looks painfully fake), while keys like the Matchstick and Ghost Key are used sparingly. This wouldn’t even be a problem if the series didn’t try to make itself larger than it had to be – when you’re just running around a spooky mansion, you don’t really need a whole bunch of special effects: when you’re on the brink of unleashing primordial powers from beyond the edge of the world into your small coastal town, that’s something else entirely.

Another issue with the magic system is that it never gets explained: why does it exist? Who made the keys, and why? What is Dodge? What is she doing? Who are the Lockes, and where did they come from? These are questions that are not only never answered, but never get raised in the first place. It’s not like there’s no reason to bring up any of these very important points: the Locke family are fighting to keep themselves and their loved ones safe, yet they never even seem to question how freaky and terrifying their lives have become. By the end of the series, they seem to have all nonchalantly settled down into a daily routine of nightmares, monstrous encounters in the woods, murderous escapees, demons breaking-and-entering, and a weirdly high number of people attacking each other with hammers (I mean, I get it, Nina is a carpenter and all, but are there no other available weapons in Keyhouse? They’ve got not one, but two wicked-looking swords mounted on the mantelpiece, and yet they choose hammers and plastic lightsabers to vend off intruders? Seriously?)

The series is fairly progressive, though fans of the original Locke & Key graphic novels will be disappointed to hear that Duncan Locke (Aaron Ashmore), an openly gay, happily married character in the comic, has a very small recurring role, and is nowhere shown to be gay, as he’s conveniently separated from his husband (whose name is, to be fair, mentioned once or twice) throughout the series.

All in all, Locke & Key has an amazing premise, and a couple of really good episodes: but it doesn’t take long before the plot, the characters and the entire series get lost in the dark. Will you find what you’re looking for amid the Gothic splendor of Keyhouse? I certainly hope so, because I feel like there’s potential somewhere in this story: potential that could be unlocked in a second season.

Series Rating: 5.9/10

“The Witcher” Review!

Netflix’s hotly-anticipated adaptation of Polish author Andrzej Sapkowski’s fantasy novels and short story anthologies hit the ground running yesterday, quickly gathering a tightly-knit fan community and garnering praise from viewers. Its low Rotten Tomatoes score suggests disapproval from critics, but for my part, I have to say I’m one of those who simply can’t get enough of the “grimdark” fantasy world that Sapkowski created, and showrunner Lauren S. Hissrich has lovingly brought to life.

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The world of The Witcher is a twisted, messed-up place filled with hostile countries and city-states tenuously held together by the secret machinations of royal mages. In this world, mutated men called Witchers roam the violent backwoods corners of The Continent, hunting monsters for a price and carving out brutal, lonely lives for themselves. Our protagonist, the semi-heroic Geralt of Rivia (Henry Cavill) is one of the most legendary, but also the most feared and reviled: where he goes, trouble follows, and people are eager to chase him away whenever he comes close.

Cavill, despite playing a brooding, hulking warrior devoid of human emotions, is surprisingly charismatic and endearing – his enthusiasm for the source material is evident (Cavill has an almost encyclopedic knowledge of both the novels and the accompanying video games), and that same enthusiasm shines through most clearly in his action sequences and fight scenes, all of which Cavill himself performed without the help of stunt doubles. And even though many of us worried that his long, silvery locks and bright yellow eyes made him look like he was wearing a Halloween costume, Cavill rocks the strange but unique style – except in Episode 2, for whatever reason: possibly because it’s the most brightly lit in the entire season, and it accentuates how unnaturally yellow and inexpressive his contact lenses really are. I understand that Cavill doesn’t want to give up the coveted role of Superman in the DCEU – but after watching The Witcher, I think it should be clear that, with his gruff voice and intense physicality, the actor was born and bred for roles like these, where he can let loose and be a feral, ferocious, demon-slaying mercenary. It’s impossible to even imagine him going back to the squeaky-clean Superman persona after this.

