Noisemaker Reviews

music and movie reviews from an avid noise maker.

[noisemakerreviews]

Ozzy has lost his touch

Let me start off this, albeit critical review by saying that Ozzy Osbourne is such an integral part of my life and personality, and has been from the wee age of 10. I say all of the following with love:

The Oz-Man is getting older, as we all know, and is battling health issue after health issue. We can’t expect the crazy, eccentric man who rose to further stardom after his departure from Black Sabbath here in 2020. Though the man hasn’t lost his wit or spirit, this album just didn’t hit the mark. 

I believe that his last album, Scream, now a decade old, was the beginning of the end. I really enjoyed that one back in the day and I still listen to songs off it, but again, it was the beginning of the shift of his style. We can likely attribute this to his ever-changing musical lineup rocking behind him on-stage and in the studio. From Randy Rhoads to Zakk Wylde to Gus G, he’s struggling to find his niche. I believe we can all agree that the magic happened with Rhoads and Wylde. 

But I digress.

The album.

I listened to it on my way to work this morning (as usual) and a lot of the songs I’d listened to countless times already when he slowly began releasing them over the last six months. Even then, I wasn’t too impressed. The lyricism just isn’t there and the music is pretty basic. The chord progressions and solos are stale and I’m not a super fan of the way everything came together. It’s so reminiscent of Scream, just... worse.

I read that he wrote this album in four days. Which, “Paranoid” was written in less than half an hour, and that’s Sabbath’s most popular jam, so... I couldn’t judge much. But after listening to it, it seems obvious. Though it’s an obvious goodbye letter to his fans, and a glimpse into the fear he stated he felt during his bump in the health road over the holidays, I can’t help but wonder if we would’ve just been better off with a single or EP. His collabs were great, the titular song with Elton John brought me to tears, and nobody can deny his two fusions with Post Malone are gorgeous. As far as his solo songs go... Really, the only ones that stood out to me were “Today Is The End” and “Scary Little Green Men.”

“Today Is The End” is, again, a goodbye letter. We all know this. And “Scary Little Green Men” reminded me of old Ozzy. The madman who wrote his diary all those years ago. The rest were... dare I say it, meh.

I will always love him and he will always hold a dear place in my heart. He will always be the Prince of Darkness and the King of Metal. I don’t think anyone will ever try to dethrone him or even attempt to do so. I just think the rockstar should sit back, enjoy his retirement, and focus on his health. He has given us decades upon decades of irreplaceable entertainment that will live on until the end of time, and we can’t ask for much more than that. Now we, as loyal and loving fans, should just thank him and let him rest. 

★★★

[noisemakerreviews]

Halsey’s “Manic” defines lyrical poetry

This morning on my commute to work, I decided it was the perfect time to listen to Halsey’s third studio album Manic.

And it didn’t disappoint. 

I have a pretty boring, hour-drive to work. There’s nothing memorable on either side of the road, save for a gas station or two, or occasionally a dead possum or deer. There’s almost always someone going an annoying amount under the speed limit, and a two-lane highway makes it difficult to have a smooth drive on any given day. Usually my commute drags because I listen to the same songs I’ve been listening to since I was twelve. I think I spend more time skipping songs than actually listening to them. 

However, I was completely sucked into the raw, passionate world Halsey presented to us in Manic. It’s a self-portrait painted in the most diversely musical way, and it’s an exploration into the heart of a girl longing for love in an unforgiving world. Halsey has battled with bipolar disorder, which is partially where the title comes from, as well as its sonic twist of genres meshed into one explosion of an album. 

As someone who has dealt with mental illness and, for the most part, overcome it, this album touched me in a number of ways. And as someone who has suffered through a few bitter heartbreaks, there are many lines in several of her songs that I’m sure went through my brain a time or two in my life. 

I have a few favourites off the album: “Finally // Beautiful Stranger,” “3am,” and “929.” I think all three of these encapsulate the aura of the record and what Halsey was trying to do in this emotional diary. If you don’t listen to any other songs on the album, check these out at the very least. If you have time for one more, give the primordial song “Ashley” a listen. 

It’s only 17 days into the year and I already think Halsey has given us the best record of 2020. Definitely her career, so far. 

★★★★★

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‘Joker’ Paints An Uncomfortable Picture of Today’s World

Never did I think I’d see the day where I could parallel even the darkest of Batman themes to the world we live in. 

Todd Phillips’ latest blockbuster Joker stars Joaquin Phoenix as the clown prince of crime we all know and love. Phillips’ other films include the Hangover trilogy, but this new film doesn’t have a happy go-lucky trio trying to remember their drunken stupors and find their fourth mate. 

