Category Netflix

The Witcher (Eps. 1-4)—What’s Streaming?

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By Casey Campbell

I forgot how exciting TV shows can be. I’ve been watching either movies, or shows with no through-line or serialization. I forgot how refreshing it can be to watch something without the standard film structure. While The Witcher may not be perfectly paced, the episodes all manage to blend storytelling in really interesting and surprisingly complex ways. One of the episodes I watched even managed to have me openly questioning what I was watching and where it all fell into place in the series, until an out-of-sync timeline revealed itself. The pacing falters where certain scenes overstay their welcome, or seem to have little to do with the plot at large. Overall, though, the series manages to be a fun, exciting action fantasy series with a high budget and clear care for the material in front of and behind the camera. It’s a Netflix original series.

The Witcher is a fantastical monster hunting and magic wielding warrior out for coin and blood. He’s good at one thing, and he regularly employs his skills. The world of The Witcher is one of harsh high fantasy. Heads roll and blood spills in this gritty medieval world of magic and war. It’s one of those shows that point a finger at humanity for being the real monsters, only this one is well made and a fun watch.

Background: I haven’t really played the games, which is fine for this series as it has nothing to do with the games; I also haven’t read the books, which the series is directly based on. So, I was mostly in the dark to who Geralt of Rivia was, or why he would go on to grunt so often. But now I really really enjoy his character. I can chalk that up to a few things, I think. Henry Cavill’s performance as the lead is so contagiously fun. He’s clearly having the time of his life, and he has the utmost respect for the role. Also, Geralt seems to be the perfect cipher through which a story set in this world can be told. Geralt is a grey middle of morality. He understands that the monsters he kills are sometimes simply violent thanks to hunger or territoriality, or whatever, yet if a sentient creature is deemed a threat he seems to ask questions first, and strike only if needed. It’s because he’s as much an outsider as the “monsters” he gets paid to fight. He’s still a pariah, except with the added brusqueness of a fantasy mercenary with powers and sweet sword skills. Geralt is just a really cool, refreshingly simple character.

For a fantasy series, The Witcher looks absolutely top notch. Normally, when green screen is prioritized for backgrounds, and the central creatures of your story are computer generated, the movie or show can look a bit antiquated—or God forbid for a fantasy series, cheap. But here, the effects are seamless, and the often-used practical effects are both appreciated and amazingly well rendered and tactile. Fantasy needs to have a great sense of worldbuilding so you can just fall into the story and enjoy all of the crazy things that take you further away from Earth. The Witcher succeeds at delivering a unique fantasy world with great creature effects and thankfully not spoon-fed lore regarding the magic and people of the world. For the most part, it seemed like the exposition was earned and integrated into the plot as well as it could be. There was one eye-roll inducing bit of dialogue that openly mocked a character delivering exposition, but that was once thankfully. And not cute, regrettably.

Imperative to mention are the ample and incredibly skillful action sequences seen throughout the show. A complaint of mine, as an action-junky, is that more of the show isn’t as well paced and exciting as the fights. The dialogue heavy scenes are far from bad, but when held next to the brilliant and awe-inspiring climactic sword-fight seen in the first episode, the slower scenes leave a lot to desire. I was seriously left with my mouth agape during that shit. It was amazing.

Some of the pacing is iffy, but the action and characters are engaging enough to warrant a watch of this action series. It’s nice to get lost in a fantasy world, even if it’s a bit bleak at times. And it’s also nice to see Henry Cavill giving a shit about the character he’s playing, because the dude is a good actor when given the right roles.

You can check it out on Netflix.

High Flying Bird—What’s Streaming?

Casey Campbell Leave a comment

By Casey Campbell

I’m going to open this up with the fact that I hated director Steven Soderbergh’s previous film Unsane. It was famously shot on iPhone, which I viewed as a gimmick rather than a storytelling component, and it looked like shit. Mind you, they released it theatrically and I saw it on a large screen and the picture was grainy and ugly. Whether or not that informed my initial viewing of his most recent film High Flying Bird is unclear. I really hated Unsane. But I’ve liked his other works (even Kafka, which I’ve never heard a single soul talk about) so I gave it a shot. It’s a Netflix original.

Like Unsane, it’s shot on iPhone, as opposed to some big expensive professional movie camera. Unlike Unsane, it actually looks good (and has an engaging script).

High Flying Bird is about an ambitious talent agent in the midst of an NBA lockout looking for a new star. Even though Soderbergh didn’t write it, it must be said that it is very much a Soderbergh movie, so the short summary doesn’t explain everything that goes on. In fact, it was written by Moonlight story writer Tarell Alvin McCraney, which explains why all of the dialogue is so punchy and interesting. I have no interest in sports really. Yet, this movie about the nitty gritty of contracts and legality that underlies the sport itself is a compelling human story about ambition. It also seems like the kind of script that offers extra care to it’s central sport in many subtle (or possibly unsubtle, again I know little) quips.