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But while Cavill is getting a lot of attention for carrying the show, the talents of his female co-stars Anya Chalotra and Freya Allen are just as worthy of praiseworthy ballads (speaking of which, I’m going to have “Toss A Coin To Your Witcher” stuck in my head for weeks). Chalotra, especially, does a fantastic job as the troubled sorceress Yennefer of Vengerburg, whose journey begins in a town full of bigots who mock her for her physical disabilities – her own father eventually sells her off to a mage for a bargain price. But Yennefer rises above the haters and becomes one of the series’ strongest and most iron-willed characters, as she trains to become The Continent’s most powerful mage. Her story would be especially fascinating no matter what, because it brings us, the audience, into contact with the various guilds of magicians and sorcerers who command The Continent’s destiny, but Chalotra manages to elevate every scene she’s in and make Yennefer our eyes and ears in the show’s most obviously fantastical subplot. She doesn’t get as many fight scenes, but those that she does have (especially in the finale) are epic. Freya Allen portrays Princess Cirilla, or “Ciri”, of Cintra, a stubborn and resilient young girl who is forced to flee from her grandmother’s sheltered palace after the walls are breached by invaders from the shadow lands of Nilfgaard. Alone, and surrounded by people who want to kill her, Ciri sets out into the wilderness with only a name to guide her: the name of Geralt of Rivia, who is supposedly destined to help her. Allen is very good, and possesses a cheerfully expressive face, but her character is rather enigmatic, even by the end of the season, making it ever so slightly more difficult to relate to her in the same way as the older, wiser Yennefer.

The series is structured as something of an anthology, so many of the supporting cast only make a handful of appearances – but even so, there are several highlights. Jodhi May as Ciri’s grandmother Queen Calanthe is a complex and divisive character who is alternately loved, respected, feared or hated – and her unpredictability keeps her friends and enemies on their toes at all times. Anna Shaffer’s Triss Marigold is the show’s most traditionally “witchy” witch, and does a very good job of it; while Mimi Ndiweni is utterly terrifying as the Nilfgaard mage Fringilla Vigo, a callous, sadistic conqueror. The male cast includes Geralt’s on-and-off traveling companion Jaskier (Joey Batey) who has a surprisingly modern vocabulary and a tendency to very nearly break the fourth wall at times (“There I go again, just delivering exposition” he comments at one point), and daredevil Vilgefortz (Mahesh Jadu), who’s stunts and unique brand of magic are incredibly entertaining to watch.

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At its heart, the show is a cunning blend of subversive fantasy and horror – and the horror elements are particularly strong, mostly because they’re intricately tied up in the world’s magic system. It’s never explained exactly where many of The Continent’s monsters, ghouls and demons come from, but it’s fun enough bracing yourself for the jump-scare moments when they burst from the ground, or from tombs, or lakes, or tall grass, etc, etc. Probably the best of the lot is the demon princess living in a crypt below a Temerian castle that seems to have been pulled straight from a Dracula adaptation (Temeria itself seems to be obviously based on Transylvania), but other highlights include a malevolent shapeshifter that eats children, and a dragon with a peculiar secret – I’m sure Sapkowski’s novels have plenty of material to draw from in the second season, but I wouldn’t mind seeing a Witcher take on the character of Baba Yaga, who I think would fit in perfectly with the assortment of other creatures on the show.

This is a non-spoiler review, so I won’t say too much about the series’ conclusion, or its various twists, turns and surprises – but I can at least assure you that almost all of them are legitimately exciting, and there are a number of storytelling devices employed that shake things up in an intriguing and often suspenseful fashion. Netflix is often criticized for making their original series’ too long, but The Witcher is a perfect length – in fact, by the end of it, you’ll probably be left hungry for more (not to mention angry at Netflix for concluding this first season on a moment that isn’t quite a cliffhanger, but definitely sizzles with palpable tension).

So if you’re looking for a new, dark, twisted fantasy tale, or if you’ve been left disappointed by Game Of Thrones and want to fill the gaping void in your life, try out The Witcher (Thrones fans, in particular, will be pleased to know that the series has many of the former series’ same hallmarks, such as gritty realism and brutal fight scenes, while including things HBO’s long-running fantasy drama never dared to add, such as unmistakable magic). It’s a show that will leave you thrilled, a little scared for your life, and eager to see more of Sapkowski and Hissrich’s world.

Series Rating: 7.9/10

“Underwater” Trailer!