Joker makes the audience laugh, but in a nervous, sort of uncomfortable way. 

At the Venice Film Festival, Joker received an eight-minute standing ovation. 

Reviews poured in following the Italian premiere and they backed up the hype. Mark Hughes of Forbes said, “The fact is, everyone is going to be stunned by what Phoenix accomplishes, because it’s what many thought impossible — a portrayal that matches and potentially exceeds that of The Dark Knight’s Clown Prince of Crime.”

The film opens with Phoenix touching up his makeup in front of a vanity. He hooks his fingers in the corners of his mouth and pulls them upward in a smile, downwards in a frown, then back up again; a single, mascara-stained tears roll down his cheek, and laughter ensues. 

Phoenix plays Arthur Fleck, an eccentric man with a funny laugh and a horrifying past, searching for his identity. The film encapsulates Arthur’s journey with himself and his downward spiral into becoming the Joker.   

There are some prevalent themes within Joker that are worth talking about; the most prevalent being mental health and its effect on people in today’s society. There are several scenes in which Phoenix is sitting in front of his therapist, and she eventually jerks the needle off the record and informs him that the city has cut the clinic’s funding and their meetings must come to an end. The therapist goes on to claim that the higher-ups, “don’t give a shit,” about people like him or her. 

According to the National Survey of Drug Use and Health, in 2016, 9.8 million adults aged 18 or older in the U.S. had a serious mental illness; 2.8 million of those adults were below the poverty line. Insurance companies have also been known to skimp when it comes to mental health cases, which makes it that much harder for people relating to Arthur to seek help. According to a study published by Milliman, in 2015, behavioral care was four to six times more likely to be provided out-of-network than medical or surgical care. In President Trump’s proposed 2020 budget, his administration aims to cut $241 billion from Medicaid, an assistance program that provides healthcare to low-income Americans.

Dancing is a symbol that is heavy in Joker. According to a Harvard study, “dance helps reduce stress, increases levels of the feel-good hormone serotonin, and helps develop new neural connections, especially in regions involved in executive function, long-term memory, and spatial recognition.” After especially tense scenes, Arthur begins a slow, emphasized dance routine that is hauntingly beautiful.

 With mental health being such a prevalent theme, Arthur clinging onto dancing as a coping mechanism or escape from the world backs up the analysis that he’s doing it to improve his mental health — or at least attempt to. 

In any Batman rendition — comics, movies, TV shows, video games — Gotham is always on fire… literally. In Joker, we see a bright Gotham in the beginning, with normal big-city crimes happening: teenagers stealing things, muggings, etc. By the end of the film, Arthur has bred chaos in the streets, and we see the imagery of Gotham that has become so prevalent within the Batman universe. In both Arthur and Gotham’s descent into madness, there’s an arc that’s ever present: protesting the elite. 

All around the country, protests have emerged to combat the elite. Most recently, climate change has brought criticism on the world’s elite members and their inability to make a change. In the past, police brutality has created protests in riots from victim’s families and their supporters, calling for change in law enforcement procedures. Countless marches have been held in response to several pieces of legislations passed (abortion laws, Planned Parenthood budget cuts, LGBTQ+ rights). 

“Kill The Rich” is a headline that pops up time and time again throughout the film, feeding into this “protest the elite” arc. Arthur guns down three rich men in the subway following their harassment of a woman and a physical altercation between himself and the men. This sparks a movement within Gotham that empowers Arthur and makes him feel noticed, something he’d never experienced in his life before. Citizens of Gotham supporting this movement don clown masks to imitate the suspect, aka, Arthur. 

Joker has faced its fair share of backlash. Stephanie Zacharek of Time Magazine took no prisoners in her review, stating that Joker, “lionizes and glamorizes Arthur even as it shakes its head, faux-sorrowfully, over his violent behavior.” Other reviews have had similar opinions. In 2012, a mass shooting broke out at a Colorado movie theatre during The Dark Knight Rises premiere. The assailant fatally shot 12 people. Family members of the slain victims wrote a letter to Warner Bros. expressing their concerns. 

Sandy Phillips, mother to 24-year-old victim Jessica Ghawi, told The Hollywood Reporter, “I don't need to see a picture of [the gunman]; I just need to see a Joker promo and I see a picture of the killer … My worry is that one person who may be out there — and who knows if it is just one — who is on the edge, who is wanting to be a mass shooter, may be encouraged by this movie. And that terrifies me.”