The quips include a offhand joke about Wilt Chamberlain’s famously high body count—when it comes to casual sex—that even I was able to get. I can’t imagine how many casual things an actual fan would be able to chew on. At the same time, the witty dialogue is perfectly tailored to the delightfully scene stealing André Holland. The dude is amazing in every single project he’s a part of. He was a standout in the Soderbergh directed Cinemax series The Knick, and delivered a perfectly melancholy conclusion to the previously mentioned Moonlight. If Soderbergh and McCraney are important pieces to the puzzle, Holland stands out as the glue putting the whole thing together.

Another rather important element of the film that shouldn’t be avoided is the racial background to the story. There is a lot of discussion on personhood, blackness, and the way the NBA has seemingly cashed in on and exploited the players in their organization. I know little about the NBA, as I stated, but this extra level of the story added a nice layer of conflict and personal intrigue to an already personal story.

This and Soderbergh’s previous movie shot on iPhone have an interesting relationship with the technology that creates the images. There are certain plot beats that rely on interpersonal technology, specifically through the use of phones and social media, that speak volumes. In Unsane, a possible stalking via technology angle could’ve brought forth a compelling and underlying fear to the story that shows it’s cards way too soon. But here, there’s a bit more extrapolation. Twitter is used to stoke a fire under someone’s ass and stir attention. Netflix itself is mentioned as a way of earning someone a pedestal for public consumption. It’s clear to me that there’s a connection with the way fame is earned now and the way the film was shot, even if it may not seem as blunt as that. In fact that entire angle isn’t necessary to make this film work, though it really does. It looks great, with some nice classic Peter Andrews shot composition (Peter Andrews is Soderbergh’s alias when shooting his own films and I’m not sure why). The only times the shooting falters is when there isn’t enough lighting in barely three or four indoor shots and the dark colors get muddled in the background. Otherwise, even with the camera used at the top of my mind, I barely noticed.

High Flying Bird is a movie that won me over through sheer ambition and clear storytelling. I couldn’t tell you a single thing about the players in the NBA, or how their organization is run, but this movie made all of that decidedly interesting. I may not watch basketball, but the way the business behind the sport is portrayed was unlike traditional sports stories. I cared about the characters and couldn’t wait to see what was next. It’s a Netflix original, meaning it’s streaming there now.

Sólo con Tu Pareja—What’s Streaming?

Casey Campbell Leave a comment

By Casey Campbell

Sólo con Tu Pareja operates as a sex comedy, finding humor in the many escapades of protagonist Tomás, but rounds itself out with a nice message. Surprisingly this is also a movie about sexual degeneracy, a false AIDS diagnosis, and suicide, so go figure.

Alfonso Cuarón’s feature debut is definitely something to see, and thanks to Netflix it’s now easier than when it was released in 1991. The movie was basically banned in it’s native Mexico, with the government refusing to distribute it to theaters and audiences. It earned awards and international recognition after being shown at festivals before Mexico finally decided to distribute the movie in 1993. From there, it was a success at the box-office.

Now, this is a movie that’s a successful comedy while dealing with some severely unfunny issues, and yet it works and audiences liked it. I can’t imagine any American studio producing something like this, though. And if something similar to that had happened, this movie would’ve fallen flat on its face. It may be cultural differences or something but these generally taboo topics make for some great cringe-worthy moments of self-reflection. It’s not everyday I laugh at a character contemplating suicide.

It’s also a really creative sex comedy, in that there’s a butt-ton of sex, but it’s all in service of the characters and to a lesser part, the story. Tomás is a sex addict, like Michael Fassbender in Shame, though it’s never really something that is portrayed as tragic. It’s partially how he gets himself into the main conflict, but it doesn’t really carry any weight. No one, other then the women he uses, really judge him for his acts. It isn’t until the end that he begins to question his choices, and that’s thanks to an AIDS diagnosis. If it wasn’t for the aforementioned comedy, or the pleasing cinematography of Emmanuel Lubezki, this movie could’ve been unwieldy and uneven. In the end the clashing tones actually mingle and the whole thing is a delight.

Alfonso Cuarón is a great director, and it seems like he always has been. Sólo con Tu Pareja is a mature and confident debut that does the impossible in making me laugh at sexual screwball comedy. It’s also cool to see how far Cuarón has come and where his career has taken him in hindsight. It’s definitely fun to see that the best Harry Potter film was directed by the guy who made a bunch of sex movies.

If you’re in the mood for a wild comedy that’s around 90 minutes long, look no further. Sólo con Tu Pareja is streaming on Netflix.

Burning—What’s Streaming?