Kristen Stewart is once again taking the internet by storm, only a month or two after the Charlie’s Angels trailer spurred an online tidal wave of rabid praise and swooning for the actress, whether because of her fashion statements, her smile, her short hair, her yoga pants; this time, though, the Kristen Stewart fanbase is taking it a step further – in the first trailer for Underwater, their idol is not only the paragon of style in her big round glasses, but is also firmly establishing herself as one of the Greatest Actresses of this generation. I have yet to see the evidence (that’s because it’s so subtle, apparently), but I’ll give her this: those glasses alone make this trailer much more interesting – but not quite enough.

Honestly, I’m still trying to figure out exactly what this film is supposed to be, but that might be because I’m so focused on the glasses that I wasn’t paying attention. I’ll take a wild guess it’s a horror thriller, but it can’t be that horrifying, because it’s still got a PG-13 rating. And is there a reason why the “monster” is being kept hidden? Shadowy glimpses of tentacles and some sort of vaguely frog-shaped silhouette are all well and good, but it’s not a lot to go on. And why is the submersible laboratory reminiscent of a sci-fi spaceship? Why do I feel like this is not an accurate representation of what it’s like to be a marine biologist?

And, most importantly, what is going on with the film’s logo? This is something that has continuously bothered me while watching and rewatching this trailer: the title font, which slowly, painstakingly, spells out the word Underwater in the most boring typeface I’ve ever seen, has nothing to do with the sensation of being underwater, and it doesn’t add anything to the film’s look, atmosphere or overall style. And yet it’s presented as if it’s so epic, it deserves to be part of the main action in the trailer – if they were going for that effect, why not at least present it on a background that has some water-ripple effects or something going on? It just looks like a missed opportunity to me.

I’m sorry, Kristen, but your performance simply isn’t as important as title-card layout. I feel like I nit-pick about the weirdest things in trailers sometimes, but this one had to be mentioned.

Honestly, the conversation about Stewart’s glasses has robbed the other actors in this trailer of any chance of recognition: I mean, seriously, are you going to completely ignore somebody like Mamoudou Athie, who gets, what, a single line of dialogue in the trailer – if even? You are? Well, that’s just unfair. I tell you, nobody stands a chance against Kristen Stewart these days: even in Charlie’s Angels, people were too busy obsessing over her haircut to even notice the incredible talent surrounding her, like Patrick Stewart and Naomi Scott. It’s the same here: that Lovecraftian sea-monster is going to take one look at her glasses and scamper back into whatever hellhole it issued from, because it knows it can never summon the Bisexual Energyâ„¢ that Kristen Stewart can.

What do you think of the first trailer for Underwater? Is Kristen Stewart too powerful to be stopped at this point? Leave your thoughts in the comments below!

Trailer Rating: 4/10

“Cats” Trailer Review!

KILL IT! KILL IT WITH FIRE!

The first trailer for the upcoming holiday musical Cats has dropped. I don’t…I don’t even know what to say…this is…it’s…disturbing. It’s not remotely charming, or sweet – it doesn’t look like something you’d ever want to take your family to go see for Christmas. The cats are repulsive, grotesque and terrifying. The whole…everything…okay, I just need to breathe for a moment and get some bleach for my eyes. Hold on a second.

Okay, I’m back: my eyes still don’t quite understand what they just witnessed, but my brain does – I just stared deep into the cavernous abyss of hell. I just watched anthropomorphic cats more frightening than the recent Sonic the Hedgehog, dancing around and grinning toothily at each other, singing and prancing about, a frenzy of flailing limbs and almost nauseating imagery. These cats are the product of one of Tim Burton’s nightmares. If you close your eyes while viewing the trailer, you might be able to survive the experience, just listening to Jennifer Hudson’s decent rendition of “Memories” – but if you dare to peek, you’ll be greeted with…whatever it was that I just saw. I don’t even know how to describe it. The only good thing about this trailer is that the thumbnail doesn’t display any of the terrors within, so I don’t have to look at it ever again.

Not only does it not look like a Christmas movie, it doesn’t even look family-friendly: it’s just creepy and gross. The fact that Universal Studios would actually allow this to see the light of day is just mind-boggling to me. I wouldn’t be surprised if it gets scrapped, though, considering how overwhelmingly negative the reaction has been (except from certain communities who find anthropomorphic animals attractive, but let’s just not even go there, okay?)

So…um, yeah. If you’re looking for a holiday horror movie, this might be your cup of tea – I don’t know why else you would ever consider seeing this.

Trailer Rating: 1/10