In what is perhaps its most iconic scene, Arthur eccentrically dances down the stairs that we see him trudge up throughout the film. This is also the first time we see him in that iconic purple suit, green hair, and a full face of makeup. He is dancing to Gary Glitter’s “Rock and Roll Part Two,” which has earned the film more backlash. Gary Glitter is a convicted pedophile currently serving a 16-year prison sentence. According to CNBC, Glitter is allegedly slated to receive royalties from the use of his song in the movie. 

People took to Twitter to post their opinions about the film. One user tweeted, “#JokerMovie was the most brutal, uncomfortable and tense movie experience I’ve had in a long time. Joaquin Phoenix is chilling. The film was spot on and did everything it should have for a character like the Joker.”

Another user tweeted, “Outstandingly Disturbing. Prolific. Necessary Blessing to Modern Cinema.”

As much as I enjoyed the film’s premise, production, and Phoenix’s performance, I do think there are some troubling themes that need to be brought up. Arthur often justifies his heinous actions by stating “they deserved it” and using the defense that society treats “people like him” like “trash” so, they should all die. He feeds into the “Kill The Rich” movement that he involuntarily created in the subway when he committed what we presume to be his first murder(s). 

Though I know the concept behind the Joker character, I can see how this can be construed as glorifying gun violence. However, we can’t have the Gotham supervillain without violence and guns. It’s an accurate representation of the character, and it’s unfortunate that it parallels a lot of what’s going on in the world today. 

The Joker is also painted to incite pity within viewers, which a lot of times, it does --- or at least attempts to. This is classic Joker behavior. In Paul Dini and Bruce Timm’s comic Mad Love, readers meet Dr. Harleen Quinzel, a psychiatrist at Arkham Asylum. She gets assigned to none other than --- you guessed it --- the Joker. Though this woman is highly educated (we won’t talk about the things she did to get that education), the Joker still manipulates her and convinces her to not only help him escape Arkham, but become his partner-in-crime as well; Harleen Quinzel is no more and Harley Quinn is born.

She pities him and his situation, and he spins his tale of woe so expertly that she has the wool pulled over her eyes. Throughout the comic --- and the general timeline for Joker and Harley --- Joker mercilessly abuses Harley, from pushing her out a window to not noticing she was gone for six months. He is a cruel, manipulative psychopath that nobody should follow in the footsteps of; however, he’s good at his job, and Joker showcases that, however controversial and uncomfortable it may be.

Joker is rated R for a reason; not only are there a few F-bombs, the violence is staggering. However, when dealing with a character that is known for inciting violence and not caring about the consequences, tough scenes are necessary. Phillips didn’t shy away from blood and intensity in his murder scenes, and Phoenix went all in when it came to brutality. Personally, (spoiler!) I never really wanted to see Robert De Niro’s brains blown out the back of his skull, but you can’t have the Joker without some blood. 

And finally, while the troubled citizens looking for a leader are terrorizing Gotham following Arthur’s murder of Murray Franklin (Robert De Niro) on live television, our hero’s story starts. Thomas and Martha Wayne are gunned down in an alley outside a theatre by a rogue thug and Joker fan, and young Bruce Wayne begins his famous story. 

Joker was original in concept and plot, but had just enough callbacks to the comics to make it permissible. The atmosphere in the full theatre I was in was palpable. There were chuckles and titters here and there when Arthur would make a funny joke, or everyone was just laughing off the tension of the moment. There were also audible gasps and groans when things got especially rough (such as the aforementioned Robert De Niro scene). Joker did exactly what the real Joker would have wanted: it incited a reaction out of people.

I had low expectations going into the movie because, as someone who grew up reading Batman and loving to hate the Joker, I was afraid my favorite complex villain was going to get ruined (looking at you, Jared Leto). I was pleasantly surprised by Phoenix’s performance and Phillips’ take on Mista J, and it was a refreshing performance that was a polar opposite from the late Heath Ledger’s, but equally as convincing and chilling.

An Oscar seems to be on the horizon for both Phillips and Phoenix for Joker. The film is raunchy and tense, and I didn’t know I could hold my breath for two hours. It’s exactly what a Joker movie should be, and I’d encourage anyone to go watch it.

[noisemakerreviews]

Game of Thrones, 8:3 “The Long Night”

It’s been a while! What better way to come back from the dark is to review an equally as dimly lit episode of our favourite TV show. 

So, let’s get right into it.

Also, needless to say, this post is dark and full of spoilers, so beware.