Casey Campbell Leave a comment

By Casey Campbell

Lee Chang-dong’s 2018 film adaptation of Haruki Murakami’s short story “Barn Burning” is an uneasy meditation on relationships. At least, that’s what I took from it on my initial viewing. For a two-and-a-half hour long movie, Burning defies expectations both in terms of pace and satisfaction. The film slowly but surely allows itself to unravel in your psyche, offering new bizarre pieces to an ever expanding puzzle of compelling human drama. If you’re in the mood for a sweepingly gorgeous genre-bender, Burning is available now on Netflix.

The movie is best viewed when in complete ignorance of the plot and genres. So, SPOILERS, though light they may be. All I can say is that Burning is about a simple guy back home from college to look after his dad’s house. He happens to reconnect with an old friend from his childhood and agrees to watch her cat while she’s away on a trip to Africa. She returns with a friend, only it’s tough to really make out his motivations.

I’m not familiar with Lee Chang-dong’s filmography, as this is the first of his films that I’ve seen. But if this is what he can do with an adaptation, I’d love to see more of his work. One of the coolest things about Burning, other than the stellar acting, is how supremely cinematic it all is. “Show don’t tell,” is one of the central doctrines of film, and Chang-dong allows the camera to take in as many nuanced reactions he can from the talented trio at the forefront without needing much dialogue. A lot can be understood and inferred from the faces of the performers.

Rather than have a character explain some kind of hard truth about their father, the scene cuts to a courthouse where the father is being arraigned. It’s this kind of sparse storytelling that makes the movie feel so real. You, as an audience member, learn about the characters based on what they do and it’s very physical. No character is perfect, and they’re all shown as flawed humans. That adds to the intrigue and really keeps you on your toes and engaged.

Basically, Burning is a very worthwhile two-and-a-half hours and it’s something that’s better when knowing nothing about it. The cinematography is always beautiful and a nice storytelling device at points. The tone and music is strange in a compelling way. The acting is top notch. Give it a go if you’re willing to let down your guard for a bit. I hope it’s worth it in the end, because I definitely thought it was.

Tremors—What’s Streaming?

Casey Campbell Leave a comment

By Casey Campbell

Kicking off What’s Streaming? is a personal favorite, and one that I’m sure many have already seen. Tremors is the kind of movie that is arguably perfect for what it is and yet, like many genre movies, a glut of sequels works toward blighting the series as a whole. Forget Tremors 2-6. I certainly try to and I haven’t even seen them. Maybe one day. But until then, the first Tremors is an absolute delight and a standout in both 90’s movies and monster movies in general. That being said, Tremors is currently available on Netflix US, and you should either check it out for the first time, or revisit it if it’s been a while.

I was introduced to Tremors as a kid and probably caught it on Sci-Fi (now SYFY for some reason) and the elements that stuck with me were the dry and dusty setting, Kevin Bacon (because I guess even as a child I could recognize him by name), and the super gross worm things that ate people. These elements still stick out, because obviously, but with fresh eyes the movie has taken on new significance for me.

Take, for instance, the impeccable script by S.S. Wilson and Brent Maddock. And that’s not even hyperbole. The script is basically perfect. We’re introduced to the incredibly charismatic team of Val and Earl, played by Kevin Bacon and Fred Ward respectively, where we learn they’re handymen for the tiny secluded town of Perfection, Nevada, but that they have dreams of leaving and finally doing something with their lives. Along the way, they meet graduate student Rhonda (Finn Carter) who is studying the seismological phenomena of the area.

While I personally, even as a kid, thought of Kevin Bacon being the star of this movie, it’s clearer now that it’s a group effort. Every supporting character is fleshed out and given motivations, which is only helped by engaging performances across the board. Hell, one of the townspeople went on to star in every successive sequel (it’s gun nut Burt Gummer, played by Michael Gross, by the way – spoilers I guess).

Fun things to note are the little character details that later come into play. It’s simply Chekhov’s Gun, which goes towards making this a lean script with barely any fat. But again, this is a simple monster movie, so the script being so well written and carefully constructed adds so much to the overall film.

By the time the main threat of the movie rears it’s ugly eyeless head, we’ve already been given reason to care about the survival of Perfection and it’s very imperfect inhabitants. Now, this worked wonders for Jaws with the Brody family, as well as it’s famously ominous score, so that when the shark only shows up for a few minutes (thanks to a hellish amount of technical difficulties with the mechanical beast) it’s still entertaining and threatening. Thankfully for all involved with Tremors, the script and characters are bolstered by some still incredible special effects.

Alec Gillis and Tom Woodruff Jr. of Amalgamated Dynamics Inc. did the monster effects in Tremors—they’re basically the team that makes things that you either thought were computer generated monsters, or live animals. Check out this short video for more info on them, because they’re insanely bad ass.

With such tangible monsters and human characters, Tremors is a monster movie that goes the extra step of being a genuinely great film. As for the sequels, I may just have to check them out to see what good ol’ Burt is up to. I’m known for ingesting some foul film, so I can’t imagine they’ll be too bad.