Reviews of the Bosch

The Rivals of Amziah King is something like a beehive. Within it there is an abundance of sweetness produced by an intensity of driven, like-minded community fellowship, a heaviness of necessity for the work and the vitality of what it means, and a sense of awe with the process and structure so critical to that taste that is yearned for. But be careful, because it also stings and stings hard when disturbed. The compulsively eclectic sophomore feature from director Andrew Patterson I find myself at a bit of a loss to characterize with its equal elements of western noir, crime drama, coming-of-age film, and slice-of-life vibes movie -arguably also a low-key rural musical. It runs in and out of each of these qualifiers yet manages to largely stay cohesive somehow, its texture as multifarious yet fitting as a honeycomb. Exuberant in its style and by turns endearing, eccentric, and dramatically mystifying in its story, it is one of the more inspired movie concepts we’ve seen all year and c...

The concept of SIX is quite fun for a musical. It is also exactly the kind of concept you would expect from a pair of theatre kids in university -which is indeed when Toby Marlow and Lucy Moss first created the show. Crossing the stories of the wives of Henry VIII with the aesthetics of girl pop and some very blunt themes on patriarchal readings of history and the notion of restoring these women’s own agency to their stories feels like the kind of idea that would originate in the context of learning academic theories of historiography and feminism for the first time and melding that with some familiar nostalgia. That’s not a knock on the show necessarily , it clearly worked -and Marlow and Moss had the talent to compose it all in a competent way and the foresight to understand the structural limitations of the idea. This likely wouldn’t work as a Hamilton -style epic, it needed to be a short and simple yet striking concert. And as a concert it is a pretty good one. SIX is the latest...

In the wake of Jurassic Park and its groundbreaking dinosaur effects, one of the popular imagined ideas for its potential sequels was to take the dinosaurs off the sequestered island and put them in a more recognizable and immediate environment. Spielberg did this briefly at the end of The Lost World where a T-Rex is unleashed on San Diego, but subsequent movies for whatever reason had no interest in going there. Then finally, 2018’s Jurassic World: Fallen Kingdom ended on the clear note of dinosaurs off the island and unleashed into civilization. However Jurassic World: Dominion came along next and tossed out that premise for the familiar very promptly. I wonder if David Robert Mitchell saw that and figured he would make his own ersatz sequel to Fallen Kingdom that did in fact take advantage of the concept of dinosaurs infiltrating our everyday lives. Because that is what The End of Oak Street feels like, a movie that really is what any of those Jurassic World films should have ...

A story inspired by Larry Niven’s Ringworld series and yet it still gets named after the work of a more prominent genre legend. It is a cool thing to see manifested in Futurama anyways though, especially given how few adaptations of that story and concept have actually made their way out of literature. It is a reminder of how nerdy the writing staff on this show is, who in the early days often mined the more obscure avenues of science-fiction as much as the iconic ones. It comes here in the context of a story that is also interesting if perhaps not very original. We’ve seen a few times now on the show the evolution of a civilization out of something mundane – "Parasites Lost" , "Godfellas" , "A Clockwork Origin" -the last of which this episode has the most in common with given it is another case of one of the Professor’s experiments evolving an entire world and civilization. "Lords of the Ring" doesn’t compare to any of those, a story more conv...

It is astonishing to me that Nirvanna the Band the Show the Movie has taken off so much as a near-instant cult movie hit. Not because it is a scrappy independent film with no notable stars. Not because it is produced with a seemingly DIY crudeness. Not even because it plays with time travel as a concept and is ensconced in 80s movie throwbacks -particularly Back to the Future . But because of an aspect to the movie that is best crystallized in a moment where Matt (Matt Johnson) confirms he is in the year 2008 by a series of references that culminates in him seeing a billboard advertising Q with Jian Ghomeshi. I’m astonished that Nirvanna the Band the Show the Movie has taken off so much because it is so extremely Canadian. The Ghomeshi joke is one of at least a handful in this film that I have to believe goes over every American’s head. Hell, there are even a couple jokes specific to Toronto in the film that I didn’t catch. But I can definitely comprehend the other ways this very stra...

Somehow, I didn’t expect the movie about a dystopia where casual sex is illegal to be particularly anti-casual sex itself. The characters bemoan the status quo of their world every so often and there are anti-mandate proclamations all around, but most people seem to shrug it off as an annoyance  more than a genuine infringement on civil liberties. There is a disillusioned apathy with the government suppression (someone comments “this is what you get when you’re a one-issue voter”), musings about getting around it or bringing it down are not taken seriously, and it is even bestowed a kind of legitimacy by the end. Of course, One Night Only is not a movie very interested in the implications of its premise. Rather the premise is just an excuse for a series of scenarios befitting a generic enemies-to-lovers rom-com. Director Will Gluck and writer Travis Braun perhaps did not think through what they were actually saying by attaching this novel kind of synopsis to a more conventional for...