We won’t get into the mechanics of strategy on Dany’s part, because sending the Dothraki in head-first while everyone else stayed behind and waited didn’t seem like the best course of action, but nobody questions the Unburnt without getting torched themselves, so you do you, Khaleesi. Let’s dissect that scene a bit more, because what more could we have asked for within the first five minutes than the Dothraki wielding fire-swords into the night? (I guess better lighting... thanks, Melisandre.)

This episode was chock-full of haunting and powerful images. Firstly, the Dothraki slowly being extinguished, both literally and figuratively. This is a huge loss for Daenerys and her army, and the Night King is chuckling from the cloud’s with the late Robert Baratheon’s, “Only a fool would meet the Dothraki in an open field” line all the way back in season one. 

The battle commences and all the MVPs are charging: Brienne --- ahem, Ser Brienne --- Jaime, Podrick, Sam, Edd, Tormund, the Hound, Beric, Grey Worm, Jorah, the list goes on. I must have gone into cardiac arrest at least seven times during the episode. I didn’t know I could hold my breath for an hour and a half, but here we are. The Battle of Ice and Fire had a very Battle of the Bastards-esque feel to it, which worked, and was full of action --- sometimes to the point that I couldn’t even make out if someone was dying or not. (Looking at you, Brienne, Tormund, and Jaime...)

Let’s move on to Jon and Dany exploring a whole new world atop Rhaegal and Drogon. An airborne fight that severely stressed me out, the aunt-nephew duo went after the Night King to try and end the fight before it began. Essentially, the only thing that was accomplished was the Night King being thrown from Viserion and Rhaegal getting injured. This scene was frustrating because I think that they could have used the dragons far more effectively, i.e., lighting up Viserion at the very least. We find out later that dragon-fire doesn’t have any effect on the Night King, but there’s no reason to believe that it wouldn’t have fatally injured Viserion. 

The crypts were, shocker, unsafe. But let’s hone in on that chilling scene between Tyrion and Sansa. Did anyone else think that a murder-suicide was about to transpire, or was that just me? The once-married couple shared a funny, but slightly heartbreaking conversation earlier on, and Sansa deemed Tyrion “the best of” her list of husbands. We see them later huddled behind a likeness of a late Stark, Sansa clutching her dragonglass dagger that Arya gifted her, and Tyrion taking her hand and bestowing a kiss against it. It’s a glimpse into the humanity the show captures beautifully amidst the literal end of the world. 

Moving on, we have to talk about our queen, our lord and saviour, our absolute G.O.A.T. ... Lyanna Mormont. Move over, Arya, we get that you saved the world, but we all know who the true woman of the series is. From the beginning, Lady Mormont was a force to be reckoned with and an instant fan favourite. Though we knew her chances for survival were slim to none this episode, I couldn’t have imagined a better way for her to go out. She struck fear into the hearts of men twice, even three times her size, all while looking cute as a button. Rest in power, Killer of Giants. 

Speaking of powerful, tiny women who men underestimate, we’ll discuss our other queen, Arya Stark. From the beginning she’s been an outcast, proving that she will not succumb to societal norms expected of women in Westeros. The only people who seemingly nurtured this tendency were Jon, who gave her the strong advice, “Stick them with the pointy end,” --- a line repeated to Sansa just before the battle began --- and Ned, her late father who we all still dearly miss. Arya snuck her way through the halls of Winterfell, her kill count climbing faster than she could run. Stress levels were high and I worried that the Girl with No Name was going to be no more, but the Kill Bill sirens activated and the Hound and Beric Dondarrion came in with the assist. Though we lost Beric, his purpose was finally served, and Melisandre greeted the Hound and Arya to reassure them that the Lord of Light’s plan is still in action.

Plus, Syrio Forel totally came back to us through the Red Woman. 

Theon is one of the most rounded characters on the show, and his development is astounding. It rivals that of Jaime Lannister, and as much as I want to hate the last male Greyjoy heir, I just can’t. His real life began and ended within the walls of Winterfell. The downfall of his journey started when he overtook Winterfell back in season two and ‘burned’ Bran and Rickon alive to gain power and stock with his followers. Of course, the youngest Stark boys were unharmed, but that doesn’t excuse the fact that Theon murdered two innocent children. Bran has since forgiven him, calling him a “good man” before the fighting begins. Theon fights until the end, and suffers an honourable death at the hands of the Night King, protecting Bran and keeping his promise until his dying breath. 

Just when we think all hope is lost, in true Game of Thrones fashion, a twist flies through the air (literally) and Arya’s talented knife-work ends the Long Night. I’m sure you screamed as loud as I did when every second of A Girl’s training led up to this moment, and all prophecies were fulfilled. 

I thought this choice to give the kill to Arya was a smart one. The Night King directly and physically embodies Death, and Death isn’t concerned with a power struggle, kingdoms, or battles. As Bran stated, the Night King is only concerned about the Three-Eyed Raven, and cleansing the earth of the living --- has he been talking to Thanos?

A fight with Jon would have been exciting, but it was evident by his survival of dragon-fire that the Night King cannot be defeated by sheer force or strength. Arya was the only one who could outsmart him, and the Night King could have only been feasibly defeated by a game of wits. Also, who doesn’t like a badass, strong female lead killing the second coldest villain in the show? Behind Cersei, of course.

Speaking of whom, I am sincerely anxious (and excited) for the latter half of the final season. Dany’s army has faced serious losses, such as the Dothraki and the Unsullied, and essentially she just has the manpower that survived the inner walls of Winterfell. Both of her dragons have been injured, though we see in the preview that they are able to fly. Cersei has 20,000 fresh troops, dragon harpoons, a mind sadistic and strategic enough to blow up half the city, and presumably the wildfire to bring that possibility to life. 

There is still a lot to come in the last three episodes, but if the Night King subplot is over, then this episode made all the waiting and speculating worth it. All in all, a solid episode with a solid plot, and a twist that people will be talking about for weeks, months, maybe even years to come.

All images courtesy of HBO. 

[noisemakerreviews]

What do you think about Cardi B’s Invasion of Privacy ?

To be honest, I’m not the biggest fan of modern hip hop. Cardi B has some songs that I think are catchy, and are fairly clever as far as lyricism goes, but I’m not a huge fan. I prefer 90s hip hop and R&B, because it’s not just talking about ass or drowning songs in repeated snare drum sounds. 

Not to say I don’t like any modern hip hop, I just don’t listen to much of it.

However, I did listen to about three-quarters of Invasion of Privacy and wasn’t very impressed. I, of course, know “Bodak Yellow” (as we all do) and like that song quite a bit. Personally, I thought the lyrics were stale in most songs and repetitive, and the guest verses weren’t all that impressive. I like Chance the Rapper, I like Migos, and I like 21 Savage, but I feel like they could’ve done better. The beats were catchy, but again, very repetitive (as most hip hop is nowadays). 

I haven’t listened to huge chunks of her other albums, so I don’t know if this is a step in a new direction for her, or it’s just a similar output of her usual style. 

If she’s going for catchy, she’s got it. However, if she’s going for lyricism or genuine quality, I think it might be a missed mark. For me, anyway. I know a lot of people swear by Cardi B.

[noisemakerreviews]

'The Walking Dead' isn't what it used to be

Don't get me wrong, I have been with The Walking Dead since that Halloween night in 2010 and loved almost every second of it. I consistently argued that this show was the greatest show on cable television maybe ever, and critics agreed! I appreciated when the walkers stopped being the sole focus of the plot and it veered toward the characters and their development and relationships.

The pendulum swing of TWD sucking began with the Season 6 finale/Season 7 premiere when our beloved (*sniff*) Abraham and Glenn left us. Not that us comic-junkies weren't expecting it, but... waiting six months to reveal who it is? It's a great cliffhanger, and I admit to being disappointed that they deviated from canon to kill Abraham, but swiftly turning morbidly giddy when Glenn's head became brain-guacamole.

The introduction of Negan is not necessarily what I'm talking about when I mention the pendulum swing. Though the Governor will always hold a near and dear place in my heart, Negan is the ultimate badass of TWD. However, in my humbly honest opinion, Robert Kirkman milked that storyline a little too much. (Two seasons, really?)

Jeffrey Dean Morgan's portrayal of our favorite slugger-wielding murderer is a saving grace. He has Eugene-level one-liners that always make me smile or chuckle, and JDM definitely upped the ante when it came to, ahem, Negan's physical charm. None of us are sad that Negan doesn't have that lovely, slicked-back look he dons in the comics. I loved JDM in Supernatural and loved him even more in TWD.

Throughout Seasons 7 and 8, I found myself constantly staring at my screen at 9 p.m. every Sunday like, "Wait, what just happened?" I understand that not every episode can be an "I'll find you, Maggie" episode, but come on. Most episodes were just Rick arguing with some main character we love and failed plans to defeat Negan.

Let's talk about Carl.

When it gets to the point that your original, main characters/actors are jumping ship (Andrew Lincoln, Lauren Cohan, Chandler Riggs), then maybe it's time to re-evaluate what your show has become. I understand wanting to do something different with their lives, and good for them for moving on; I'm just upset that the story dragged so much that they had to up and leave. We only got a taste of Carl and Negan's relationship and have to be happy with our still breathing characters talking about the one-eyed wonder posthumously. I know most viewers have a love-hate relationship with Carl, given that he always annoyingly wandered off -- despite clear instructions from his father -- then, surprise, he found himself in mortal danger.

Carl's death is that of poor writing. Though Kirkman had fire under his feet to boot Carl off the show to coincide with the end of Riggs's contract, a walker-bite to the abdomen? Yes, very Carl-esque way to go, given his track record with close-calls, but seriously? It just seemed cheap to me. Maybe my readers and editor disagree. Maybe it's just because I was excited to see our Carl-Negan exchanges and sad they would never see the light of day. Maybe Carl was just starting to grow on me as a strong character. Who knows with this show any more.

Alright... Rick.

(Spoilers for the latest episode ahead!)

We all knew it was coming, we'd all accepted it (at least I did), and we all hated that it had to happen in the first place. The day finally came that we had to say goodbye to Rick Grimes... except we... didn't?

The entire episode was fantastic up until the end. The creative leeway Angela Kang and company took was beautiful. Seeing all our favorites come back to the show one last time (except Shane) was refreshing. I would have liked to see Lori and Carl in the montage of Rick's hallucinogenic dreams, but apparently there was a reasonfor that. The entire episode was emotional and full of nostalgia, right down to the 'Don't Open Dead Inside' door that started it all.

Also, "Space Junk" making its comeback from the pilot was a nice touch.

Rick blowing himself up for the greater good of the group seemed like Rick way to go. Realistically, I don't really know how he didn't die from blood loss before that, given that it was highly likely that an organ or two were severely damaged. (But I don't get paid to write for TWDso whatever.) The acting from all of Lincoln's counterparts were powerful, especially those of Danai Gurira and Norman Reedus. Personally, I never cry so much over the actual death of the character, but the reaction of their loved ones. I'm actually surprised that Lauren Cohan didn't get me this time, because she's the winner for most tear-jerking reactions because literally everyone she loves is dead.

My tears, however, were shed in vain as a somehow-alive Rick washes up conveniently next to Jadis, who also conveniently has her helicopter friends right there. Yet again, a character survives a literally impossible situation. What was the point of hyping up Rick's death with endless marketing for it only to rip the rug from under us and say, "Just kidding!" AMC really likes the deus ex machina strategy for their shows (see every Breaking Badepisode ever).

Also, what is going through Lincoln's head? "I don't want to star in my show any more, a production that has spent the last near-decade developing my character, but hell yeah, let's do three movies furthering my story."

If you're going to kill someone off, kill them off! I was very pleased with Rick's demise up until the point where he didn't actually die.

Then we get to the time-jump. Six years. Little Asskicker is still ass-kicking and blowing the heads off walkers. I'm here for it. However... you're telling me that Rick survives, and in those six years, he doesn't pull an Atlanta and goes to the ends of the earth to find his family again? Literally find them, not figuratively in blood-loss-induced dreams. He didn't even know where they werein Season 1, yet still found them. He actually knows where they are now, and he's not there? Give me a break.

Again, it's just poor writing. The actors are still doing their jobs with the scripts they're given, it's just a shame that it's come to this. What was once my favorite show in the entire world is now just a, "Eh, I've been watching it for this long, might as well stick it out."

I'm excited for what's to come because hopefully it will bring this show back from the dead (pun intended). I wish Rick was there to see 'what comes after' but we all have to move on at some point. This transition will bring us The Whisperers and hopefully Alpha and Beta (Type A and B people?).

[noisemakerreviews]

Ocean’s 8

Talk about an all-star cast with some breathtaking women. 

I know it seems like I gush for every movie I see but, come on, I go to the movies I want to see. 

Anyway, this movie was great. The cast had hilarious and natural chemistry, and I didn’t feel like anyone in particular stole the show. Each lady was equally as badass, funny, and likable, and obviously you need those things to pull off one of the biggest jewelry heists in history, amirite?

I didn’t think it was too long, and I think it’s on par with the Ocean’s 11, if not better. It was short, sweet, to the point, and made me laugh. Truthfully, the minute I saw our lord and saviour Helena Bonham Carter in the trailer, I immediately knew I had to go see it. #HBC2020

Seriously though, there were moments in the movie that made me laugh purely from how flawlessly these ladies finessed this crime. It’s always fun to watch a successful heist, especially one pulled off by at least one of the women in all your favourite movies. 

Overall, great film, and I definitely want to see it again. 

★★★★★

Favourite scene:

Literally anything with HBC in it. Bye.

[noisemakerreviews]

Avengers: Infinity War

Alright, alright, I know. Don’t even say it. Best movie ever made. I’ve seen it 11 times. Whatever.

But seriously, let’s talk about this for just a minute. This is something that has never been done before, bringing 10 years’ worth of characters together to fight against a singular, common villain. A villain who, might I add, is arguably one of the greatest in all of fiction. 

Let’s just start off with the music. I’m a musician and a huge soundtrack buff, and movie scores just really float my goat if you know what I mean. I can’t even count how many times the music alone wracked my entire body with chills. The introduction scene (RIP Loki... again), accompanied by the logo and theme blasting from all corners of the theatre; Captain America’s entrance with the music, which, of course, is everyone’s favourite part (come on, Chris Evans in long hair and a beard? Gimme a break!); and of course, a personal favourite of mine, Thanos’s music! The scene that comes to mind being when he enters Wakanda with five of the six stones in hand and you’ve got that deep, tubular music haunting him with every step. You know that’s a villain coming up. 

Then there’s the ending. (SPOILER ALERT!) Everyone kind of dies. Save for a few characters and all the OG Avengers, too many faces we’ve come to love bit the dust. But that was perfect! Definitely a ballsy move on Marvel’s part, but y’all, the good guys can’t win every battle, can they? Thanos has to kick some ass and then Captain Marvel (Brie Larson *squee*) has to come in to the rescue. 

AndNebulaandAdamWarlocktoobutthat’sbesidethepointokay.

TLDR; This movie is easily my favorite in a long time and I’m so excited for the next installment. IMO, they could’ve left it how it was and I still think it would’ve been awesome. 

The fact that I laid awake that night after seeing it for hours on end, traumatised, trying to figure out what Marvel just did to my poor body and soul, is beside the point. 

★★★★★

Favourite scene:

Umm, duh, Thor with Stormbreaker coming in to fight off all the Demadogs from Stranger Things! (What, was I the only one who saw the similarity? No way.) 

Need I even expand on that? His new suit, the cape, the muscles, the eyes, the lightning, the thunder, the awesomeness. That entire scene was riddled with jokes and badass moments, fight scenes, and-- and-- and-- *swoon*. 

Thor is king bye.

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Hovvdy playing at Proud Larry’s in Oxford, MS on February 24, 2018. Photos by Kerrigan Herret.

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Kate Teague performing her rendition of “Linger” by the Cranberries at Proud Larry’s in Oxford, MS on February 24, 2018. Photo by Kerrigan Herret.

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Promotional shots of Fess Up, breakout band consisting of Drew Walker on vocals, lead guitar, and lead bass, and Jared Weems on drums. Photos by Kerrigan Herret.

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Casual photoshoot of my friend Jared Weems. He used them as headshots and promotions for a band he drums for, Fess Up. 

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Casual photoshoot I did a while back to help my friend promote his new band, Fess Up. They’re on every musical platform, their debut album is “Temporary Fix.” Check ‘em out. 

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Red Sparrow

I don’t know if I’ve ever heard anyone complain about Jennifer Lawrence being a Russian sex-assassin, but that aside, let’s talk about the actual movie. I don’t want to get side-tracked.

The story line was fairly basic as far as spy movies go, especially ones that introduce a love interest that throws the entire ‘plan’ out of whack. There were a few bits and bobs that surprised me, such as Dominika Egorova’s (J-Law) uncle, Vanya Egorov (Matthias Schoenaerts). Not to say that a creepy, villainous uncle is anything out of the norm, but he takes it just that step further, and there are a few scenes that make even me uncomfortable (but I don’t want to spoil it for anyone). 

Words are escaping me for this review and I’ve had this drafted for weeks. There’s not a whole lot to say, considering the story is straightforward and sexy and, come on, let’s be honest --- did anyone really care about the plot when those steamy scenes came on? 

I feel like I might be biased because I am a J-Law fan, but her accent was something that I assume was out of her comfort zone, as any accent as hard as Russian would be, and she pulled it off well. She’s definitely strayed from the theme Hunger Games brought us and is moving on to more adult filmmaking (side note: did anyone see Mother?). 

Though it wasn’t a box-office hit and got pushed to the wayside with Black Panther, I thought Red Sparrow was a pretty damn good film. It was sexy, not too long, action-packed, and had a satisfying, twist ending. Who can complain about that, right?

★★★★

Favorite scene:

I don’t want to seem basic or anything, but of course, the scene where her uncle gets framed as the mole and executed for his crimes was the sweetest and most revengeful resolution. I, of course, was expecting General Korchnoi (Jeremy Irons) to be under the hood, as we all naturally did, I’m sure, but to see her deranged uncle made my heart skip a beat in excitement. I applauded the cinematography that took us through her entire plan to screw him over and make him pay for the hurt he’s caused her and her family, what with all the flashbacks and subtle hints we missed throughout the film because we were too focused on J-Law’s beauty... or was that just me? I’m not obsessed, I swear!

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The End of All Photo Essays

The End of All Music, local record shop in Oxford, MS. March 25th, 2018. The small shop, now located on the Square, was formerly hiding on North Lamar Boulevard just a few miles away. Owner David Swider started this hole-in-the-wall shop in 2012.

Blues and Gospel record collection, including new and old releases, in The End of All Music in Oxford, MS on March 25, 2018. Photo by Kerrigan Herret.

Tyler Nelson, local resident, perusing the vinyl collection in The End of All Music in Oxford, MS on March 25, 2018. Photo by Kerrigan Herret.

Nils Frahm’s Solo album in The End of All Music. Photo by Kerrigan Herret.

Tyler Nelson, local resident, thumbing through records at The End of All Music on March 25, 2018. Photo by Kerrigan Herret.

Sufjan Stevens’s Illinois album spinning on a turntable. Photo by Kerrigan Herret.

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Phantom Thread

Well...

I got there, sat through 30 minutes, and got up and walked out. My boyfriend told me the ending, and I was very happy that I didn’t sit through another two hours to witness the thrilling conclusion --- is my sarcasm coming through adequately through this writing?

I was disappointed because I was excited to see this one. Maybe there’s something I missed, but it didn’t grip me in its inception, and lost my interest before I could give it a chance. Sorry, Paul Thomas Anderson. 

★

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Three Billboards Outside Ebbing, Missouri

This darkly comic drama about a daughter’s death wasn’t a film I thought I’d find myself lightly chuckling through. Though the underlying plot is dark and disturbing, filled with corrupt individuals in a small, rural town, Marin McDonagh peppers in mild, crude jokes, littered with profanity, to lighten some of the tenser moments. 

I didn’t do much prior research --- or any, in fact, aside from reading the small blurb outlining the plot on IMDb --- before seeing this film, but I knew it was about a murder. The story focuses more on Mildred Hayes’s journey to coping with the loss of her daughter, as well as her growing frustration with the lack of urgency on the police station’s part (and more specifically, Chief Willoughby) in solving this murder-rape case. It was moving to see how the town comes together then splits apart again, rallying around this mother, then demonizing her upon another shocking death within the community. 

Did I expect to cry three times in a film that I wrongly assumed was just a ‘whodunnit’ story? No, not really. This film has no shortage of emotional scenes, from a grieving mother, to a gut-wrenching suicide, to a heartbreaking conclusion. 

I can’t say all too much about the film without spoiling some of the more profound scenes, but I will mention Frances McDormand’s performance of the leading lady was haunting, yet real. She wasn’t a blubbering mother that some people would expect following a brutal and inhumane crime against her only daughter, but a hardened, frustrated mother, hungry and desperate for justice. She’s what I would want my mother to be like if something this tragic happened to me.

Overall, Three Billboards was entertaining, raw, emotional, and real. 

(Also, is Woody Harrelson in every movie?)

★★★★★

Favorite scene:

While Mildred is planting some flowers, a deer moseys up to her, grazing on the grass in front of one of the billboards. Hauntingly enough, it’s just near the location where her daughter was raped and burned alive. She shows some rare emotion, something that isn’t seen throughout the film. She speaks of reincarnation, and laughingly encourages the deer not to try and make her believe in it. It’s a powerful scene, showing the raw emotion of a mother struck with an unimaginable blow. The symbol of nature, of rebirth, of beauty was too obvious to overlook, and it spoke to me. Dealing with grief is hard, and sometimes you just need that little bump, that little sign from somewhere in the universe, that life moves on, and everything will be alright. 

I know I said favorite scene, as in singular, but Chief Willoughby’s suicide scene moved me as well. Not so much the suicide itself, but the aftermath. I enjoyed McDonagh’s decision to have Harrelson’s voice narrating the scenes following his character’s premature death. Suicides are always a tough subject, for obvious reasons, and McDonagh not only brings it up, but tears it open for the world to see. The pressures of disease, namely cancer, are, of course, a conversation in itself, but McDonagh realizes that with a gunshot wound to the head, as well as the impending and inevitable reactions of a family and town left devastated. One more smudge on this little place’s record of peace.